The Beatles - Revolver
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The Beatles [click here to see more vinyl featuring The Beatles]:
- John Lennon – lead, harmony and backing vocals; rhythm and acoustic guitars; Hammond organ, Mellotron, harmonium; tape loops, sound effects; tambourine, handclaps, finger snaps
- Paul McCartney – lead, harmony and backing vocals; bass, rhythm and lead guitars; piano, clavichord; tape loops, sound effects; handclaps, finger snaps
- George Harrison – lead, harmony and backing vocals; lead, acoustic, rhythm and bass guitars; sitar, tambura; tape loops, sound effects; maracas, tambourine, handclaps, finger snaps [click here to see more vinyl featuring George Harrison]
- Ringo Starr – drums; tambourine, maracas, cowbell, shaker, handclaps, finger snaps; tape loops; lead and backing vocals on "Yellow Submarine" [click here to see more vinyl featuring Ringo Starr]
Anil Bhagwat – tabla on "Love You To"
Alan Civil – French horn on "For No One"
George Martin – piano on "Good Day Sunshine" and "Tomorrow Never Knows"; Hammond organ on "Got to Get You into My Life"; tape loop of the marching band on "Yellow Submarine"
Geoff Emerick – tape loop of the marching band on "Yellow Submarine"
Mal Evans – bass drum and background vocals on "Yellow Submarine"
Neil Aspinall – background vocals on "Yellow Submarine"
Brian Jones – sound effects, ocarina and background vocals on "Yellow Submarine"
Pattie Boyd – background vocals on "Yellow Submarine"
Marianne Faithfull – background vocals on "Yellow Submarine"
Alf Bicknell – sound effects and background vocals on "Yellow Submarine"
String octet on "Eleanor Rigby", orchestrated and conducted by George Martin (with Paul McCartney):
- Tony Gilbert, Sidney Sax, John Sharpe, Jurgen Hess – violins
- Stephen Shingles, John Underwood – violas
- Derek Simpson, Norman Jones – cellos
Horn section on "Got to Get You into My Life" arranged and conducted by George Martin (with Paul McCartney):
- Eddie Thornton, Ian Hamer, Les Condon – trumpet
- Peter Coe, Alan Branscombe – tenor saxophone
Written by George Harrison (A1, B5), John Lennon and Paul McCartney (A2 to B4, B6-7)
1LP, standard sleeve, Tote Bag
Limited edition
Original analog Master tape : YES
Heavy Press : 180g
Record color : Black
Speed : 33RPM
Size : 12'’
Stereo
Studio
Record Press : GZ Media
Label : Universal
Original label : Parlophone
Recorded 6 April – 21 June 1966 at EMI, London
Engineered by George Martin and Geoff Emerick
Original session produced by George Martin
Remixed by Giles Martin & Sam Okell
Mastered by Alex Wharton
Cover designed by Klaus Voormann
Photography by Robert Whitaker
Originally released in August 1966
Reissued in October 2022
Tracks :
Side A:
- Taxman
- Eleanor Rigby
- I'm Only Sleeping
- Love You To
- Here, There and Everywhere
- Yellow Submarine
- She Said She Said
Side B:
- Good Day Sunshine
- And Your Bird Can Sing
- For No One
- Doctor Robert
- I Want to Tell You
- Got to Get You into My Life
- Tomorrow Never Knows
Awards:
Rolling Stone 500 Greatest Albums of All Time - Ranked 11/500
Reviews :
“All the rules fell by the wayside with Revolver, as the Beatles began exploring new sonic territory, lyrical subjects, and styles of composition. It wasn't just Lennon and McCartney, either -- Harrison staked out his own dark territory with the tightly wound, cynical rocker "Taxman"; the jaunty yet dissonant "I Want to Tell You"; and "Love You To," George's first and best foray into Indian music. Such explorations were bold, yet they were eclipsed by Lennon's trippy kaleidoscopes of sound. His most straightforward number was "Doctor Robert," an ode to his dealer, and things just got stranger from there as he buried "And Your Bird Can Sing" in a maze of multi-tracked guitars, gave Ringo a charmingly hallucinogenic slice of childhood whimsy in "Yellow Submarine," and then capped it off with a triptych of bad trips: the spiraling "She Said She Said"; the crawling, druggy "I'm Only Sleeping"; and "Tomorrow Never Knows," a pure nightmare where John sang portions of the Tibetan Book of the Dead into a suspended microphone over Ringo's thundering, menacing drumbeats and layers of overdubbed, phased guitars and tape loops. McCartney's experiments were formal, as he tried on every pop style from chamber pop to soul, and when placed alongside Lennon's and Harrison's outright experimentations, McCartney's songcraft becomes all the more impressive. The biggest miracle of Revolver may be that the Beatles covered so much new stylistic ground and executed it perfectly on one record, or it may be that all of it holds together perfectly. Either way, its daring sonic adventures and consistently stunning songcraft set the standard for what pop/rock could achieve. Even after Sgt. Pepper, Revolver stands as the ultimate modern pop album and it's still as emulated as it was upon its original release.” AllMusic Review by Stephen Thomas Erlewine
“Sonically the results of the demixed and rebuilt Revolver are profound. Any skepticism on my part vanished within a few seconds of the stylus touching the groove. Revolver packs much more rhythmic muscle and imaging cohesiveness compared with the original stereo. The laid-back passiveness is gone and replaced by the assertive one-punch thrust of the mono mix—except in full-bodied stereo. The new mix sits comfortably, even naturally, between the speakers. The center of the soundstage—once almost vacant of music given the hard right/left panning—has been restored... For the fans that have asked if only The Beatles could be heard without the technical roadblocks imposed during that era, this Revolver is for you. Yes, the original mono mixes still hold up well, but the new stereo version of Revolver is an achievement that can't be praised enough. As for the original stereos, they are now respected artifacts and collectibles to be relegated to the LP rack.” Neil Gader, The Absolute Sound
Ratings:
AllMusic : 5 / 5 ; Discogs : 4.86 / 5