Revolver

Product Information

Gould, who describes Starr's glasses as "ludicrously bug-eyed", considers the cover design to be consistent with the "break with the past" ethos that had guided the album's creation. In Riley's opinion, aside from underplaying Lennon's contribution, his voice is thereby confined to a "sudden swing to the surreal" at the end of each LP side, which distorts the intended mood across the album.

If Lennon hadn’t dropped acid with Peter Fonda in ’65, he might not have fused rock with Harrison’s love of Indian music for “Tomorrow Never Knows” or challenged teenyboppers with a lyric like “I know what it’s like to be dead. It was released on 5 August 1966, accompanied by the double A-side single " Eleanor Rigby" / " Yellow Submarine".Among its tracks are " Tomorrow Never Knows", incorporating heavy Indian drone and a collage of tape loops; "Eleanor Rigby", a song about loneliness featuring a string octet as its only musical backing; and " Love You To", a foray into Hindustani classical music. Music critic Richie Unterberger describes it as a song that conveys "one of the first fine days of spring, just after you've fallen in love or started a vacation". The acoustic take feels very goth rock (save the whole “make love singing songs” nonsense), and it becomes darker, more mysterious, and sexier as they develop it.

On 16 May, [63] Epstein responded to a request from Capitol Records, EMI's North American counterpart, to supply three new songs for an upcoming US release, titled Yesterday and Today. Giles Martin collaborated with filmmaker Peter Jackson’s Get Backaudio team to “de-mix” the Beatles’ original crowded multitrack tapes and extract each individual sound so he could reposition them in a wider spectrum. In the final verse, he repeats Starr's vocal lines in a manner that Gould likens to "an old vaudevillian with the crowd in the palm of his hand". Revolver very rapidly became the album where the Beatles would say, "OK, that sounds great, now let's play [the recording] backwards or speeded up or slowed down. Pepper albums via special "demixing" technology developed at Abbey Road Studios, but wanted to wait until the software improved enough to be used in such a project.And a final outtake starts with Lennon doing a pseudo-military chant about submarines that has all the song’s sound effects they recorded cranked up. With Revolver, they had mapped out the pop universe so perfectly that all they could do next was tear it up and start again. In the sessions, on a rehearsal of the former, they rush through the chord changes and leave space for the vocals.

The Beatles had hoped to work in a more modern facility than EMI's London studios at Abbey Road [37] and were impressed with the sound on records created at Stax Studio in Memphis. Held at Wembley's Empire Pool, in north-west London, this was the last concert that the Beatles played before a paying audience in the United Kingdom. Sometimes, when the outtakes show the emperors without their clothes, it’s hard to imagine how great the songs could become. By October, at least ten of the LP's songs had been covered by other artists and reviewed by Melody Maker. Lennon adapted the lyrics from Timothy Leary's book The Psychedelic Experience: A Manual Based on The Tibetan Book of the Dead, which equates the realisations brought about through LSD with the spiritually enlightened state achieved through meditation.

The unearthly sounds that Revolver released into the world were at once the antithesis of the human and a provocative indication of the mysterium tremendum . Peter Clayton, a jazz critic for Gramophone magazine, described it as "an astonishing collection" that defied easy categorisation since much of the LP had no precedent in the context of pop music. The first set of clips was filmed at EMI Studio 1 on 19 May [68] by Michael Lindsay-Hogg, director of the popular TV show Ready Steady Go!

The LP's back cover included a photograph of the Beatles, in Riley's description, "shaded by the hip modesty of sunglasses and cigarette smoke". And on a take of “She Said She Said”— the last song they ran through for the album — someone keeps morale up saying, “Come on, come on. The Beatles received death threats from Japanese ultra-nationalists and were confined in the In this way, Revolver marked the start of a change in the Beatles' core audience, as their young, female-dominated fanbase gave way to a following that increasingly comprised more serious-minded, male listeners.In March 1966, Epstein investigated the possibility of their recording the new album at Stax, [39] where, according to a letter written by Harrison two months later, the group intended to work with producer Jim Stewart. Turner views the selection of attire as reflective of the Beatles "still dressing similarly yet with an individual stamp"; he identifies the choice of sunglasses as another example of a unified yet personalised look, whereby the styles ranged from oblong-shaped lenses, for Lennon, to an oval-shaped pair worn by Starr. MacDonald cites Revolver as a musical statement that, further to the Rubber Soul track " The Word" and "Rain", helped guide the counterculture towards the 1967 Summer of Love due to the widespread popularity of the Beatles. Writing in Paste, Mark Kemp says that the album "completed [the Beatles'] transformation from the mop tops of three years earlier into bold, groundbreaking experimental rockers", [395] while Paul Du Noyer, in a review for Blender, said that it marked the group's arrival as "psychedelic gurus" and was a work in which the Beatles "revolutionized their own style and rock music itself .