44. Revolver - The Beatles.

 I am very happy with my decision to listen to the list in a somewhat chronological order, to hear the development of the music as it progressed forward. This era was dynamic; you get a sense of exploration and advancement as bands were searching for new methods and sounds. The Beach Boys, Beatles and others were all borrowing  ideas, sounds and techniques from each other, and the result was some very interesting music. Revolver is found right in the middle of this upward spiral of creativity, that began with Rubber Soul and culminated with the iconic Sgt. Pepper.

 This album has all of the hallmarks of the era, diverse instruments, complex arrangements, and new production techniques. I was watching some YouTube videos on this time period, and it was mentioned that this album contains the first use of recording something, and playing it back backwards on the track. Similar to Pet Sounds, there are little sonic treats as you listen. However, on Revolver I find the topical matter is far more interesting, and to my ear the innovations are placed with more care and finesse. 

 The first track is "Taxman", which is a scathing fuck you in response to the obscene amount artists in Britain were kicking back to the government in taxes. The tone for the album is set, this is edgier material, wrapped up in nice innovative pop songs. "Eleanor Rigby" follows, which is orchestral and rather dark. I think this was the first Beatles song I really liked. It is definitely a classic. 

I like the vocal arrangements and the almost subliminal guitar lines in "I'm Only Sleeping", you get the feeling that the song could at any time go anywhere. Then the next track, "Love You To", features sitar and the droning sounds of Indian music, confirming the suspicion that we are on a journey here. Or one could say a trip. I'm thinking the mind expanding was going on at a considerable rate while this was being written, arranged, and recorded. Ha! confirmed. I looked at the Wikipedia write up on the song, and it was written, allegedly of course, about Harrison's experimentation with LSD. It's on the internet, so it must be true.

 "Here, There, And Everywhere" was one of the songs I destroyed whilst learning how to use different guitar chords, and when the Beatles perform it, it stands up as a beautiful love song. Next up we have "Yellow Submarine". I'm not sure what to say about this business, but my daughter loves it. It makes the album much more diverse, consider that this fluffy, almost novelty tune, is only four tracks removed from "Eleanor Rigby". This fits in nicely with the attitude of doing things differently and pushing the boundaries. Side one ends with "She Said She Said". This is a perfect example of what we now call the psychedelic sound. 

 Flip the record over and we are back into it with "Good Day Sunshine". This features busy piano lines, but dresses itself as a straightforward pop song. It ends with vocal layering that is almost a nod, (or a challenge?) to their rivals the Beach Boys. "And Your Bird Can Sing" is undeniably Beatles, the standout on this one is the guitar work, and the abrupt finish. "For No One" has baroque sounding piano and a dark feeling to it with lyrics that are fairly depressing, but there is a twist when some merry sounding french horn makes an appearance. (I thought it was a trumpet, but when I looked it up, so as not to expose my ignorance in the matter, it said french horn. It also said 'baroque', confirming my assessment, which tickled me pink.  It's the little things...) The juxtaposition of the horn and the loss in the lyrics gives depth to the song and works really well. It is one of my favourite Beatles tunes.

 "Dr. Robert" is comparatively straightforward, it has obvious drug connotations, and has been a conversation piece regarding the identity of the person to whom the song refers. I'm pretty sure it isn't me. "I Want To Tell You" is also fairly predictable on the surface, but is made interesting by discordant piano in the arrangement. "Got To Get You Into My Life" rocks along with horns and organ and has some good moments at the end where they take it up a notch and really rock out. 

 The album ends with some full blown psychedelia. "Tomorrow Never Knows" has droning instruments and a clever drum beat and Lennon's voice sounds like he is trapped behind a wall of music. I'm guessing there was acid involved here. The depth of a track like that to finish out the album is the icing on the cake. The album is a masterpiece. The forward movement of the record, continuing the exploration driven by their competition with the Beach Boys and other innovative bands, has a maturity that was exactly what I found lacking in 'Pet Sounds'. It seems like the Beatles gave you the innovations but let you discover them on your own, instead of putting them right in your face. Like having a happy sounding french horn solo in a song about a miserable breakup. Apparently there were no boundaries. We are better off for it. 

The album was ranked at number 3 on Rolling Stones 500 Greatest Albums of All Time, and it is fantastic.

Buy it here.