REVOLVER

Revolver (Beatles album) – 1966

Revolver is the seventh studio album by the English rock band the Beatles. It was released on 5 August 1966 in the United Kingdom and three days later in the United States. The record spent 34 weeks on the UK Albums Chart, for seven of which it held the number one spot. Reduced to eleven songs for the North American market, Revolver was the last Beatles album to be subjected to Capitol Records’ policy of altering the band’s intended running order and content. In America, the album topped the Billboard Top LPs listings for six weeks.

Revolver marked a progression from the group’s 1965 release Rubber Soul in terms of style and experimentation, and heralded the band’s arrival as studio innovators. The album’s sounds include the incorporation of tape loops and backwards recordings on the psychedelic “Tomorrow Never Knows”, the use of a classical string octet on “Eleanor Rigby”, and the Indian-music backing of “Love You To”. Aside from methods such as varispeeding, reversed tapes, and close audio miking, the sessions for the album resulted in the invention of automatic double tracking (ADT), a technique that was invented by engineers at Abbey Road studios, and was soon adopted throughout the recording industry.

In the UK, Revolver’s fourteen tracks were released to radio stations throughout July 1966, with the music signifying what author Ian MacDonald later described as “a second pop revolution – one which while galvanising their existing rivals and inspiring many new ones, left all of them far behind”. The sessions also produced a non-album single, “Paperback Writer” backed with “Rain”, for which the Beatles filmed their first on-location promotional films. Together with the children’s novelty song “Yellow Submarine”, “Eleanor Rigby” became an international hit when issued as a double A-side single. The album’s US release coincided with the Beatles’ final concert tour, during which they refrained from performing any of the songs live. Upon release, Revolver was praised by British critics as a forward-thinking album, although its reception in the United States was initially muted due to the controversy surrounding John Lennon’s contemporaneous statement that the Beatles had become “bigger than Jesus”.

Revolver’s cover artwork, designed by Klaus Voormann, earned the Beatles the 1966 Grammy Award for Best Album Cover, Graphic Arts. The album was ranked first in Colin Larkin’s book All-Time Top 1000 Albums and third in Rolling Stone magazine’s list of the 500 greatest albums of all time. In 2013, after the British Phonographic Industry had changed its sales award rules, Revolver was certified platinum in the UK. The album has been certified 5x platinum by the Recording Industry Association of America.

Back track

In December 1965, the Beatles’ Rubber Soul 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 overdubs on live recordings taken from their summer 1965 US tour, for inclusion in the concert film The Beatles at Shea Stadium. The group’s manager, Brian Epstein, had intended that they would then begin work on their third feature film, an adaptation of Richard Condon’s novel A Talent for Loving, but the band members vetoed the idea in December 1965. With three months free of engagements, the extended layoff allowed the Beatles an unprecedented amount of time to prepare for a new album.

Writing in The Beatles Forever, Nicholas Schaffner cites 1966 as the start of the band’s “‘psychedelic’ 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 John Lennon and George Harrison’s continued experimentation with the drug LSD since the spring of 1965. Through these shared experiences, the two musicians developed a fascination for Eastern spiritual and philosophical concepts, particularly regarding the illusory nature of human existence. Despite his bandmates’ urging, after Ringo Starr had also partaken of the drug, Paul McCartney 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 thriving and varied artistic community.

In his book Revolver: How the Beatles Reimagined Rock ‘n’ Roll, Robert Rodriguez writes that, while Lennon had been the Beatles’ dominant creative force through 1965, with Revolver McCartney attained an approximately equal position with him. The album marks the midpoint in the band’s recording career, between the period dominated by Lennon – who was by this time growing increasingly uninterested in his life as a Beatle – and the period dominated by McCartney, who would provide the group’s artistic direction for almost every post-Revolver project. In addition, Harrison’s interest in the music and culture of India had inspired him as a composer. With Revolver, Schaffner later wrote, “there were now three prolific songwriting Beatles”.

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

The Beatles had hoped to work in a more modern studio than EMI’s London facility, and so sent Epstein to Memphis in March 1966 to investigate the possibility of their recording at Stax Studio.[22] According to a letter written by Harrison two months later, the group had intended to work with Stax’s in-house producer, Jim Stewart.[23] The idea was abandoned after locals began descending on the Stax building, as were alternative plans to use either Atlantic Studios in New York or Motown’s facility in Detroit.

Harrison, McCartney and Lennon with George Martin at EMI Studios circa 1966
Sessions for the album instead began at the smaller more intimate studio three of EMI’s Abbey Road Studios in London on 6 April 1966, with George Martin again serving as producer. The first track attempted was Lennon’s “Tomorrow Never Knows”, the arrangement for which changed considerably between the initial take that day and the subsequent remake. The take 1 of “Tomorrow Never Knows”, along with several other outtakes from the album sessions, was included on the 1996 compilation Anthology 2. Also recorded during the Revolver sessions were “Paperback Writer” and “Rain”, which were issued as the A- and B-side of a non-album single in late May.

The band had worked on ten songs, including both sides of the upcoming single, by 1 May. That day, they performed at the NME’s annual Poll-Winners Concert. Held at Wembley’s Empire Pool, in north-west London, this was the last concert that the Beatles would play before a paying audience in the United Kingdom. Performing before a crowd of 10,000, they played a set that was perceived as lacklustre. With Lennon and Harrison both publicly expressing their disenchantment with fame and Beatlemania, rumours circulated throughout 1966 that the band were splitting up. The pair also showed their support for Bob Dylan’s controversial adoption of an electric sound, urging a disapproving audience at his Royal Albert Hall concert that same month to stop their heckling.

On 16 May, Epstein responded to a request from Capitol Records, EMI’s North American counterpart, to supply three new songs for an upcoming US release. The album, Yesterday and Today, compiled 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 by this point, Martin selected three Lennon-written songs, since the sessions had favoured his compositions thus far. Later in May, the Beatles spent two days making promotional films for the “Paperback Writer” single. The first set of clips was filmed at Abbey Road’s Studio 1 on 19 May by Michael Lindsay-Hogg, director of the popular TV show Ready Steady Go! The following day, the group travelled to west London and shot further clips for the two songs in the grounds of Chiswick House. On 16 June, five days before the end of the album sessions, they filmed live performances of “Paperback Writer” and “Rain” for Top of the Pops.

According to Rodriguez, Revolver marks the first time that the Beatles “deliberately incorporated” the studio into the “conception of the recordings they made”, rather than using it “merely as a tool to capture performances”. A key production technique that the band began using was automatic double tracking (ADT), which EMI engineer Ken Townsend invented on 6 April. This technique employed two linked tape recorders to automatically create a doubled vocal track. The standard method had been to double the vocal by singing the same piece twice onto a multitrack tape, a task Lennon particularly disliked. The Beatles were reportedly 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 chorus effect.

Another EMI engineer, Geoff Emerick, recalled 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 tambura, clavichord, vibraphone, tack piano and tabla for the first time in their work. Emerick said of the group’s eagerness to experiment: “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.” The inclusion of reversed tape sounds on “Rain” marked the first pop release to use this technique, although the Beatles had first used it on “Tomorrow Never Knows”. The band’s interest in the tones that resulted from varying tape speed (or varispeeding) extended to recording a basic track at a faster tempo than they intended the song to sound on disc.

Brought in as an assistant to George Martin, Emerick was responsible for several innovations in the studio. Most importantly for the band’s sound, he and Townsend recorded McCartney’s bass guitar amplifier via a loudspeaker, instead of a standard microphone, so ensuring that the bass was more prominent than on any previous Beatles release. The recording staff employed this technique only on the two songs that were selected for the May 1966 single, however. Emerick also ensured a greater presence for Starr’s bass drum, by inserting an item of clothing inside the structure, to dampen the sound, and then moving the microphone to just 3 inches from the drumhead and compressing the signal through a Fairchild Limiter. Author and critic Ian MacDonald writes that, despite Abbey Road 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. During the Revolver sessions, the Beatles also pioneered the use of headphones when recording overdubs; according to Emerick, this practice was “totally alien” at EMI before then.

Rodriguez writes that Revolver has been recognised as having “sparked musical subgenres with every track”, anticipating electronica, punk rock, baroque rock and world music, among other styles. The album itself covers many genres, including acid rock, chamber music, R&B and raga rock. In Rodriguez’s view, the influence of Indian music permeates the album;[58] aside from the sounds and vocal styling used on much of the recording, this influence is evident in the limited chord changes in many of the songs, suggesting an Indian-style drone.

Author and critic Kenneth Womack 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 found in the lyric to “Tomorrow Never Knows”. In Womack’s estimation, the songs represent two important elements of the human life cycle that are “philosophical opposites”.

Side one

Harrison wrote “Taxman” as a protest against the high marginal tax rates paid by top earners like the Beatles, which were sometimes as much as 95 per cent of their income. The track’s opening count-in was overdubbed by Harrison and is out of tempo with the performance that follows, a contrivance that music critic Tim 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 glissandi-inflected bass part reminiscent of Motown’s James Jamerson, McCartney performed the song’s Indian-style guitar solo. Rodriguez credits “Taxman” with being the first Beatles song written about “topical concerns”; he also cites the track’s “abrasive sneer” as evidence of its standing as a precursor to the 1970s punk movement. Completed with input from Lennon, the lyrics refer by name to Harold Wilson and Edward Heath, who were, respectively, the British Labour Prime Minister and Conservative Leader of the Opposition at the time.

Womack describes McCartney’s “Eleanor Rigby” 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 “sermons that no one will hear”. He presides over Rigby’s funeral and acknowledges that despite his efforts, “no one was saved”. Viewed by Schaffner as the only McCartney composition on Revolver that falls outside the bounds of a 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 string octet, drawing inspiration from Bernard Herrmann’s 1960 film score for Alfred Hitchcock’s Psycho. 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” was the first of the three tracks cut from the US version of Revolver. Author Barry Miles 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”. Harrison composed and recorded his backwards (or backmasked) guitar solo with particular attention to how the notes would sound when the tape direction was corrected. 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 Walter Everett describes the song as a “particularly expressive text painting”.

“Love You To” marked Harrison’s first foray into Hindustani classical music as a composer, following his introduction of the Indian sitar on Lennon’s “Norwegian Wood” in 1965. Harrison recorded “Love You To” with musicians from the north London-based Asian Music Circle, 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 fuzztone-effected electric guitar. Everett identifies the song’s change of metre as being without precedent in the Beatles’ catalogue thus far and a characteristic that would go on to feature prominently on the band’s subsequent album, Sgt. Pepper’s Lonely Hearts Club Band. Partly influenced by Harrison’s experimentation with LSD, the lyrics to “Love You To” address the singer’s desire for “immediate sexual gratification”, Womack writes, and serve as a “rallying call to accept our inner hedonism and release our worldly inhibitions”.

“Here, There and Everywhere” is a ballad written by McCartney and inspired by the Beach Boys’ song “God Only Knows”. His double-tracked vocal was treated with varispeeding, resulting in a higher pitch at playback. The song’s opening lines are sung over shifts in time signature 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”. The Beatles recorded the song towards the end of the Revolver sessions, by which point they were under pressure to complete the album before their scheduled flight to Germany, on 23 June, for a European tour.

McCartney wrote “Yellow Submarine” – a song he later characterised as a “kid’s story” – as a vehicle for Starr’s limited vocal range. With the help of Martin and Emerick, as well as the Rolling Stones’ Brian Jones and Mick Jagger and the roadies Neil Aspinall and Mal Evans, the Beatles attempted to create a nautical atmosphere by mixing the sounds of various instruments, including gongs, whistles and bells, with an assortment of Studio Two’s sound effect units. Lennon recorded the track’s superimposed voices in Abbey Road’s echo chamber, recalling what Womack describes as “a forgotten vestige of a Liverpudlian, seafaring past”. Riley cites the track’s mix of comedy in the style of The Goon Show with satire inspired by Spike Jones. Riley adds: “‘Yellow Submarine’ doesn’t subvert Revolver’s darker moods; it provides joyous distraction from them.”
The light atmosphere of “Yellow Submarine” is broken by what Riley describes as “the outwardly harnessed, but inwardly raging guitar” that introduces Lennon’s “She Said She Said”. 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 with the lyrics.[100] Harrison recalled that he helped Lennon finish the composition, which involved joining together three separate fragments of song. The track was recorded during a single nine-hour session on 21 June, one day before the album’s completion deadline.[102] Owing to an argument in the studio, McCartney did not contribute to the recording, leaving Harrison to perform the bass part in addition to the lead guitar and harmony vocals The lyric was inspired in part by a conversation that Lennon and Harrison had with actor Peter Fonda in Los Angeles in August 1965,[104] while all three were under the influence of LSD.[105] During the conversation, Fonda commented: “I know what it’s like to be dead”, because as a child he had technically died during an operation.

Side two

“Good Day Sunshine” was written by McCartney, whose piano playing dominates the recording. Music critic Richie Unterberger 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 vaudeville, while McCartney also acknowledged the influence of the Lovin’ Spoonful on the composition. Overdubbed by Martin, the piano solo on the track recalls the ragtime style of Scott Joplin.

Another song first issued on Capitol’s Yesterday and Today, “And Your Bird Can Sing” 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 riff that Riley terms “magnetic … everything sticks to it”. He describes the composition as a “shaded putdown” in the style of Dylan’s “Positively 4th Street”, 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 Frank Sinatra after Lennon had read a hagiographic article on the singer, in Esquire 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 Jane Asher. 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 hi-hat and various percussion. The horn solo was played by Alan Civil, 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 John Schlesinger had adopted in his 1965 film Darling.

The third track omitted from the US Revolver LP, “Doctor Robert” 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 amphetamine injections to his patients. On the recording, the hard-driving performance is interrupted by two bridge sections where, over harmonium and chiming guitar chords, the group vocals suggest a choir praising the doctor for his services.

Harrison said he wrote “I Want to Tell You” about “the avalanche of thoughts” that he found hard to express in words. The song opens with a descending guitar riff as the recording fades in, similar to the start of the Beatles’ 1964 track “Eight Days a Week”. Rolling Stone critic Mikal Gilmore describes Harrison’s incorporation of dissonance in the melody as having been “revolutionary in popular music” at the time. Authors Russell Reising and 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 the group’s audience.

McCartney’s “Got to Get You into My Lie” was influenced by the Motown Sound and used brass instrumentation extensively. Although cast in the form of a love song, McCartney described the song as an “ode to pot”.

Rodriguez describes “Tomorrow Never Knows” as “the greatest leap into the future” that the Beatles “had yet taken”. The group’s innovation in the recording studio reached its apex with the Lennon composition, which was an early example in the emerging counterculture genre of psychedelic music, and included such techniques as reverse guitar, processed vocals, and looped tape effects. Musically, it is drone-like, with a strongly syncopated, repetitive drum-beat played over a single chord. The lyrics were inspired by Timothy Leary’s book, The Psychedelic Experience: A Manual Based on The Tibetan Book of the Dead. The title came via a Ringo Starr malapropism.The song’s harmonic structure is derived from Indian music and is based upon a high volume C drone played by Harrison on a tambura. Much of the backing track consists of a series of prepared tape loops, an idea that MacDonald attributes to McCartney, who, influenced by the work of avant-garde artists such as Karlheinz Stockhausen, regularly experimented with magnetic tape and musique concrète techniques at that time. The Beatles each prepared a series of loops at home, and these were then added to the pre-recorded backing track of “Tomorrow Never Knows”. The process was carried out live in a single take, with multiple tape recorders running simultaneously, and some of the longer loops extending out of the control room and down the corridor. Lennon was always in search of ways to enhance or alter the sound of his voice, and he gave a directive to Geoff Emerick that he wanted to sound like he was the Dalai Lama singing from the top of a high mountain. To this end, Lennon’s vocals were recorded directly through a Leslie speaker, giving his singing an echoing sound.

The cover illustration was created by German-born bassist and artist Klaus Voormann, one of the Beatles’ oldest friends from their time in Hamburg during the early 1960s. Voormann’s illustration, part line drawing and part collage, included photographs by Robert Whitaker, who also took the back cover photographs and many other images of the group between 1964 and 1966, such as the infamous “butcher cover” for Yesterday and Today. To create the Revolver cover Voormann also used personal photos supplied by the band members, which, in his words, “show their sweet side”. Voormann’s own photograph as well as his name (Klaus O.W. Voormann) is worked into Harrison’s hair on the right-hand side of the cover. In the Revolver cover appearing in his artwork for Anthology 3, he replaced this image with a more recent photograph. Harrison’s Revolver image was seen again on the picture sleeve of his 1988 single “When We Was Fab”, along with an updated version of the same image. Revolver won a Grammy Award for Best Album Cover, Graphic Arts.

The album’s title, like that of Rubber Soul, is a pun, referring to both a kind of handgun and the “revolving” motion of the record as it is played on a turntable. The Beatles had difficulty coming up with this title. According to Barry Miles, the name that the four had originally wanted was Abracadabra, until they discovered that another band had already used it. After that, opinion was split: Lennon wanted to call it Four Sides of the Eternal Triangle and Starr jokingly suggested After Geography, playing on the title of the Rolling Stones’ recently released Aftermath LP. Other suggestions included Magic Circles, Beatles on Safari, Pendulum and, finally, Revolver, whose wordplay was the one that all four agreed upon. The title was chosen while the band were on tour in Germany in late June. The name Revolver finally was selected while in the Hamburg hotel, as drafts prove.

Release
Revolver was released in the United Kingdom on 5 August 1966 and on 8 August in the United States. The original eleven-song North American LP release, the band’s tenth on Capitol Records and twelfth US album, had a reduced running time of 28:20. Due to the exclusion of the three Lennon tracks, there were only two songs for which he was the principal writer, compared with three by Harrison and the rest by McCartney.

“Yellow Submarine” was issued as a double A-side with “Eleanor Rigby”. Schaffner writes that as a novelty song and a ballad devoid of any instrumentation played by a Beatle, respectively, each of the two tracks marked a significant departure from the usual content of the band’s singles. Schaffner adds: “The only thing ‘Rigby’ had in common with ‘Submarine’ was that it sounded nothing like a Beatles record.” The single was number 1 in the UK for four weeks during August and September. Revolver spent 34 weeks on the UK Albums Chart, for seven of which it held the top spot. On America’s Billboard Top LPs 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.

According to Rodriguez, Revolver’s release was not the significant media event that Sgt. Pepper’s was the following year. There was no accompanying press build-up or conjecture regarding what the group was to offer. To the contrary, the album was “overshadowed” during a period of controversy following the negative reaction in the US to Lennon’s remarks about the Beatles being “more popular than Jesus”. In Britain, however, EMI 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”. Schaffner likens the Beatles’ 1966 recordings to the moment of transformation in the film Wizard of Oz, “where, when Dorothy discovers herself transported from Kansas to Oz, the film dramatically changes from black-and-white to glorious technicolor”.

In his 1969 Pop Chronicles series, John Gilliland stated that Revolver effectively overshadowed the Beach Boys’ Pet Sounds, released two months earlier, even though both albums shared many of the same innovations. Nevertheless, 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 Grammy Award for Album of the Year.

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. Having been available only as an import in the US previously, the fourteen-song UK version of the album was also issued domestically in the US on LP and cassette in July that year. In January 2014, the Capitol version of Revolver was issued on CD for the first time, both as part of the Beatles’ U.S. Albums box set and as an individual release.

Track listing

The following track listing is for the original UK release, whereas the US edition omitted “I’m Only Sleeping”, “And Your Bird Can Sing” and “Doctor Robert”, as they had previously appeared on the American compilation album Yesterday and Today. The 1987 CD release, the 2009 remastered CD release, and all subsequent LP re-releases conformed with the full, fourteen-song order.

All songs written by Lennon–McCartney, except tracks with * by George Harrison.

Side one

No. Title Lead vocals Length

1. “Taxman” (*) Harrison 2:39
2. “Eleanor Rigby” McCartney 2:06
3. “I’m Only Sleeping” Lennon 3:00
4. “Love You To” (*) Harrison 2:59
5. “Here, There and Everywhere” McCartney 2:25
6. “Yellow Submarine” Starr 2:41
7. “She Said She Said” Lennon 2:37

Side two

No. Title Lead vocals Length

1. “Good Day Sunshine” McCartney 2:08
2. “And Your Bird Can Sing” Lennon 2:00
3. “For No One” McCartney 2:00
4. “Doctor Robert” Lennon 2:14
5. “I Want to Tell You” (*) Harrison 2:29
6. “Got to Get You into My Life” McCartney 2:29
7. “Tomorrow Never Knows” 333 and Ian MacDonald:

The Beatles

John Lennon – lead, harmony and backing vocals; rhythm and acoustic guitars; Hammond organ, harmonium; tape loops, sound effects; tambourine, handclaps, finger snaps

Paul McCartney – lead, harmony and backing vocals; bass, acoustic 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

Ringo Starr – drums; tambourine, maracas, cowbell, shaker, handclaps, finger snaps; tape loops; lead vocals on “Yellow Submarine”

Additional musicians and production staff

Anil Bhagwat – tabla on “Love You To”
Alan Civil – French horn on “For No One”
George Martin – producer; mixing engineer; piano on “Good Day Sunshine” and “Tomorrow Never Knows”; Hammond organ on “Got to Get You into My Life”; tape loops of the marching band on “Yellow Submarine”
Geoff Emerick – recording and mixing engineer; tape loops of the marching band on “Yellow Submarine”
Mal Evans – bass drum and background vocals on “Yellow Submarine”
Neil Aspinall – background vocals on “Yellow Submarine” (uncredited)
Brian Jones – background vocals on “Yellow Submarine” (uncredited)
Donovan – background vocals on “Yellow Submarine” (uncredited)
Pattie Boyd – background vocals on “Yellow Submarine” (uncredited)
Marianne Faithfull – background vocals on “Yellow Submarine” (uncredited)
Tony Gilbert, Sidney Sax, John Sharpe, Jurgen Hess – violins; Stephen Shingles, John Underwood – violas; Derek Simpson, Norman Jones – cellos: string octet on “Eleanor Rigby”, orchestrated and conducted by George Martin (uncredited, with Paul McCartney)
Eddie Thornton, Ian Hamer, Les Condon – trumpet; Peter Coe, Alan Branscombe – tenor saxophone: horn section on “Got To Get You Into My Life” orchestrated and conducted by George Martin (uncredited, with Paul McCartney)

Below: Entered by Harry Bruce on the 8th August 2017.