Welcome to Classic Cadillac Records!  My goal is to provide each and every customer with the best possible buying experience, no matter the size of the order.  Unlike most sellers, I advertise all my items clearly and in as much detail as possible, without shouting at you in all caps.  I take multiple high quality pictures and never use stock photos, so you know exactly what you’re buying.  I take great pride in my work and go the extra mile, which can clearly be seen in my listings compared to other sellers that put minimal effort into theirs.  I visually grade all my records as accurately as possible and will never grade anything above Near Mint unless it’s still sealed.  Please note that a visual grade can differ from a play grade, and am happy to spot check a record upon request.   All orders are shipped within 1 business day (usually sooner) and packed with extra care to ensure fast, safe arrival.  I combine shipping on multiple orders to save you money and gladly ship worldwide.  Please look closely at all pictures, read all relevant details and ask any questions you may have before buying.  I offer a full 30-day return policy on everything I sell, so buy with confidence!  And most importantly, thanks for looking!

Revolver by Released5 August 1966Recorded6 April – 21 June 1966Studio, London Length34:43 chronology
(1965)Revolver
(1966)
(1966)  chronology
(1966)Revolver
(1966)
(1967) from Revolver "" / ""
Released: 5 August 1966

Revolver is the seventh  by the English rock band . Released on 5 August 1966, it was the Beatles' final recording project before their retirement as live performers and marked the group's most overt use of studio technology up to that time, building on the advances of their 1965 release . The album's diverse sounds include  and backwards recordings on the psychedelic "", a classical  on "", and  backing on "". The album was reduced to eleven songs by  in North America, where three of its tracks instead appeared on the June 1966 release .

The Beatles recorded the album following a three-month break from professional commitments at the start of 1966, and during a period when London was feted as . The songs reflect the influence of psychedelic drugs such as  and the increasing sophistication of the Beatles' lyrics to address themes including death and transcendence from material concerns. With no thoughts of reproducing their new material in concert, the band made liberal use of studio techniques such as , reversed tapes, close audio miking and  (ADT), in addition to employing musical instrumentation outside of their standard live set-up. Some of the changes in studio practice introduced by Revolver, particularly ADT, were soon adopted throughout the recording industry. The sessions also produced a non-album single, "" backed with "", for which the Beatles filmed their first on-location promotional films.

In the UK, Revolver's fourteen tracks were released to radio stations throughout July 1966. In the US, it was the last Beatles album to be subjected to Capitol's policy of altering the band's intended running order and content. The release there coincided with the Beatles' , which was marred by the controversy surrounding 's remark that the band had become "". The record topped the  for seven weeks and America's  list for six weeks. Together with the children's  "", "Eleanor Rigby" became an international hit when issued as a single. The album cover was designed by , whose work combined -inspired line drawing with photo collage and went on to win the 1967 . The 1987 international CD release standardised the album's content to the original  version.

Revolver expanded the scope of pop music in terms of the range of musical styles used on the album and the lyrical content of its songs. The album was influential in advancing principles espoused by the and in inspiring the development of subgenres such as , ,  and . Many music critics recognise it as the Beatles' best album, surpassing . The album was ranked first in 's book  and third in  magazine's list of the "". In 2013, after the  had changed its sales award rules, Revolver was certified  in the UK. The album has been certified 5× platinum by the .

Background

In December 1965, '  album was released to wide critical acclaim. According to author David Howard, the limits of pop music "had been raised into the stratosphere" by the release, resulting in a shift in focus away from singles to creating albums of consistently high quality. The following January, the Beatles carried out  on live recordings taken from their , for inclusion in the concert film . The group's manager, , had intended that 1966 would then follow the pattern of the previous two years, in terms of the band making a feature film and an accompanying album, followed by concert tours during the summer months. After the Beatles vetoed the proposed film project, the time allocated for filming became a three-month period free of professional engagements. This was the longest period the band members had experienced outside the group collective since 1962, and gave them an unprecedented amount of time to prepare for a new album.

Literally anything [could come out of the next recording sessions]. Electronic music, jokes ... one thing's for sure – the next LP is going to be very different. – John Lennon, March 1966

Writing in The Beatles Forever,  cites 1966 as the start of the band's "'' period" and adds: "That adjective implies not only the influence of certain mind-altering chemicals, but also the freewheeling spectrum of wide-ranging colors that their new music seemed to evoke." Music journalist Carol Clerk describes Revolver as having been "decisively informed by acid", following  and 's continued experimentation with the drug  since the spring of 1965. Through these shared experiences, the two musicians developed a fascination for Eastern philosophical concepts, particularly regarding the illusory nature of human existence. Despite his bandmates' urging, after  had also partaken of the drug,  refused to try LSD. As reflected in the more conventional subject matter of his lyrics on Revolver, relative to those of Lennon and Harrison, McCartney drew his inspiration from the intellectual stimulation he experienced among London's arts scene, particularly its thriving  community.

While arranging dates for the band's world tour, Epstein agreed to a proposal by journalist  for the Beatles to be interviewed separately for a series of articles that would run in London's  newspaper in March 1966. Cleave's observations reflected the band members' more sophisticated personalities beyond the simplistic portrayals that were commonplace at the time. Of the two principal songwriters, she found Lennon to be intuitive, lazy and dissatisfied with fame and his surroundings in the  countryside, while McCartney conveyed confidence and a hunger for knowledge and new creative possibilities. In his book Revolver: How the Beatles Reimagined Rock 'n' Roll, Robert Rodriguez writes that, whereas Lennon had been the Beatles' dominant creative force before Revolver, McCartney now attained an approximately equal position with him. In a further development, Harrison's interest in the music and culture of India, and his study of the Indian , had inspired him as a composer. According to author Ian Inglis, Revolver is widely viewed as "the album on which Harrison came of age as a songwriter".

Recording history Harrison, McCartney and Lennon with George Martin at EMI Studios in the mid 1960s

The Beatles had hoped to work in a more modern facility than 's London studios at , and so sent Epstein to Memphis in March 1966 to investigate the possibility of their recording at . According to a letter written by Harrison two months later, the group intended to work with Stax's in-house producer, . The idea was abandoned after locals began descending on the Stax building, as were alternative plans to use either  in New York or 's facility in Detroit.

Recording for the album instead began at EMI Studio 3 in London on 6 April 1966, with  again serving as producer. The first track attempted was Lennon's "", the arrangement for which changed considerably between the initial take that day and the subsequent remake. This first version of "Tomorrow Never Knows", along with several other outtakes from the album sessions, was included on the 1996 compilation . Also recorded during the Revolver sessions were "" and "", which were issued as the A- and B-side of a non-album single in late May.

Swinging London, , circa 1966. The album's creation coincided with international recognition of London's role as a cultural capital. According to , Revolvercaptured the confidence of summer 1966: "It was hot pavements, open windows,  bistros and England soccer stripes. It was the British accent, once again all-conquering."

The band had worked on ten songs, including both sides of the upcoming single, by 1 May, when they interrupted the sessions to perform at the 's annual .At a time when  magazine dubbed London "the ", belatedly recognising its ascendance as the era's cultural capital, the Beatles drew inspiration from attending concerts by visiting artists, as well as film premieres, plays and other cultural events. From February through June, these musical acts included , , , ,  (with whom they socialised extensively),  and . During mid May, Lennon and McCartney attended a private listening party for '  album, and McCartney met Italian director , who filmed  in London, inspired by the contemporary fashion scene.

On 16 May, Epstein responded to a request from , EMI's North American counterpart, to supply three new songs for an upcoming US release, titled . Issued on 20 June, this album combined tracks that Capitol had omitted from the Beatles' previous US releases with songs that the band had originally issued on non-album singles. From the six completed recordings for Revolver, Martin selected three Lennon-written songs, since the sessions had favoured his compositions thus far. Keen to limit the interruption to recording that multiple television appearances would create, the Beatles spent two days making promotional films for the "Paperback Writer" single. The first set of clips was filmed at EMI Studio 1 on 19 May by , director of the popular TV show  The following day, the group shot further clips for the two songs in the grounds of , in west London.

The camaraderie among the four Beatles was at its highest throughout this period. A disagreement between McCartney and his bandmates nevertheless resulted in McCartney walking out of the studio during the final session, for Lennon's "", on 21 June, two days before the band were due to fly to West Germany for the . The Beatles spent over 220 hours recording Revolver – a figure that excludes  sessions, and compares with less than 80 hours for Rubber Soul. Final mixing of the album took place on 22 June. The Beatles celebrated the project's completion by attending the opening of , a nightclub in which Harrison had a financial stake.

Production techniques Studio aesthetic 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." They tried everything backwards, just to see what things sounded like. – EMI recording engineer 

The sessions for Revolver furthered the spirit of studio experimentation evident on Rubber Soul. With the Beatles increasingly involved in the production of their music, Martin's role as producer had changed to one of a facilitator and collaborator, whereby the band now relied on him to make their ideas a reality. According to Rodriguez, Revolver marked the first time that the Beatles integrated studio technology into the "conception of the recordings they made". He views this approach as reflective of the group's waning interest in live performance before crowds of screaming fans, "in favor of creating soundscapes without limitation" in a studio environment. For the first time at EMI Studios, the company's  tape machines were placed in the studio's control room, alongside the producer and balance engineer, rather than in a dedicated machine room. The Beatles' new  on the project was nineteen-year-old , whom author and critic  describes as an "English audio experimentalist" in the tradition of . Emerick recalls that no preproduction or rehearsal process took place for Revolver; instead, the band used the studio to create each song from what was often just an outline of a composition. Speaking shortly before the start of the sessions, Lennon said that they had considered making the album a continuous flow of tracks, without gaps to differentiate between each song.

EMI's Abbey Road Studios (pictured in 2005). Most of the sessions for Revolver took place in the complex's intimate Studio 3.

The group's willingness to experiment was also evident in their dedication to finding or inventing sounds that captured the heightened perception they experienced through hallucinogenic drugs. The album made liberal use of  and . Emerick says that the Beatles encouraged the studio staff to break from standard recording practices, adding: "It was implanted when we started Revolver that every instrument should sound unlike itself: a piano shouldn't sound like a piano, a guitar shouldn't sound like a guitar."

In their search for new sounds, the band incorporated musical instruments such as the Indian  and , and ,  and  into their work for the first time. The guitar sound on the album was more robust than before, through the use of new  amplifiers; the choice of guitars, which included Harrison using a  as his preferred instrument; and the introduction of  limiters for recording. With no expectations of being able to re-create their new music within the confines of their live shows, the Beatles increasingly used outside contributors while making the album. This included the band's first use of a ,on "", and the first time they incorporated  extensively, during a party-style overdubbing session for "".

Innovations There are sounds [on Revolver] that nobody else has done yet – I mean nobody ... ever. – Paul McCartney, 1966

A key production technique that the band began using was  (ADT), which EMI technical engineer  invented on 6 April. This technique employed two linked  to automatically create a doubled vocal track. The standard method had been to double the vocal by singing the same piece twice onto a  tape, a task Lennon particularly disliked. The Beatles were delighted with the invention, and used it extensively on Revolver. ADT soon became a standard pop production technique, and led to related developments such as the artificial .

The Beatles' most experimental work during the Revolver sessions was channelled into the first song they attempted, "Tomorrow Never Knows". Lennon sang his vocal for the song through the twin revolving speakers inside a  cabinet, which was designed for use with a . The effect was employed throughout the initial take of the song but only during the second half of the remake. According to author , "Tomorrow Never Knows" marked the first time that a vocal was recorded with a microphone plugged into a Leslie speaker. Much of the backing track for the song consists of a series of prepared , an idea that originated from McCartney, who, influenced by the work of avant-garde artists such as , regularly experimented with  and  techniques. The Beatles each prepared loops at home, and a selection of these sounds were then added to the musical backing of "Tomorrow Never Knows". The process was carried out live, with multiple tape recorders running simultaneously, and some of the longer loops extending out of the control room and down the corridor.

The inclusion of reversed tape sounds on "Rain" (specifically, a portion of Lennon's vocal part) marked the first pop release to use this technique, although the Beatles had first used it, in some of the tape loops and the overdubbed guitar solo, on "Tomorrow Never Knows". The backwards (or ) guitar solo on "" was similarly unprecedented in pop music, in that Harrison deliberately composed and recorded his guitar parts with a view to how the notes would sound when the tape direction was corrected. The band's interest in the tones that resulted from varying tape speed (or ) extended to recording a basic track at a faster  than they intended the song to sound on disc.

A  stereo . Fairchild's mono equivalent, the 660, was used extensively during the Revolver sessions and contributed to the robust sounds captured on the album.

During the sessions, Emerick recorded McCartney's bass guitar amplifier via a loudspeaker, which Townsend had reconfigured to serve as a microphone, in order to give the bass more prominence than on previous Beatles releases. Although this particular technique was used only on the two songs selected for the May 1966 single, an enhanced bass sound was a feature of much of the album. Emerick also ensured a greater presence for Starr's , by inserting an item of clothing inside the structure, to dampen the sound, and then moving the microphone to just 3 inches from the  and compressing the signal through a Fairchild limiter.MacDonald writes that, despite EMI Studios being technically inferior to many recording facilities in the United States, Starr's drumming on the album soon led to studios there "being torn apart and put back together again", as engineers sought to replicate the innovative sounds achieved by the Beatles. The preference for close-miking instruments extended to the orchestral strings used on "", to achieve McCartney's request for a "really biting" sound, and the horns on "Got to Get You into My Life". This was another break from convention, and the cause for alarm among the classically trained string players.

According to authors Kevin Ryan and , ADT, backwards recording, and close-miked drums were among the nine techniques that the Revolver sessions introduced into the recording world for the first time. Ryan and Kehew quote Emerick as saying: "I know for a fact that, from the day it came out, Revolver changed the way that everyone else made records."

Songs Overview

Author  writes that Revolver encapsulates not only "the spirit of the times" but the network of progressive social and cultural thinkers in which the Beatles had recently become immersed in London. The album is an early work in the  genre, which accompanied the emergence of  ideology in the 1960s. Through its individual tracks, Revolver covers a wide range of styles, including , , , , musique concrète, as well as standard contemporary rock and pop. In Rodriguez's view, the influence of Indian music permeates the album. Aside from the sounds and vocal styling used on much of the recording, this influence is evident in the limited chord changes in some of the songs, suggesting an Indian-style .

In its lyrical themes, the album marks a radical departure from the Beatles' past work, as a large majority of the songs avoid the subject of love. Author and critic  writes of the Beatles exploring "phenomenologies of consciousness" on Revolver, and he cites as examples "I'm Only Sleeping"'s preoccupation with dreams and the references to death in the lyrics to "Tomorrow Never Knows". In Womack's estimation, the songs represent two important elements of the human life cycle that are "philosophical opposites". Echoing this point, music critic  writes that, just as "embracing life means accepting death", the fourteen tracks "link a disillusioned view of the modern world ... with a belief in metaphysical transcendence". In the view of musicologist Russell Reising, all the songs on Revolver are linked, in that each line in "Tomorrow Never Knows", the closing track, is alluded to or explored in the lyrics to one or more of the tracks that precede it.

Side one "Taxman" MENU 0:00 Womack characterises the solo as "like nothing else in the Beatles' corpus to date; for that matter, it hardly bears any resemblance to anything in the history of recorded music." He credits the track with "announc[ing] a sweeping shift in the essential nature" of the Beatles' sound. Problems playing this file? See .

Harrison wrote "" as a protest against the high marginal  paid by top earners like the Beatles, which, under 's  government, amounted to 95 per cent of their income. The song's spoken count-in is out of tempo with the performance that follows, a device that Riley credits with establishing the "new studio aesthetic of Revolver". Harrison's vocals on the track were treated with heavy compression and ADT. In addition to playing a -inflected bass part reminiscent of Motown's , McCartney performed the song's Indian-style guitar solo. The latter section was also edited onto the end of the original recording, ensuring that the track closed with the solo reprised over a fadeout. Rodriguez recognises "Taxman" as the first Beatles song written about "topical concerns"; he also cites its "abrasive sneer" as a precursor to the 1970s  movement. Completed with input from Lennon, the lyrics refer by name to Wilson, who had just been re-elected as prime minister in the , and , the  .

"Eleanor Rigby"

Womack describes McCartney's "" as a "narrative about the perils of loneliness". The story involves the title character, who is an ageing spinster, and a lonely priest named Father McKenzie who writes "sermon[s] that no one will hear". He presides over Rigby's funeral and acknowledges that despite his efforts, "no one was saved". The first McCartney composition to depart from the themes of a standard love song, its lyrics were the product of a group effort, with Harrison, Starr and Lennon all contributing. While Lennon and Harrison supplied harmonies beside McCartney's lead vocal, no Beatle played on the recording; instead, Martin arranged the track for a , drawing inspiration from 's 1960 film score for 's . In Riley's opinion, "the corruption of 'Taxman' and the utter finality of Eleanor's fate makes the world of Revolver more ominous than any other pair of opening songs could."

"I'm Only Sleeping" MENU 0:00 "I'm Only Sleeping" features a , Indian-style guitar solo that Harrison played in reverse order during the recording. Martin then reversed the tape and  it into the track, achieving what MacDonald describes as "smeared crescendi" and "womblike sucking noises". Problems playing this file? See .

"" was the first of the three tracks cut from the US version of Revolver. Author  describes the song as "Half acid dream, half latent Lennon laziness personified." As with "Rain", the basic track was recorded at a faster tempo before being subjected to varispeeding. The latter treatment, along with ADT, was also applied to Lennon's vocal as he sought to replicate, in MacDonald's description, a "papery old man's voice". For the guitar solo, Harrison recorded two separate lines: the first with a clean sound, while on the second, he played his Gibson SG through a . Beatles biographer Jonathan Gould views the solo as appearing to "suspend the laws of time and motion to simulate the half-coherence of the state between wakefulness and sleep". Musicologist  likens the song to a "particularly expressive text painting".

"Love You To"

"" marked Harrison's first foray into  as a composer, following his introduction of the sitar on "" in 1965. Made with minimal contributions from Starr and McCartney, Harrison recorded "Love You To" with Indian musicians from the , who provided instrumentation such as tabla, tambura and sitar. Author Peter Lavezzoli recognises the song as "the first conscious attempt in pop to emulate a non-Western form of music in structure and instrumentation". Aside from playing sitar on the track, Harrison's contributions included -effected electric guitar. Everett identifies the song's change of  as unprecedented in the Beatles' work and a characteristic that would go on to feature prominently on the band's subsequent album, . Partly influenced by Harrison's experimentation with LSD, the lyrics address the singer's desire for "immediate sexual gratification", according to Womack, and serve as a "rallying call to accept our inner hedonism and release our worldly inhibitions".

"Here, There and Everywhere"

"" is a ballad that McCartney wrote towards the end of the Revolver sessions. His inspiration for the song was the Beach Boys' Pet Sounds track "", which, in turn,  had been inspired to write after listening to Rubber Soul. McCartney's double-tracked vocal was treated with varispeeding, resulting in a higher pitch at playback. The song's opening lines are sung over shifts in  from 9/8 to 7/8 to 4/4; according to Everett, "nowhere else does a Beatles introduction so well prepare a listener for the most striking and expressive tonal events that lie ahead." Womack characterises the song as a romantic ballad "about living in the here and now" and "fully experiencing the conscious moment". He notes that, with the preceding track, "Love You To", the album expresses "corresponding examinations of the human experience of physical and romantic love".

"Yellow Submarine" The songs got more interesting, so with that the effects got more interesting. I think the drugs were kicking in a little more heavily on this album … [Al]though we did take certain substances, we never did it to a great extent at the session. We were really hard workers. – Ringo Starr, 2000

McCartney intended "" – a song he later characterised as a "kid's story" – as a vehicle for Starr's limited vocal range. The lyrics were written by McCartney and Lennon, with assistance from Scottish singer , and tell of life on a sea voyage accompanied by friends. Gould considers the song's childlike qualities to be "deceptive" and that, once in the studio, it became "a sophisticated sonic pastiche". On 1 June, the Beatles and a group of their friends created a nautical atmosphere over the pre-recorded basic track, by mixing sounds such as gongs, whistles and bells with an assortment of Studio 2's sound effects. To fill the portion after the lyrics refer to a  playing, Martin and Emerick used a  recording, sourced from EMI's library, splicing up the taped copy and rearranging the melody. Lennon recorded the track's superimposed voices in an , supporting Starr's lead vocal in a manner that Gould likens to "an old vaudevillian with the crowd in the palm of his hand". Riley recognises the song's mix of comedy as reminiscent of  with satire inspired by . Donovan later said that "Yellow Submarine" represented the Beatles' predicament as prisoners of their international fame, to which they reacted by singing an uplifting, communal song.

"She Said She Said"

The light atmosphere of "Yellow Submarine" is broken by what Riley terms "the outwardly harnessed, but inwardly raging guitar" that introduces Lennon's "". The song marks the second time that a Beatles arrangement used a shifting metre, after "Love You To", as the foundation of 4/4 briefly switches to 3/4. Harrison recalled that he helped Lennon finish the composition, which involved joining together three separate fragments of song. Having walked out of the session, McCartney did not contribute to the recording, leaving Harrison to perform the bass part in addition to lead guitar and harmony vocals. The lyric was inspired in part by a conversation that Lennon and Harrison had with actor  in Los Angeles in August 1965, while all three, along with Starr and members of , were under the influence of LSD. During the conversation, Fonda commented: "I know what it's like to be dead", because as a child he had  during an operation.

Side two "Good Day Sunshine"

"" was written by McCartney, whose piano playing dominates the recording. The track was one of several contemporary songs that evoked the unusually hot and sunny English summer of 1966. Music critic  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 verses reflect aspects of , while McCartney also acknowledged the influence of the Lovin' Spoonful on the composition. Overdubbed by Martin, the piano solo on the track recalls the  style of . The song ends with group harmonies repeating the title phrase, creating an effect that Riley likens to a "cascade" of voices "enter[ing] from different directions, like sun peeping through the trees".

"And Your Bird Can Sing"

Another song first issued on Capitol's Yesterday and Today, "" was written primarily by Lennon, with McCartney claiming to have helped on the lyric and estimating the song as "80–20" to Lennon. Harrison and McCartney played dual lead-guitar parts on the recording, including an ascending  that Riley terms "magnetic ... everything sticks to it". Riley describes the composition as a "shaded putdown" in the style of Dylan's "", whereby Lennon sings to someone who has seen "seven wonders" yet is unable to empathise with him and his feelings of isolation. According to Gould, the song was directed at  after Lennon had read a hagiographic article on the singer, in  magazine, in which Sinatra was lauded as "the fully emancipated male ... the man who can have anything he wants".

"For No One"

"" was inspired by McCartney's relationship with English actress . Along with "Good Day Sunshine", which similarly dispensed with guitar parts for Harrison and Lennon, Rodriguez cites the track as an example of McCartney eschewing the group dynamic when recording his songs, a trend that would prove unpopular with his bandmates in later years. The recording features McCartney playing piano, bass and clavichord, accompanied by Starr on drums and percussion. The  solo was added by , the principal horn player for the , who recalled having to "busk" his part, with little guidance from McCartney or Martin at the overdubbing session. While recognising McCartney's "customary logic" in the song's musical structure, MacDonald comments on the sense of detachment conveyed in the lyrics to this "curiously phlegmatic account of the end of an affair". MacDonald suggests that McCartney was attempting to employ the same "dry cinematic eye" that director had adopted in his 1965 film .

"Doctor Robert"

The third track omitted from the US Revolver LP, "" was written by Lennon, although McCartney has since claimed co-authorship. A guitar-based rock song in the style of "And Your Bird Can Sing", its lyrics celebrate a New York physician known for dispensing  injections to his patients. On the recording, the hard-driving performance is interrupted by two bridge sections where, over  and chiming guitar chords, the group vocals suggest a choir praising the doctor for his services.

"I Want to Tell You"

Harrison said he wrote "" about "the avalanche of thoughts" that he found hard to express in words. Supporting the lyrics, his stammering guitar riff, combined with the  employed in the song's melody, conveys the difficulties of achieving meaningful communication. The prominent backing vocals include Indian-style  ornamentation in McCartney's high harmony, similar to the  effect used in "Love You To". Reising and author Jim LeBlanc cite the song as an early example of how from 1966 onwards the Beatles' lyrics "adopted an urgent tone, intent on channeling some essential knowledge, the psychological and/or philosophical epiphanies of LSD experience" to their increasingly aware audience.

"Got to Get You into My Life"

Described by Riley as the album's "most derivative cut", "" was influenced by the  and written by McCartney after he had seen Stevie Wonder perform at the  nightclub in February. The horn players on the track included members of 's group, . To capture the desired sound, microphones were placed in the bells of the , and the signals were heavily limited. A month later, a tape copy of these horn parts was superimposed with a slight delay, thereby doubling the presence of the brass contributions. Rodriguez terms the completed track "an R&B-styled shouter". Although cast in the form of a , McCartney described the lyric as "an ode to , like someone else might write an ode to chocolate or a good claret". The initial version of the song, as issued on Anthology 2, featured acoustic backing and organ, and a harmonised refrain of "I need your love", which was replaced by Harrison's guitar break on the more uptempo remake.

"Tomorrow Never Knows" This is easily the most amazing new thing we've ever come up with. Some people might say it sounds like a terrible mess of a sound … But the song ought to be looked on as interesting – if people listen to it with open ears. It's like the Indian stuff. You mustn't listen to eastern music with a Western ear. – George Harrison, October 1966

Rodriguez describes Lennon's "" as "the greatest leap into the future" of the Beatles' recording career up to this point. The recording includes reverse guitar, processed vocals, and looped tape effects, accompanying a strongly , repetitive drum-beat. Lennon adapted the lyrics from 's book , which equates the realisations brought about through LSD with the spiritually enlightened state achieved through . Originally recorded as "Mark I", the eventual title came via a Ringo Starr .

MENU 0:00 According to author , Lennon's drug-inspired song "has been described as the most effective evocation of a LSD experience ever recorded". Problems playing this file? See .

Lennon intended the track as an evocation of a  ceremony. The song's harmonic structure is derived from  and is based on a high-volume  drone played by Harrison on a tambura. Over the foundation of tambura, bass and drums, the five tape loops comprise various manipulated sounds: two separate sitar passages, played backwards and sped up; an orchestra sounding a B♭ chord; McCartney's laughter, sped up to resemble a seagull's cry; and a  played on either its flute, string or brass setting. The Leslie speaker treatment applied to Lennon's vocal originated from his request that Martin make him sound like he was the  singing from the top of a high mountain. Reising describes "Tomorrow Never Knows" as the inspiration for an album that "illuminates a path dedicated to personal freedom and mind expansion". He views the song's message as a precursor to the more explicitly political statements the Beatles would make over the next two years, in "" and "".

Packaging Artwork For the cover of Revolver,  drew inspiration from  illustrator .

The cover for Revolver was created by German-born bassist and artist , one of the Beatles' oldest friends from their  during the early 1960s. Voormann's artwork was part line drawing and part ,using photographs mostly taken over 1964–65 by . In his line drawings of the four Beatles, Voormann drew inspiration from the work of the nineteenth-century illustrator , who was the subject of a long-running exhibition at London's  in 1966 and highly influential on fashion and design themes of the time. Voormann placed the various photos within the tangle of hair that connects the four faces.Turner writes that the drawings show each Beatle "in another state of consciousness", such that the older images appear to be tumbling out from them.

Voormann's aim was to reflect the radical departure in sound represented particularly by "Tomorrow Never Knows", and his choice of a black-and-white cover was in deliberate defiance of the preference for vivid colour. When he submitted his work to the Beatles, Epstein wept, overjoyed that Voormann had managed to capture the experimental tone of the Beatles' new music. Voormann also designed a series of four images, titled "Wood Face", "Wool Face", "Triangle Face" and "Sun Face", which appeared on the front of the   for each of the album's songs.

Colour outtake from 's photo session that produced the back-cover image used on the LP. George Harrison (third from left) is seen holding a transparency of the controversial  for Yesterday and Today.

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". The photo was part of a series taken by  during the filming at Abbey Road on 19 May and demonstrated the Beatles' adoption of fashions from boutiques that had recently opened in , rather than the  designers they had favoured previously. From these Chelsea boutiques, Lennon wore a long-collared  shirt from , while Harrison was dressed in a wide-lapelled velvet jacket designed by . 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. 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. During the same photo shoot, Whitaker took pictures of the Beatles examining orange transparencies of his  design for Yesterday and Today – an image that, due to its depiction of dismembered baby dolls and raw meat, proved instantly controversial in America.

Title

The album's title, like that of Rubber Soul, is a pun, referring to both  and the "revolving" motion of a record as it plays on a . Gould views the title as a " pun", since, more so than on their previous albums, the focus of Revolver appears to rotate from one Beatle to another with each song.

The group had originally wanted to call the album Abracadabra, until they discovered that another band had already used it. When discussing possible alternatives, during their German tour, Lennon opted for Four Sides to the Circle in response to McCartney's Magic Circle, and Starr jokingly suggested After Geography, a play on the title of ' recently released  LP. Other suggestions included Bubble and Squeak, Beatles on Safari and Pendulum before the band settled on Revolver. They confirmed their choice in a telegram to EMI, sent from the Tokyo Hilton on 2 July.

Release

Revolver was released on 5 August 1966 in the United Kingdom and on 8 August in the United States. The eleven-song North American LP release was the band's tenth album on Capitol Records and twelfth US album in total. Due to the exclusion of the three Lennon tracks, there were only two songs on the Capitol release for which he was the principal writer, compared with three by Harrison and the rest by McCartney. "Eleanor Rigby" was issued as a  single with "Yellow Submarine". The pairing of a ballad devoid of any instrumentation played by a Beatle and a  marked a significant departure from the usual content of the band's singles.

We'll lose some fans with [the new album], but we'll also gain some. The fans we'll probably lose will be the ones who like the things about us that we never liked anyway … – Paul McCartney, June 1966

Schaffner likens the Beatles' 1966 recordings to the moment of transformation in the film , "where, when Dorothy discovers herself transported from Kansas to Oz, the film dramatically changes from black-and-white to glorious technicolor". The album was also the source of confusion for the group's more conservative fans. A female fan later complained in  that 1966 represented the end of "The Beatles we used to know before they went stark, raving mad." The release coincided with a period of public relations challenges for the band, the combination of which led to their decision to retire from touring that year. In the United States, the album's release was a secondary event to the controversy surrounding the recent publication there of Cleave's interview with Lennon, in which he had remarked that the Beatles had become "". This episode followed the unfavourable reaction to the Yesterday and Today butcher sleeve, from the press, radio stations and retail outlets in the US. As a result, at press conferences during the North American tour, questions were typically focused on religious matters rather than the band's new music. In Britain, however, EMI had gradually distributed songs from the album to radio stations throughout July 1966 – a strategy that MacDonald describes as "building anticipation for what would clearly be a radical new phase in the group's recording career".

The group, with disc jockey , during their US tour in August 1966

In the UK, where "Eleanor Rigby" was the favoured side, the single became the best-selling song of 1966, after topping the national chart for four weeks during August and September. On 's LPs chart (later the ), Revolver entered at number 1 and stayed there for seven weeks during its 34-week run in the top 40. Author  writes that, amid the fine summer weather and England's win in the , Revolver provided the "soundtrack ... of the season". In America, Capitol were wary of the religious references in "Eleanor Rigby", given the ongoing controversy, and instead pushed "Yellow Submarine". The latter peaked at number 2 on the , making it, in Gould's description, "the first 'designated' Beatles single since 1963" not to top that chart. On the  chart, Revolver hit number 1 on 10 September, a week after the end of Yesterday and Today's five-week run at the top. Revolver remained at number 1 there for six weeks. The album had sold 1,187,869 copies in the US by 31 December 1966 and 1,725,276 copies by the end of the decade. For the only year between 1963 and 1969, the Beatles failed to win the NME readers' best-band poll, losing to the Beach Boys, while Revolver and Pet Sounds were jointly recognised as the magazine's "Album of the Year". In March 1967, Revolver was nominated for the . Voormann's cover design won the Grammy for .

The release of Revolver marked the last time that Capitol issued an altered UK Beatles album for the North American market. When the Beatles re-signed with EMI in January 1967, their contract stipulated that Capitol could no longer alter the track listings of their albums. The April 1987 CD release of Revolver standardised the track listing to the original UK version. In January 2014, the Capitol version of Revolver was issued on CD for the first time, both as part of the Beatles'  box set and as an individual release. As of that year, Revolver had been certified  by the . In 2013, after the  altered its sales award protocol, the album was certified Platinum based on UK sales since 1994.

Critical reception Contemporary reviews

Due to the controversies surrounding the Beatles during their tour, critical reaction in the United States was muted relative to the band's previous releases. According to Rodriguez, in its attempts to redefine the limits of pop music, Revolver emphasised the need for genuine , a form of journalism that would become commonplace from 1967 onwards. 's reviewer described Revolver as "a musical creation of exceptional excellence" while lamenting that, in the wake of the acclaimed Rubber Soul, "it is receiving only a fraction of the attention and respect due". Writing in the recently launched ,  gave the US version of the album a mixed review, in which he admired "Love You To" and "Eleanor Rigby" but derided "Tomorrow Never Knows" and "Yellow Submarine". According to Turner, the album's combination of novel sounds and unusual subject matter "challenged all the conventions of pop" and it was the upcoming generation of writers who "got it immediately". Among these,  of  described Revolver as "a revolutionary record" that was "as important to the expansion of pop as was Rubber Soul". He added: "it seems now that we will view this album in retrospect as a key work in the development of rock and roll into an artistic pursuit ..." Another writer identified by Turner, , likened Revolver to works by ,  and , saying that the band's lyrics would provide the basis for scholarly analysis well into the future.

In Britain, the reception was highly favourable. In their joint review for , Richard Green and  found the album "full of musical ingenuity" yet "controversial", and added: "There are parts that will split the pop fraternity neatly down the middle."Allen Evans of the NME highlighted the album's "electronic effects", McCartney's "penchant for the classics" and Harrison's "stunning use of the sitar" as diverse elements that distinguished it as a group effort, such that the four band members' "individual personalities are now showing through loud and clear". Evans concluded: "this is a brilliant album which underlines once and for all that the Beatles have definitely broken the bounds of what we used to call pop." Having found Rubber Soul "almost monotonous" at times,  lauded the new release as a work that would "change the direction of pop music". , a  critic for  magazine, described it as "an astonishing collection" that defied easy categorisation since much of the album had no precedent in the context of pop music. Clayton concluded: "if there's anything wrong with the record at all it is that such a diet of newness might give the ordinary pop-picker indigestion."

Recalling the release in his book , Ian MacDonald writes that, with Revolver, the Beatles "had initiated a second pop revolution – one which while galvanising their existing rivals and inspiring many new ones, left all of them far behind". In a February 1967 review,  declared: "Revolver represents the pinnacle of pop music. No group has been as consistently creative as the Beatles, though the [Lovin'] Spoonful and Beach Boys are coming closer all the time ... Rather than analyze the music we just suggest that you listen to Revolver three or four times a day and marvel ..." Later that year, in Esquire,  called the album "twice as good and four times as startling as Rubber Soul, with sound effects, Oriental drones, jazz bands, transcendentalist lyrics, all kinds of rhythmic and harmonic surprises, and a filter that made John Lennon sound like God singing through a foghorn".

Retrospective reviews Professional ratingsReview scoresSourceRatingA+4.5/5100/10010/105/5

In the 2004 edition of ,  wrote that Revolver found the Beatles "at the peak of their powers, competing with one another because nobody else could touch them"; he described it as "the best album the Beatles ever made, which means the best album by anybody". Writing for  that year, David Medsker said that Revolver showed the four band members "peaking at the exact same time", and he deemed it to be "the best of the bunch, the letter that went unanswered" among a series of reciprocally influential musical statements exchanged between the Beatles and the Beach Boys over 1965–67. In a 2007 appraisal of the band's albums, Henry Yates of  magazine paired it with Sgt. Pepper's as the two "essential classics" in the Beatles' canon and described it as "Always the rock fraternity's favourite (and the blueprint for 's career)". Writing in ,  says that the album "completed [the Beatles'] transformation from the mop tops 
of three years earlier into bold, groundbreaking experimental rockers", while , in a review for , 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 ... with the boldest innovations of the band’s career".

 of  describes Revolver as "the ultimate modern pop album". While noting the diverse musical directions adopted by Lennon, McCartney and Harrison in their respective contributions, he states: "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." In his review for ,  says that the album shows the band at their most unified and is a work in which "they introduce whole new vistas of sound yet still contain them within tightly structured and performed songs." He also attributes an acerbic quality to the album that psychedelia lacked once the genre succumbed to "the woolly politics of ". Scott Plagenhoef of  views Revolver as a "sonic landmark" that, in its lyrics, "matur[ed] pop from the stuff of teen dreams to a more serious pursuit that actively reflected and shaped the times in which its creators lived". He considers it to be McCartney's "maturation record" as a songwriter in the same way that Rubber Soul had been for Lennon.

Chris Coplan of  is less impressed with the album, rating it a "B" and "the black sheep of the Beatles' catalog". Although he admires the psychedelic tone, he considers that this experimentalism renders the more standard pop songs, such as "Got to Get You Into My Life" and "Here, There and Everywhere", "seemingly out of place" within the collection. Writing for , Chris Ingham describes it as "clearly brilliant" but adds: "There's an edge to the sound and a danger in the air … that makes listening to it an uncomfortable trip. It's easy to admire, even to be awed by, but some listeners find Revolver a little harder to love."

Influence and legacy Development of popular music and 1960s counterculture Revolver invented musical expressions and initiated trends and motifs that would chart the path not only of the Beatles and a cultural epoch, but of the subsequent history of rock and roll as well. – Musicologist Russell Reising, 2002

MacDonald deems Lennon's remark about the Beatles' "god-like status" in March 1966 to have been "fairly realistic", given the reaction to Revolver. He adds: "The album's aural invention was so masterful that it seemed to Western youth that The Beatles knew – that they had the key to current events and were somehow orchestrating them through their records." MacDonald highlights "the radically subversive" message of "Tomorrow Never Knows" – exhorting listeners to empty their minds of all ego- and material-related thought – as the inauguration of a "till-then élite-preserved concept of mind-expansion into pop, simultaneously drawing attention to consciousness-enhancing drugs and the ancient religious philosophies of the Orient". Author  writes that the album presented an alternative reality that contemporary listeners felt compelled to explore further; he describes it as "the first true drug album, not a pop record with some druggy insinuations, but an honest-to-heaven, steeped-in-the-out-there trip from the here and now into who knew where".

In the recollection of author , Revolver resounded with the contemporary , particularly those behind initiatives such as the , on the level of , and it established rock 'n' roll as "an art form" by signalling "the way forward for all rock musicians who wondered if there was life after teen scream status". He also identifies its "trailblazing" quality as the impetus for 's  and for Brian Wilson to complete the Beach Boys' "mini-symphony", "". In his review for Pitchfork, Plagenhoef says that the album not only "redefin[ed] what was expected from popular music", but recast the Beatles as "avatars for a transformative cultural movement". MacDonald cites Revolver as a musical statement that helped guide the counterculture towards the 1967  due to the widespread popularity of the Beatles.

Revolver has been recognised as having inspired new subgenres of music, anticipating , ,  and , among other styles. According to , the album "signaled that in popular music, anything – any theme, any musical idea – could now be realized". As with Rubber Soul, Walter Everett credits the Beatles' "experimental timbres, rhythms, tonal structures, and poetic texts" as the inspiration for many of the bands that formed the  genre in the early 1970s.Rolling Stone attributes the development of the Los Angeles and San Francisco music scenes, including subsequent releases by the Beach Boys,  and , to the influence of Revolver, particularly "She Said She Said". Steve Turner likens the Beatles' creative approach in 1966 to that of modern jazz musicians, and recognises their channelling of Indian and Western classical, Southern soul, and electronic musical styles into their work as unprecedented in popular music. He says that, through the band's efforts to faithfully translate their LSD-inspired vision into music, "Revolver opened the doors to psychedelic rock (or acid rock)", while the primitive means by which it was recorded (on four-track equipment) inspired the work that artists such as Pink Floyd, , and  were able to achieve with advances in studio technology. Turner also highlights the pioneering  and tape manipulation employed on "Tomorrow Never Knows" as having "a profound effect on everyone from  to ".

Rodriguez praises Martin and Emerick's contribution to the album, suggesting that their talents were as essential to its success as the Beatles'. While also highlighting the importance of the production, David Howard writes that Revolver was a "genre-transforming album", on which Martin and the Beatles had "obliterated recording studio conventions". Combined with the similarly "visionary" work of American producer , Howard continues, through Revolver, "the recording studio was now its own instrument; record production had been elevated into art."

Ascendancy over Sgt. Pepper There's a case to be made that the Beatles went on to do Sgt. Pepper's because there was nowhere else to go but too far. With Revolver, they had mapped out the pop universe so perfectly that all they could do next was tear it up and start again. – , writing in  magazine, 2000

Whereas Sgt. Pepper had long been identified as the Beatles' greatest album, since the 2000s Revolver has often surpassed it in lists of the group's best work. Sheffield cites the album's 1987 CD release, with the full complement of Lennon compositions, as marking the start of a process whereby Revolver "steadily climbed in public estimation" to become recognised as the Beatles' finest work. In Britian, its supremacy over Sgt. Pepper was one of the cultural revisions established by the  phenomenon in the 1990s. Writing on the 's website in August 2016,  identified the "More popular than Christ" controversy and the attention subsequently afforded the release of Sgt. Pepper in 1967 as the two factors that had contributed to Revolver being relatively overlooked. Kot concluded that the ensuing decades had seen this impression reversed, since Revolver "does everything Sgt Pepper did, except it did it first and often better. It just wasn’t as well-packaged and marketed."

Rodriguez writes that, whereas most contemporary acts shy away from attempting a  in the vein of Sgt. Pepper, the prototype established by Revolver, whereby an album serves as an "eclectic collection of diverse songs", continues to influence modern popular music. He characterises Revolver as "the Beatles' artistic high-water mark" and notes that, unlike Sgt. Pepper, it was the product of a collaborative effort, with "the group as a whole being fully vested in creating Beatle music".

Appearances on best-album lists and further recognition

Revolver has appeared high up in many lists of the best albums ever made, often in the top position. In 1997 it was named the third greatest album of all time in the BBC's "Music of the Millennium" poll. In 2000,  magazine placed it at number 1 in its list of the "50 Greatest British Albums Ever"; four years later, the album topped the same magazine's list "The Music That Changed the World". In 2001, the  network named it the greatest album in history, and  ranked it first in his book . In 2003, Rolling Stone ranked Revolver third on its list of the "", a position it retained on the magazine's revised list nine years later. In 2006, it was chosen by  magazine as one of the 100 best albums and topped a similar list compiled by . That same year,  readers chose it as the tenth best guitar album of all time. In 2010, Revolver was named the best pop album by the official newspaper of the , . In 2013,  placed the album at number 1 in its "All-Time Greatest" albums.

In 1999, Revolver was inducted into the , an award bestowed by the American  "to honor recordings of lasting qualitative or historical significance that are at least 25 years old". According to art and culture journalist , writing in 2016, Voormann's cover is similarly recognised as "one of the finest pop artworks".

Track listing

The following track listing is for the original release in all markets other than North America and was subsequently adopted as the standard version of the album for its international CD release in 1987. The original North American edition omitted "I'm Only Sleeping", "And Your Bird Can Sing" and "Doctor Robert". All tracks written by  except those marked with (*), which are by George Harrison.

Side oneNo.TitleLead vocalsLength1."" (*)Harrison2:362.""McCartney2:113.""Lennon2:584."" (*)Harrison3:005.""McCartney2:296.""Starr2:407.""Lennon2:39Side twoNo.TitleLead vocalsLength1.""McCartney2:082.""Lennon2:023.""McCartney2:034.""Lennon2:145."" (*)Harrison2:306.""McCartney2:317.""Lennon3:00