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335 of 353 people found the following review helpful
5.0 out of 5 stars The clearest portrait of what made The Beatles great
The Beatles' overall achievement is rivaled by no one. In a course of only seven years, they produced 12 and ˝ albums (I don't count Yellow Submarine as a full album), one of which was a double album, and enough independent singles to make up two other albums. Very prolific, and the single most important band ever to grace the rock'n'roll scene. There is countless...
Published on August 5, 2000 by Mike London

7 of 7 people found the following review helpful
3.0 out of 5 stars Avoid Brazil...
The qualities of this album have been well-covered. It is a classic. I'm not writing about the content of the album, but rather to recommend all buyers avoid the "Brazil" version that I somehow got ("For sale in Brazil only.") The remastering job on this seems to consist of making the vocals ridiculously loud at the expense of everything else. In particular, "Eleanor...
Published on June 6, 2011 by Tbar918

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335 of 353 people found the following review helpful
5.0 out of 5 stars The clearest portrait of what made The Beatles great, August 5, 2000
This review is from: Revolver (Audio CD)
The Beatles' overall achievement is rivaled by no one. In a course of only seven years, they produced 12 and ˝ albums (I don't count Yellow Submarine as a full album), one of which was a double album, and enough independent singles to make up two other albums. Very prolific, and the single most important band ever to grace the rock'n'roll scene. There is countless debates on what is their most important, but to me every one of those albums from "Rubber Soul" on (excepting "Yellow Submarine") is a self-contained masterpiece.

That being said, "Revolver" gives us the most balanced view of The Beatles that we ever get. Everything that made The Beatles great is here in the right proportions. We have the three tracks of Harrison, including an Indian song of his, we have the ultimate Ringo song (everyone should know what song I'm talking about here), we have Paul's melodious love songs that would overwhelm his solo career, and we have the standard Lennon experimentation. On no other record do we get such a clear picture of what each Beatle brought into the equation. Everyone of them shine for their individual talents. The direct opposite of this is The White Album, when The Beatles were in the process of breaking up.

In terms of artistic growth (remember, this was released almost a year after Help!, which was released August 6, 1965 and this August 5, 1966) we knew The Beatles were onto something. It foreshadows everything that will happen on Sgt. Pepper's Lonely Hearts Club Band, and is as important as its successor. And in terms of what made The Beatles great, this is the record to go too, because it gives you the most balanced view of the most important band in rock'n'roll history.
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329 of 357 people found the following review helpful
5.0 out of 5 stars The Mona Lisa of Rock Albums, February 13, 2003
This review is from: Revolver (Audio CD)
Quite simply the greatest album by the greatest band of all-time. A mind boggling collage of perfect songcraft and sheer sonic joy, Revolver, like its predecessor Rubber Soul, stunned the pop world when released in 1966.
In terms of Beatle evolution, Revolver catches the Fabs in the midst of their most perfect phase -- more sophisticated than the Mop-Top years of 1963-64, yet more restrained than the experimental Later Years. Lush psychedelic tones flourish throughout, enhancing, yet never overwhelming the colorful song textures. Witness George's painstaking backward guitar solo on "I'm Only Sleeping" for a textbook example of innovation with restraint. Mesmerizing rhythmic structures, which pop-up all over, may well be the most inventive of the band's career. Ringo's percussive tom rolls transform John's single-chord mind-bender "Tomorrow Never Knows" into the most hypnotic three-minutes of acid-drenched pleasure ever recorded. Never have Beatle guitars sounded so bright, trebly and as bitingly distorted as they do on "And Your Bird Can Sing" and "She Said, She Said". On the gentle flipside are the baroque sophistication of "For No One" and the epic neo-classicism of "Eleanor Rigby". Gently washed in the mournful hues of George Martin's perfectly scored string arrangement, "Eleanor" emerges as Paul's most mature and, quite possibly, most beautiful song. Sing-a-long classics "Good Day Sunshine" and "Yellow Submarine" prove that fun was indeed still fashionable in the Swingin' Summer of '66.
Every aspect of Revolver--from the biting social commentary of "Taxman" to the childish joyride of "Yellow Submarine"-- clicks so perfectly. A 1996 Mojo Reader's Poll ranked Revolver as the greatest album ever recorded. But Revolver, like the Beach Boys' Pet Sounds, is more than merely a great rock album-- it is unquestionably one of the 20th Century's greatest works of art.
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334 of 375 people found the following review helpful
5.0 out of 5 stars A masterpiece, September 3, 2002
This review is from: Revolver (Audio CD)
It's actually very difficult to try and review a record from 1966 36 years later and judge it by standards of 1966.
Can you put yourselves in the shoes of a 17 year old kid in 1966? You just walked home from the local record shop and you're sitting down in front of the turntable. You slide your thumbnail along the plastic to open up the album and remove the LP from its paper jacket. You carefully hold the edges of the record with your palms and set it down, pulling the tone arm over to drop the needle into the groove.
The guitar stylings of George Harrison are what you hear first, as "Taxman" plays through your phono speakers, a great new Beatles tune indeed. After listening to more of the record you hear the heady symbolism of "Eleanor Rigby", the Beach Boys-like harmony of "Here, There and Everywhere", the horns-rich McCartney kicker "Got To Get You Into My Life" and the Lennon acid-trip-set-to-music "Tomorrow Never Knows".
Yes, there are many other great tunes on this favorites like "Good Day Sunshine" and "Yellow Submarine". And other greats like "She Said, She Said", a song based on something Peter Fonda is said to have said to John Lennon, "I know what it's like to be dead". How about "And Your Bird Can Sing" and Lennon's beautiful "I'm Only Sleeping".
And at the age of 17 in 1966, you do not yet know that "Got To Get You Into My Life" would help usher in a genre of music known as the Chicago-sound with bands like The Buckinghams, The Ides of March, The American Breed, Chicago and more using rich brass harmony. In 1966 you do not know that Brian Wilson of the Beach Boys was also sitting listening to Revolver, which in no small part spurred him on to create "Pet Sounds". And you don't realize that there are lush string quartets playing on "Eleanor Rigby". String quartets on your local Top-40 radio station!! How can "Eleanor Rigby" with string quartets be played on-air alongside "You Can't Hurry Love" by the Supremes or "Hanky Panky" by Tommy James & the Shondells. Those are two great songs, but how do they compare to the orchestration and imagery of "Eleanor Rigby"?
These guys were just the Beatles...a rowdy quartet from Liverpool, England, right? Not much different from Gerry and the Pacemakers or Freddie and the Dreamers??? Not anymore...not after Revolver. After Revolver, rock and roll changed. The music was now becoming Rock music, and bands like the Beatles were evolving into something new. British bands like The Yardbirds, The Who and The Pink Floyd were experimenting with exciting new sounds, and there was a whole new free-form sound in the U.S. coming out of San Francisco with bands like The Charlatans, The Great Society (later Jefferson Airplane), The Grateful Dead and others.
"Pet Sounds" came out in `66, and then "Sgt. Pepper" came out in `67...this sealed the deal. Rock music was born.
How could you not own the CD "Revolver"?
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20 of 20 people found the following review helpful
5.0 out of 5 stars Graetest Album Ever, September 5, 2002
Jack Wolverton (Houston, TX United States) - See all my reviews
This review is from: Revolver (Audio CD)
Revolver is The Beatles masterpiece. The album is flawless from every note played to every word sung, it's seemless and timeless. Sgt. Peppers may have gotten more press for it's psychedelic overtones and concept form. But it falls short in comparision to Revolver. What makes Revolver so great is the way the songs flow through out the album. From the opening track "Taxman" to the closing psychedelic "Tomorrow Never Knows" it never lets up once. I believe this is the last true album John, Paul, Goerge and Ringo played together as a band. Every member compiments the other. Take a listen and let your mind float down streem.
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16 of 16 people found the following review helpful
5.0 out of 5 stars The Beatles Psychedelic Masterpiece, August 5, 2000
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This review is from: Revolver (Audio CD)
Is it possible this was "Rubber Soul"part 2 ? or could you say "Pepper" part 1, actually its probably both, or possibly neither, yes its that complex of an album, where you just don't know where to place it other then the one after "Rubber Soul" and Before "Sgt. Pepper",and you just know its so great, it almost leaves you standing there in awe wondering hows it possible for ANY human to sing like this. It was the "Middle Beatles", their 7th album. No longer looked upon as Mop Tops, they now passed into the genius stage, The beginning of the studio years. Now it was the time, the time to sing about other things other then kissing or holding hands and how wonderful being in love was, in fact the only love songs on here are Pauls, the beautiful "Here There and Everywhere"(Pauls favorite out of all his work) And "Good Day Sunshine", he wrote it after hearing " "Daydream" by the Loving Spoonful. Then the opposite of those love songs, on "For No One" (great piano by Paul) another complaint song to Jane, "I'm Looking Through You" the other.Then theres Georges (the real "first" sitar song by George) "Love You To" which actually has less to do with love, and more to do with Georges eastern philosophies about how one should enjoy life while one is young. "I Want To Tell You" (great Guitar work by George and Pauls Bass shines as does Ringos drumming) possilby about being the shy Beatle. Then Johns songs which seem to point out just how no one understands him, "And Your Bird Can Sing" (what a great song and the guitar work by JP&G is excellent) seems to be about someone that is stuck on the fact that they have it all, even having a bird that sings, but then they'll "Be awoken" and realize they dont have John, (possibly a put down song to someone John knew) Btw, John didnt like this song, so you now have Johns least favorite and Pauls favorite on one CD. The song I'm only Sleeping" is again about how John is so miss understood, they "think hes lazy",but then he "thinks they're crazy"so it doesnt matter. (Footnote) "I'm Only Sleeping, along with "Dr.Robert and "And Your Bird Can Sing" were not available in "true stereo" in the US, who remembers having to buy the Import "Revolver" to hear it in true stereo? or if you were lucky you got the record club version of "Yesterday and Today" AKA the "Butcher Cover" Album. Getting back to "I'm only Sleeping" it was also inspired by Paul coming to his house early to wake him up. "She Said, She Said" (J&G guitars were unbelieveble on here and what more can be said about Ringos drumming during this time, Paul claims he was absent on this song due to an argument) is about no "she" at all but about Peter Fonda and how he kept bugging him at a party in California in 65 when John was on acid. for a moment John looks back on the simple days before all the fame "when he was a boy, everything was right"compare this with "Help!" "When I was younger so Much Younger Then Today, I never Needed anybodys Help in Any way". And who can forget the first Psychedelic song, "Tomorrow Never Knows" ( another Ringo-ism,"A Hard Days Night" being his first)Also about some of the books John was reading at the time. They taped Paul Laughing and tinkered with it till it sound like seagulls in the background.Of course theres the hits "Yellow Submarine" (perfect song for Ringo) and Pauls wonderful "Eleanor Rigby", and the popular "Got To Get You Into MY life". it was time for more firsts with the backwards loops, Pauls Bass being more complicated as was Ringos drums and John and Georges guitar playing. Plus they covered almost every subject of their life in this CD, Doctors, Money, drugs, fantasies and more.If you dont have this one in your Beatles collection your missing one of the best if not THE best Beatles CDs ever released. You wont want to miss this one.
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37 of 42 people found the following review helpful
5.0 out of 5 stars Probably the greatest album by the greatest rock band, February 12, 2001
Randy Scott Bailin (San Diego, California USA) - See all my reviews
This review is from: Revolver (Audio CD)
Who can say what's best? Art is and always will be subjective. It's strictly a matter of opinion, but music critics generally rate Revolver the best of the great Beatles albums and therefore, it must be considered one of the greatest of the rock era.
I've been a student of and fan of the Beatles for longer than I care to admit, but I'd rate this one as their best. Certainly, it showed John Lennon at the creative peak of a legendary career.
This isn't a concept album, like Pepper, but the songs meld together very nicely and are generally superior to Pepper (w/ the notable exception of Day in the Life, which is probably the best thing the Beatles ever did in a studio).
Let's look at the tunes 1 by 1.
Taxman: What an awesome way to start an album, w/ Lennon's throaty 1 2 3, the catchy guitar and Harrison's (w/ considerable help from Lennon) acerbic lyrics directed at the crippling British tax system of the time. The guitar riff is excellent and the backup vocals are very strong (how can you miss w/ Lennon/McCartney singing back-up?)
Eleanor Rigby: Groundbreaking w/ the use of symphonic instrumentation. A haunting tune. Sort of a precursor to the somewhat spiritual sounding Let it Be. Masterfully produced by George Martin. Ahead of its time. Beautiful.
I'm Only Sleeping: Waaaaaay ahead of its time. This is the first time we hear real psychadelia from the Beatles. A dreamy, surreal work of genius that only Lennon could right. The grandfather of the beautiful, dreamy #9 Dream.
Love You To: I'm not a big fan of the Indian stuff, but the Sitar is catchy and Harrison doesn't embarrass himself on the vocals. A serviceable tune that fits in well here.
Here, There and Everywhere: One of the most beautiful ballads of the rock era. Lennon called it his all-time favorite Beatles song. It's simply a gorgeous McCartney ballad.
Yellow Submarine: Written by Lennon, sung by Ringo, a fun tune w/ Lennon performing all sorts of magic w/ backing sounds, voices. Mostly a Lennon song, but Ringo's voice is out front. Fine.
She Said She Said: An interesting Lennon rocker w/ powerful Harrison guitar work. Another foray into the psychadelic, but call this psychadelia light. A mix of a strong rocker w/ psychadelia.
Good Day Sunshine: Harmless, upbeat McCartney ballad/rocker. Fun tune, but nothing special.
And Your Bird Sing: Very clever lyrics by the Beatles best lyricist, JW Lennon. An infectious song, another lower case psychadelic tune. Catchy melody. Brilliant.
For No One: A pretty McCartney ballad. Fits in well.
Dr. Robert: Lennon's tribute to a pill pushing NY Doctor. Catchy beat and, of course, very clever lyrics.
I Want to Tell You: See Love You To. Fits in well, but forgettable.
Got to Get You Into My Life: A finger snapping, toe tapping very upbeat McCartney rocker. Excellent middle of the road rock number, a very strong McCartney composition of this genre, which hardly prepares the listener for what follows....
Tomorrow Never Knows: Mind-blowing! Psychadelia w/ a very large P. Where else could this song have come from, but the very fertile imagination of Mr. Lennon. The song uses all sorts of crazy studio techniques (records being played backward, who knows what else). The song progresses on 1 note and leaves you scratching your head, but you know that only a genius could've done this one. What a way to end a landmark album!
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23 of 25 people found the following review helpful
5.0 out of 5 stars Another kind of mind, December 9, 2000
This review is from: Revolver (Audio CD)
I may lose some objectivty by writing this review, so I'm going to admit now that there may be lots of people who have strong arguments to consider "Sgt.Pepper's", "Abbey Road", the White Album or even "Rubber Soul" superior albums made by the Beatles. But to me, "Revolver" represents the album that changed my life completely. I had heard the *traditional* Beatles music from the "Red" & "Blue" vinyls that my dad had here at home, and received the "Free As A Bird" and "Real Love" songs with surprise and curiosity, as they were nice and strongly constructed. Then I thought there might be a whole lot of Beatle music I may have been missing, and God knows why I got obssesed with "Revolver", and finally got it by Christmas when I was sixteen (that was only two years ago!).
And I wasn't wrong at all. I didn't find here the traditional Beatles singalong tunes that everybody knows (OK, maybe "Yellow Submarine", but that's all!), but an unusual experiment of brilliant music, frequently accompanied by excellent lyrics coming from the three most important composers in the history of pop music...
The excellent guitar work on the whole album was something I had never heard before, neither in the music of this generation, nor in any music I've heard... So it immediatly blew my mind. When I first heard "She Said She Said", I thought "that's the Beatles?"... And what about "Tomorrow Never Knows"! That sounds like the weirdest (but at the same time coherent) sound experiment ever made, with surprising results in the vocals and the tape loops that make that song a very rare and acid trip to... nowhere.
That's my global impression of the album: it's a trip (with even more taste than the "Magical Mystery Tour"), a conceptual experience (with even more cohesion than the nearly-perfect "Sgt.Pepper"), a production experiment (as it was the root for everything else done since in the pop music) and a call to change your life: you can "turn off your mind, relax and float downstream", and try to face another reality. with your own mind ("it's all in your mind, you know!"). So you may get out of the world for some time, and ask not to be awake, like John did in his brilliant "I'm Only Sleeping"; go to a walk and find other "kinds of mind" there, by looking at them without the horrible pressure of time, like Paul sang on "Got To Get You Into My Life"; or even transform your worst nightmares (like knowing what it's like to be dead on "She Said She Said" or surrendering to the void on "Tomorrow Never Knows") or your strangest dreams (living a life in a "Yellow Submarine") into something you could share with the world.
The Beatles reached here near to perfection. John's reflexive lyrics on "I'm Only Sleeping" are perfectly accompanied by George's excellent backwards guitar solo; he amazed us with the incredible musical and lyrical construction of "Tomorrow Never Knows" and the greatest guitar work ever made by The Beatles, evidenced on songs that are underrated by many, like "She Said She Said", "And Your Bird Can Sing" (now hear THAT solo!) and "Doctor Robert". His vocals and backing vocals are also stunning. Paul also got involved into this other world the Beatles were discovering on "Got To Get You Into My Life", but he didn't lose the opportunity of reaching his peak as a pop composer, writing his most beautiful ballad EVER ("Here, There And Everywhere"), a very special, quite sad but lovely social comment, with delightful orchestral arrangements courtesy of sir George Martin ("Eleanor Rigby"), a lovely ode to the love that's not with him anymore ("For No One", hear the lovely horn solo!) and an up-beat and optimistic song about the happiness of being in love ("Good Day Sunshine"). Ringo gets deep into your subconscious with his spectacular lead vocal on "Yellow Submarine" (probably the most-known track of this album), but he also shines as a drummer, showing us what he's capable of on "She Said She Said" (congratulations, one of his best!) and "Tomorrow Never Knows".
George Harrison gets an apart mention. His contributions to The Beatles records were always underrated, but in this album he comes to the peak of three songs, and the three of them are masterpieces, helping us to value him more as a writer, singer and composer than ever, as his vocals and backing vocals (hear "Good Day Sunshine" or "She Said She Said") are nearly perfect. And what about his own compositions! "Taxman" (the best song of the album, in my opinion) combines that ironic sense of humor George had with a rock'n'roll-guitar-and-drums structure that you can't get out of your head. Paul's stunning "indian" guitar solo and the tambourine and cowbell percussion only help this song to grow bigger and bigger... "Love You To", the first absolutely INDIAN Beatle song ever, was an audacious experiment that turned out pretty well thanks to the excellent guitar and percussion work overdubbed later by George, the intriguing lyrics and the serious double-tracked lead vocal; and "I Want To Tell You" is a nice piece of work, with a crackling and out-of-tune piano (Paul?) and the simplest lyrics, just to say "I'll make you maybe next time around"...
Other short mention: "Paperback Writer" and "Rain" (my favourite song in the entire Beatles' catalogue) were realased weeks after "Revolver" as a single, but were recorded in the same sessions. They absolutely follow the spirit of the album, as they bring beautiful and spectacular guitar work, lots of drug inspiration and "other kinds of mind"... You can find them at "Past Masters Vol.2"
So buy this album and enjoy it. Turn off your mind, relax and... simply enjoy it. It surely will change a part of your life.
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14 of 14 people found the following review helpful
5.0 out of 5 stars A Landmark Recording, July 26, 1999
This review is from: Revolver (Audio CD)
For all the praise lavished on "Sgt. Pepper" and "Abbey Road," it is "Revolver" (1966) that endures as the finest Beatles album. From "Taxman" to "Tomorrow Never Knows," every track shines in timeless fashion. "Revolver" has no self-indulgences or throwaways - it's a beautifully crafted work that reveals the group's symbiotic energy and creativity. Decades later, "Revolver" remains among the landmark recordings of the 20th century.
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14 of 14 people found the following review helpful
5.0 out of 5 stars The transition CD, August 2, 2002
A Kid's Review
This review is from: Revolver (Audio CD)
Revolver was the first Beatles CD I ever heard. After that my father took me out to go buy Rubber Soul and after that I basically got hooked. The thing that makes Revolver stand alone from any of the Beatles other great records is the fact that this was their most experimental album. John wrote "Tomorrow Never Knows" and "She said, She said" about experiences in drugs, and George used instruments like the sitar in one of his songs. "Revolver" was one of the first real "psychidelic" albums, and definitely helped to begin the whole phenomenon. I still listen to the CD for songs like "Taxman" and "Good day Sunshine". Sadder songs like, "For no one" show how Paul hasn't lost his ability to make us cry. I think. That's the one, "..."? right? anyway's, a must have for anyone. Even if you don't enjoy rock. This one will be around for awhile.
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12 of 12 people found the following review helpful
5.0 out of 5 stars One of the Best from the Best, January 22, 2000
RT (Chicago, IL) - See all my reviews
This review is from: Revolver (Audio CD)
Imagine the shock those teenagers must have felt when the needle of their record players started to reverberate with the pulsating drum and bass lines of "Tomorrow Never Knows". I imagine a few of them were still listening to "She Loves You" and " I Wanna Hold Your Hand" at that time. There are so many wonderfully creative moments on this record, its hard to believe any band could have so many great songs on one album. Paul McCartney's "For No One", "Eleanor Rigby", and "Here There and Everywhere" are monumental achievements for a guy who wrote "The Night Before" less than a year earlier. Harrison's "Taxman" with its Hendrix-Like solo by Paul(A full year before anyone would know who Hendrix was) is a classic rock song that stands up to any Cream or Stones tunes of that era . Has there been a single Stones (famous for their twin guitar duo's) song that comes close to the guitar creativity, or modality that oozes from " And Your Bird Can Sing" ? Did'nt think so. Make fun of "Yellow Submarine" if you'd like, but how many bands were or are capable of making that type of song, and it being a valid "hit", in the middle of all this ground-breaking material? Backward guitar solos charted out, vocals through Leslie speakers, Drum and Bass forefront in the mix, all first, all Beatles. Its impact is still felt today, in all records. Lennon had few moments on this record, but as in the Beatles next release, he had it most glorious. "Tomorrow Never Knows" is a true Beatle original, as un-catchy a song (No chorus, middle-eight, hook) as you'll ever find. You will not ever find a more influential song than that one. Strains of its innovations are found even in Oasis, Pumkin, Nirvana, and Pearl Jam records to this day. Not to mention the artist of that time. True, the Beach Boys "Pet Sounds" (which I listened to on the way here) preceeded this record, but not enough to have a full influencial
impact as it did on "Pepper", and it is a tremendous, and groundbreaking record. But Revolver shines now, as it did then, more brightly than the rest.
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Revolver by The Beatles (Audio CD - 2009)
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