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Product Details
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| 1. Taxman |
| 2. Eleanor Rigby |
| 3. I'm Only Sleeping |
| 4. Love You To |
| 5. Here There And Everywhere |
| 6. Yellow Submarine |
| 7. She Said She Said |
| 8. Good Day Sunshine |
| 9. And Your Bird Can Sing |
| 10. For No One |
| 11. Doctor Robert |
| 12. I Want To Tell You |
| 13. Got To Get You Into My Life |
| 14. Tomorrow Never Knows |
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Most helpful customer reviews
6 of 6 people found the following review helpful
5.0 out of 5 stars
Revolutionary Revolver,
By
This review is from: Revolver (Audio CD)
I was 15 and a friend lent me "revolver" in July of 1966. I loved the cover almost on sight (covers were a huge part of the music experience back then) and sensed something exciting was inside the LP jacket.Almost 40 years later and I still put this album on my player with a real sense of anticipation, familar yes but anticipation nonetheless. I don't think its ever been pointed out but it is Beatle John who in fact begins this album and closes it too, for surely that is Lennon doing the country bumpkin count-in for George's "Taxman" and it is certainly John's own song "Tomorrow never knows" which closes this phantasmorgical piece of art. It remains the Beatles most perfect record, with its wonderful fusion of pop, rock, avant-garde, ballads and even a children's song. It's never been copied because it is beyond imitation.
6 of 6 people found the following review helpful
5.0 out of 5 stars
The Beatles' true masterpiece,
By
This review is from: Revolver (Audio CD)
1966 was The Beatles' greatest year. True, this year they ended touring, almost got killed in the Phillippines, and were denounced in America with record-burnings after Lennon said, "We're bigger than Jesus." Yet, out of this chaos rose The Beatles masterpiece, REVOLVER.REVOLVER was considered Just Another Beatles Record when it was released in August 1966 and to some was considered their swan song in the dying days of Beatlemania. However, REVOLVER has stood the test of time and today outshines SGT. PEPPER. The reason is that the 1987 CD release ignored the inferior 11-track U.S. version of REVOVLER (omitting John's I'm Only Sleeping, And Your Bird Can Sing, Dr. Robert) and belatedly presented to North Americans the complete British 14-song album. REVOLVER represents The Beatles at the top of their game. The level of composition is at its highest, outshining PEPPER and everything that followed. There is not a weak song here, lyrically or musically. The instrumentation by all four Beatles reaches its peak. Ringo, especially, earns top marks songs like She Said She Said and Tomorrow Never Knows. Lastly, the level of experimentation and breath of style is staggering. There are so many styles of music on REVOLVER, from classical to Indian raga to ballad to hard rock to soul and sampling (then called "tape loops") that the album almost bursts at the seams. Above all, this is a group effort which is lacking in later records such as the The White Album. George takes a quantum leap forward on REVOLVER. He kicks off an album for the first time with Taxman, which features some of the sharpest lyrics ever to appear in a Beatles' song. Taxman signals that this is no Beatles album like any other. The lyrics are not cute, but bitter and biting, backed by one of Paul's best-ever bass lines (copped by Beck in The New Pollution). George's anger is also heard in the Raga-ish Love You Too, a rocking song that left many fans puzzled in 1966, but which has aged better than Within You Without You. His I Want To Tell You is a fine contribution to side two. Paul displays his melodic, gentle side with two of his finest love songs, Here There and Everywhere and For No One, which feature exquisite vocals in the former, and a sparse but mournful arrangement in the latter. Unlike Michelle, Paul here avoids sentimentality and achieves beauty. Got To Get You Into My Life is a driving number featuring towering horns a la Stax, and actually describes an early pot experience (not acid as widely believed). Yellow Submarine (sung by Ringo) is a fun children's song, and Good Day Sunshine is also lighthearted and catchy without being shallow. Most of all Eleanor Rigby stands as Paul's masterpiece, more mature in lyric and arrangement than Yesterday and not melodramatic and overproduced like the later She's Leaving Home. Rigby remains one of the Beatles' best lyrics and perhaps their most haunting tune. It never ages. John too reaches a peak with REVOLVER. I'm Only Sleeping is an introspective song featuring backward guitars and confessional lyrics. She Said She Said recounts an acid trip in L.A. with Peter Fonda, and features some of Lennon's most harrowing imagery and stunning guitars-and-drums. And Your Bird Can Sing and Dr. Robert are fine rock songs. Tomorrow Never Knows is the stunning conclusion to the album, full of tape loops, Ringo's hypnotic drumming and otherworldly lyrics inspired by the Tibetan Book of the Dead. Nothing ever sounded like this before and arguably not since. REVOLVER is the culmination of four talents peaking at the same time. Others will insist on PEPPER as the definitive Beatles statement, but PEPPER has weaker songs, is self-consciously psychedelic, and is lopsided, favouring McCartney. REVOLVER sounds as fresh today as in 1966, and stands at the pinnacle of the Beatles' recording career. This is my favourite Beatles album and I never tire of playing it. Few albums by any band continue to sound fresh. All Beatles albums have their qualities, but if there is one Beatles record you must pick up, this is the one.
1 of 1 people found the following review helpful
5.0 out of 5 stars
The Beatles Greatest Album,
This review is from: Revolver (Audio CD)
Who would have thought at the beginning of the Beatles recording career that there would come a day when John Lennon and Paul McCartney would put their feet down and stop doing covers and would also allow a George Harrison song to kickstart the greatest pop/rock album of all time? Yet Revolver begins with Taxman, a song far superior to anything done by George Harrison (to this point), a link in a hard-rock chain that runs from I Feel Fine through Ticket to Ride, Taxman, Rain, and culminates in Revolution. A brilliant beginning has a great sequel in Eleanor Rigby. Sung by Paul, John claims to have written most of the lyric and some of the music; it is difficult, though not impossible, to imagine Paul writing this alone. McCartney did pen Penny Lane a few months later and later still would write Lady Madonna, but Eleanor Rigby sounds like it was influenced by John Lennon. There is not a weak track on this album. Paul McCartney excels on the uptempo Good Day Sunshine and Got to Get You Into My Life, massages the lovely Here, There and Everywhere, and sounds almost wise on For No One. Yellow Submarine, the kids song, is the least compelling number, along with Harrison's Love You To, but the latter redeems himself again with I Want to Tell You. John Lennon sings at his nasally best on I'm Only Sleeping, And Your Bird Can Sing, and Doctor Robert, but his finest songs on Revolver close out sides one and two. She Said She Said and Tomorrow Never Knows are musically progressive songs that might have floundered but for the Beatles growing proficiency in the studio. Just as Help pointed in the direction of Rubber Soul, these last two songs point in the direction of Sgt. Pepper. Although Paperback Writer and Rain might have been a better fit than Yellow Submarine and Love You To, Revolver is as near to a perfect album as you get in a genre such as rock n' roll. Taken together, Rubber Soul and Revolver are the Beatles two strongest musical statements, recorded before anyone even expected that the fab four would make musical statements. We sometimes forget that the early Beatles were not taken very seriously. A famous music critic once told Paul McCartney that he never thought there was anything to a Beatles lyric until he heard "Eleanor Rigby, wearing the face that she keeps in a jar by the door." And a Rolling Stones fan, circa 1966, once told me that he didn't "think that much of the Beatles, but that Rubber Soul and Revolver were real good." After Revolver, however, the Beatles were treated as genuine artists. Most of their fans grew with them, while the younger kids that had until 1966 screamed at Beatles concerts, deserted the Beatles for a newer, less authentic group, the Monkees, dubbed the pre-fab four by those able to distinguish between art and hype.
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