A favourite for many.
There is little doubt that more experimentation went on with the sheer sounds of recording during the Revolver sessions than at any other point in the history of studio-driven music.
Revolver stands at the summit of western pop music, partly by virtue of its centrality to the musical revolution of the '60s, and partly because its songs have endured as well as any ever written. On cuts like "Taxman" (featuring a fantastically ferocious guitar solo from, of all people, Paul McCartney) and "Doctor Robert," The Beatles' harmony-rich R&B is on such masterful form, the only question remaining is what they would do for act two. The answer: Change Everything.
Imagine the impact of "Eleanor Rigby," a lyric that must have stopped Dylan in his tracks, emerging from the voice that had sung "Can't Buy Me Love" just two years earlier. Imagine the sophisticated, elegant balladry of "Here, There and Everywhere" and "For No One" colliding with the tape-loop-and-fractured drum collage of "Tomorrow Never Knows," a song so far ahead of its time that The Chemical Brothers play it in their DJ set. Imagine George's backward guitar solo on "I'm Only Sleeping," recorded when Hendrix was just a gleam in Chas Chandler's eye.
~~ Album Reviews ~~
Q Magazine (6/00, pp.92-3) - Ranked #1 in Q's "100 Greatest British Albums" - "...The most shocking Beatles record....combining an astonishing mix of styles with a weirdly consistent sense of purpose....[mapping] out the pop universe...perfectly..."
Melody Maker (10/2/93, p.29) - Ranked #2 in NME's list of the 'Greatest Albums Of All Time.'
Revolver is a masterpiece. 14 songs in all.
Taxman, Eleanor Rigby, I'm Only Sleeping, Love You To, Here There and Everywhere, Yellow Submarine, She Said She Said, Good Day Sunshine, And Your Bird Can Sing, For No One, Dr. Robert, I Want To Tell You, Got To Get You Into My Life, Tomorrow Never Knows