- Code:
Artist : The Beatles
Album : Revolver
Label : Apple Records
Genre : Rock
Street Date : 2022-10-28
Quality : 245 kbps / 44.1kHz / Joint Stereo
Encoder : Lame 3.100 -V0
Size : 300.62MB
Time : 161:48min
Url : http://allmusic.com/album/release/revolver-super-deluxe-editi
on--mr0005782595
[Tracks]
Disc 1/5
1. Taxman (2022 Mix) 2:38
2. Eleanor Rigby (2022 Mix) 2:06
3. I'm Only Sleeping (2022 Mix) 3:00
4. Love You to (2022 Mix) 2:59
5. Here, There and Everywhere (2022 Mix) 2:24
6. Yellow Submarine (2022 Mix) 2:38
7. She Said She Said (2022 Mix) 2:36
8. Good Day Sunshine (2022 Mix) 2:09
9. And Your Bird Can Sing (2022 Mix) 2:00
10. For No One (2022 Mix) 1:59
11. Doctor Robert (2022 Mix) 2:14
12. I Want to Tell You (2022 Mix) 2:27
13. Got to Get You Into My Life (2022 Mix) 2:29
14. Tomorrow Never Knows (2022 Mix) 2:57
Disc 2/5
1. Tomorrow Never Knows (Take 1) 3:32
2. Tomorrow Never Knows (Mono Mix RM 11) 3:05
3. Got to Get You Into My Life (First Version / Take 5) 4:10
4. Got to Get You Into My Life (Second Version / Unnumbered Mix) 2:36
5. Got to Get You Into My Life (Second Version / Take 8) 2:42
6. Love You to (Take 1) 2:40
7. Love You to (Unnumbered Rehearsal) 1:35
8. Love You to (Take 7) 2:55
9. Paperback Writer (Takes 1 & 2 / Backing Track) 3:38
10. Rain (Take 5 / Actual Speed) 2:38
11. Rain (Take 5 / Slowed Down for Master Tape) 3:12
12. Doctor Robert (Take 7) 2:59
13. And Your Bird Can Sing (First Version / Take 2) 2:14
14. And Your Bird Can Sing (First Version / Take 2 / Giggling) 2:23
Disc 3/5
1. And Your Bird Can Sing (Second Version / Take 5) 2:20
2. Taxman (Take 11) 2:37
3. I'm Only Sleeping (Rehearsal Fragment) 0:48
4. I'm Only Sleeping (Take 2) 2:28
5. I'm Only Sleeping (Take 5) 2:43
6. I'm Only Sleeping (Mono Mix RM1) 3:07
7. Eleanor Rigby (Speech Before Take 2) 2:11
8. Eleanor Rigby (Take 2) 2:20
9. For No One (Take 10 / Backing Track) 2:23
10. Yellow Submarine (Songwriting Work Tape / Part 1) 1:04
11. Yellow Submarine (Songwriting Work Tape / Part 2) 4:42
12. Yellow Submarine (Take 4 Before Sound Effects) 2:37
13. Yellow Submarine (Highlighted Sound Effects) 3:03
14. I Want to Tell You (Speech & Take 4) 1:24
15. Here, There and Everywhere (Take 6) 2:29
16. She Said She Said (John's Demo) 1:10
17. She Said She Said (Take 15 / Backing Track Rehearsal) 3:24
Disc 4/5
1. Taxman (Mono) 2:41
2. Eleanor Rigby (Mono) 2:09
3. I'm Only Sleeping (Mono) 3:02
4. Love You to (Mono) 3:07
5. Here, There and Everywhere (Mono) 2:25
6. Yellow Submarine (Mono) 2:41
7. She Said She Said (Mono) 2:38
8. Good Day Sunshine (Mono) 2:12
9. And Your Bird Can Sing (Mono) 2:02
10. For No One (Mono) 2:02
11. Doctor Robert (Mono) 2:16
12. I Want to Tell You (Mono) 2:31
13. Got to Get You Into My Life (Mono) 2:38
14. Tomorrow Never Knows (Mono) 2:57
Disc 5/5
1. Paperback Writer (2022 Stereo Mix) 2:18
2. Rain (2022 Stereo Mix) 2:59
3. Paperback Writer (Mono) 2:26
4. Rain (Mono) 2:59
[Notes]
All the rules fell by the wayside with Revolver, as the Beatles began
exploring new sonic territory, lyrical subjects, and styles of composition.
It wasn't just John Lennon and Paul McCartney, either -- George Harrison
staked out his own dark territory with the tightly wound, cynical rocker
"Taxman"; the jaunty yet dissonant "I Want to Tell You"; and "Love You To,"
George's first and best foray into Indian music. Such explorations were
bold, yet they were eclipsed by Lennon's trippy kaleidoscopes of sound. His
most straightforward number was "Doctor Robert," an ode to his dealer, and
things just got stranger from there as he buried "And Your Bird Can Sing" in
a maze of multi-tracked guitars, gave Ringo a charmingly hallucinogenic
slice of childhood whimsy in "Yellow Submarine," and then capped it off with
a triptych of bad trips: the spiraling "She Said She Said"; the crawling,
druggy "I'm Only Sleeping"; and "Tomorrow Never Knows," a pure nightmare
where John sang portions of the Tibetan Book of the Dead into a suspended
microphone over Ringo's thundering, menacing drumbeats and layers of
overdubbed, phased guitars and tape loops. McCartney's experiments were
formal, as he tried on every pop style from chamber pop to soul, and when
placed alongside Lennon's and Harrison's outright experimentations,
McCartney's songcraft becomes all the more impressive. The biggest miracle
of Revolver may be that the Beatles covered so much new stylistic ground and
executed it perfectly on one record, or it may be that all of it holds
together perfectly. Either way, its daring sonic adventures and consistently
stunning songcraft set the standard for what pop/rock could achieve. Even
after Sgt. Pepper, Revolver stands as the ultimate modern pop album and it's
still as emulated as it was upon its original release.
[Perhaps it's fitting that what's arguably the Beatles' greatest album gets
the greatest Super Deluxe Edition released since the campaign kicked off
with the 50th anniversary edition of Sgt. Pepper's Lonely Hearts Club Band.
Revolver follows a similar template to that 2017 box: a new stereo mix by
Giles Martin that uses the original mono mix, which is also here, along with
two discs of session outtakes and a bonus EP featuring a groundbreaking
non-LP single -- in this case, "Paperback Writer" and "Rain," also presented
in new stereo and original mono mixes. The new stereo mixes are right in
line with the work Martin has done with Sgt. Pepper's and the White Album,
retaining much of the vibe of the mono mix while giving it a vibrant
restoration. The real news lies in the outtakes, with 80 minutes of sessions
where the Beatles and producer George Martin discover all the possibilities
lying within each of the Revolver songs, along with its accompanying single.
Occasionally, the results don't deviate much from the finished album --
notably the chamber pop numbers "Eleanor Rigby" and "For No One" are in
recognizable form -- but most of the outtakes offer an insight into the
Beatles' creative process in the studio. Ideas are tested and discarded,
songs mutate and grow, and are as stripped back as much as they are
expanded. It's possible to hear the Beatles take inspiration from their
peers: the first take of "And Your Bird Can Sing" is a dead-ringer for the
chiming jangle of the Byrds, "I'm Only Sleeping" unfolds with a bit of the
stately English eccentricity of the Kinks, and there's a version of "Got to
Get You Into My Life" where a fuzz guitar plays the horn line -- a trick the
Rolling Stones pulled off with "(I Can't Get No) Satisfaction." On each of
these songs, they sculpt and whittle until the finished product is
unmistakably the work of the Beatles, an evolution that can also be heard in
how "Love You To" and "Yellow Submarine" both started as simple folk tunes.
Sometimes, the outtakes reveal the magician's illusion, as on the original
version of "Rain," which gallops forth at a breakneck pace -- all the better
to have it sound warped and narcotic when slowed down. These outtakes don't
present the Beatles as infallible -- they have bad ideas, like the manic
backing vocals that clutter "Taxman" -- but rather show their remarkable
ability to collaborate as a unit, always seeking a fully-realized version of
the song. They achieved that with the finished Revolver, but that doesn't
mean that listening to the journey isn't worthwhile. Quite the opposite:
It's a thrill of its own.]
