The Beatles - Revolver

In Salient - Sept 2009

It’s pretty much impossible to write about The Beatles in 2009 without sounding totally redundant, so I’m not even going to try to review this album critically. Instead, I’m just going to say why I love 1966’s Revolver, why you should too, and why it’s so important that you listen to it if you somehow already haven’t.

I love Revolver because it has my favourite Beatles song from my childhood, ‘Eleanor Rigby’. Aside from the vocal harmonies, the only Beatle present is McCartney, whose solemn vocals float above an energetic string section that gives the song a stark feeling of contrast from earlier work, and highlights Revolver as a turning point in the Beatles sound towards more serious and experimental territory. It’s also an incredibly beautiful and touching song on death and loneliness, factors that didn’t stop me belting the lyrics out at the top of my lungs in the car when it came around on 1, my only experience of the Beatles for years.

I love Revolver because it’s the first time that Lennon and McCartney give Harrison (my favourite Beatle) the space to shine as a songwriter, not just a brilliant guitarist, with three tracks written by him, one of which (‘Taxman’) is even given the coveted opening slot on the album. Labelled the ‘Quiet Beatle’, for his professionalism and shyness in public, Harrison’s songwriting skills, while initially lacking, grew exponentially as he gained confidence but were only given recognition towards the latter stages of the Beatles work. With ‘Taxman’, Harrison launches an attack at the grossly unfair British Tax system (The Beatles were, at one stage, being taxed 95% for some of their earnings), combining harshly funny lyrics with McCartney’s rollicking guitar treatment and classic Beatles harmonies. Elsewhere, ‘Love You To’ displays Harrison’s increasing fascination with Hindu culture, drenched in Sitar twang and deft use of Tabla, while ‘I Want To Tell You’ expresses the frustration of being unable to communicate one’s thoughts, emphasised by the song’s chaotic instrumentation and spiralling vocal delivery.

I love Revolver because as an album it’s so balanced. The harrowing ‘Eleanor Rigby’ is followed by the soft dreaminess of ‘I’m Only Sleeping’, and Ringo’s starring moment in the jaunty ‘Yellow Submarine’ is paired with ‘She Said She Said’, Lennon’s acid-tinged trip accompanied by Harrison’s jangly guitars and McCartney’s fuzzy harmonies. The whole album works on opposites drawn together in a way that makes them feel born together, embodied by ‘Good Day Sunshine’, a song that never fails to make me smile with the way it opens with ominous piano before exploding into a charmingly optimistic song about love, radiating happiness and reminding the listener that regardless of the new directions shown on Revolver, the Beatles are still the best in the business at upbeat pop.

Finally, I love Revolver because it showed listeners (and more importantly the Beatles themselves) how much more textured and developed their sound could become if they spent more time in the studio and played around with stuff (They spent around 300 rather than the usual 100, setting a trend for future artists). While this undoubtedly sucked for audiences in the 60’s, with the Beatles withdrawing from live performances soon after Revolver’s release, for the rest of us it was awesome, sparking a period of musical creation that produced some of the best moments in music history, with Revolver acting as a springboard into the brilliant home stretch of Beatles albums (Sgt. Peppers, ‘White Album’, Abbey Road) that revolutionised pop music. And that’s why I love it.