![]() Instead, his approach involves amplifying the existing nuances of the music from a contemporary perspective, meaning even familiar songs sound fresher. The younger Martin wisely doesn’t calibrate the records for 21st-century ears by adding modern polish and trickery. And the album’s mood never stays in one place for long the mortality permeating the emotionally sophisticated Eleanor Rigby contrasts nicely with the innocence of Good Day Sunshine.Īs he did on other recent Beatles reissues, George Martin’s son Giles handles production and remixing duties on Revolver. But it also includes some of the Beatles’ most clever metaphorical character sketches: the pill-dispensing alter ego Doctor Robert and McCartney’s Motown-jaunty mash note to marijuana, Got to Get You Into My Life. Much of Revolver’s music and lyrics reflect the band’s experiments with mind-expanding drugs – She Said She Said was inspired by a pre-fame Peter Fonda interrupting a Lennon acid trip. The ‘morose’ demo of Yellow Submarine, sung by John Lennon ![]() Yet the LP also represented the start of their studio wizardry phase – the dizzying tape loops swirling through Tomorrow Never Knows remain as gloriously disorienting as ever – and embrace of non-rock instrumentation Love You To features George Harrison playing sitar alongside guest tabla player Anil Bhagwat, while descending strings lend gravitas to Eleanor Rigby. Recorded between early April and the end of June that year, Revolver is a patchwork of moods and styles: psychedelic jangle, orchestral pop, R&B-influenced rock and robust folk. Revolver’s music is the result of the band members having space to breathe and reset their creativity. But, for the first time since their global breakthrough, the Beatles took a break in early 1966, canceling a proposed film and taking four months off before heading into the studio. Part of that was life experiences seeping into their art after a whirlwind few years: 1965’s Rubber Soul – the studio album directly before Revolver – contained forays into psychedelic pop as well as sharply observed (if straightforward) original songwriting. Iteration and fearless experimentation were always Beatles hallmarks, but Revolver found the band accelerating headfirst into innovation. That the band steered Yellow Submarine from morose folk trifle to boisterous stoner singalong seems improbable, but the tapes don’t lie: through a combination of focused acoustic woodshedding and whimsical studio risks, the band arrived at the more familiar, upbeat Yellow Submarine. A bonus disc on the new expanded, remixed and remastered box set of 1966’s Revolver offers an even more transformative experience: a jaw-dropping sequence of Yellow Submarine work tapes traces the song’s evolution from a fragile, sad wisp sung by John Lennon to its later iteration as a Ringo Starr-directed psych-pop goof.
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