Beatles Album #7: Revolver
Well, I guess we know why the number 7 is considered such a luck number. The Beatles waited a long time (by their standards) after Rubber Soul - eight months - to release Revolver, in August 1966. Rubber Soul was a big shock to the music industry: not only had The Beatles' music evolved significantly in a very short time frame, the level of quality throughout the album was stunning. Revolver just completely flipped it upside down. The variety of musical styles here make Rubber Soul look pedestrian in comparison, and the quality is even better. Many argue that this represents the height of pop music achievement in the 20th century. It's not hard to hear why.
1. "Taxman" (Harrison)
This track makes it immediately and obviously apparent that this is a Beatles album like no other before it. George kicks it off with a gruff, breathy 1-2-3-4 with the band warming up behind him, then a harsh guitar jumps in and Harrison is singing along in a very non-"She Loves You" style. This is a favorite track for many Beatles fans, although I'm not nearly as big of a fan. It's a good song, and shows George's continued improvement (see: Rubber Soul) as a songwriter. The Beatles give a superb performance all around, but from Rubber Soul on this is like saying it's cold in Michigan in the winter. George's vocal and harsh guitar form a great combo, and John and Paul add some fantastic harmony. The only thing that holds me back is that it's not my favorite melody. Still, a great opening track.
2. "Eleanor Rigby" (Lennon/McCartney)
It's hard to blame people for calling this song "Yesterday, Part 2"; although as iconic and great as that standard is, this song is even better. Starting off with the famous bridge ("ahhhh, look at all the lonely people!"), Paul kicks in with more emotional umph than we've come to expect from him. As he starts in with the verses, Paul gives one of his finest vocal ballad performances - which is saying quite a lot. It's restrained, yet powerful. George Martin's string arrangement is sheer genius, and it is impossible for me to imagine a more perfect accompaniment to Paul's amazing vocal. The melody here is just so gorgeous, something Paul does effortlessly, and The Beatles keep it to a sweet 2:07. Just so good.
3. "I'm Only Sleeping (Lennon/McCartney)
Lennon kicks right into his first track of the album, which is also the first to introduce one of its more prominent, mystical themes. The song lilts along pleasantly, accurately giving the effect of the title. I believe this is one of the first times John really begins to experiment with his vocal style - again, well-matched to the album's theme - and it's very effective here. The instrumentation gives a hint of foreboding, but this is offset by a very sweet backing harmony from the band. Ringo's shimmering cymbals and other percussion also lends to the atmosphere. The melody really just blends into this atmosphere, and so does not stand out but is quite good anyway. A good track that is a perfect fit on this album.
4. "Love You To" (Harrison)
And already George has his second song on the album! He continues the mystical theme by playing a sitar intro; when the main part of the song starts, the backing band is made up of Indian-style instrumentation, most notably the sitar and the drums. George sings this almost as if he is in a trance, and like John in the previous track, it's a perfect fit. When he hits the extended note "meee" and is joined by John and Paul, it sends shivers down your back. The sitar gets plenty more solo work throughout. I can't imagine how shocking this track must have been to people back in 1966. It doesn't get mentioned a lot, but this one, like "I'm Only Sleeping," is a good track that's a perfect fit for the album.
5. "Here, There, and Everywhere" (Lennon/McCartney)
Now for a slight change of pace. Er, should I say, HUGE. Paul drops back into the album here with his gentlest, softest, and one of his loveliest ballads. Backing harmonies from the band bring earlier Beatles to mind, but Paul's writing is now far beyond those days. Although more powerful than the writing is his vocal, which is almost impossibly high on the register (no auto-tune back in the day, though!). The lyric, as a friend once pointed out to me, actually has a bit of a theme that runs through other Beatles songs (like "If I Fell") of a rather possessive individual belying the gentle music. No matter: this is simply a gorgeous song, and all you need to do is listen to a couple pretty lyrics here and there and drift off with it.
6. "Yellow Submarine" (Lennon/McCartney)
This song is a bit like "Yesterday". I know, they sound nothing alike. But sometimes it can seem like they're just so huge in the public consciousness that the music itself is not up to the reputation. The way I've finally come to grips with this song is to try to block out that huge popularity (and really?!? This song?!? When there are SO many better Beatles songs?) and just remember that this is a Ringo song. When I think of it like that, yeah, it's a pretty damn nice song. Ringo gives a perfectly nice, pleasant vocal, and there is a good enough back part along with miscellaneous effects that the repetitive chorus doesn't have time to get too old. But I never want to hear anyone say that this is their favorite Beatles song. *Shivers*
7. "She Said She Said" (Lennon/McCartney)
Here's another really nice song that doesn't get mentioned a lot. I think we have a great combination of elements from the album, as well as symbols of the band's overall evolution. The thing that strikes me the most is the neat rhythm, led by Ringo's fantastic drumming. Also, we have a return of George's harsh sounding guitar (though not as extreme as on "Taxman"). And John shows his amazing ability to be brilliantly unpredictable in his composition; there are several tempo/rhythm/style changes that I did not expect but fit so well (just wait until the White Album). More fantastic harmonies from the band. Great song.
8. "Good Day Sunshine" (Lennon/McCartney)
At this point, we seem to have a pattern of George and John setting the album's theme, and Paul spicing things up with some brilliant songs (even though they don't match the theme). "Good Day" continues this pattern. Here we have our first piano-driven song on the album; in fact, I don't think there's any guitar at all. I can't think of too many comparisons, but it seems like something you'd get if you threw "Here, There and Everywhere" into a blender with a "Drive My Car"-type rocker. The verses are very care free, with some honky piano parts thrown in. The chorus seems like it was taken from the rocker and toned down, with some great echo effects at the end of the song. Not the strongest on the album, but a good diversion.
9. "And Your Bird Can Sing" (Lennon/McCartney)
This is actually one of my favorite straight ahead rock songs from The Beatles. Coming in at an efficient 2:02, "Bird" features more of George's heavy, harsh guitar playing that fits perfectly here, and he has a great intro lick. Lennon has a good lyric, driven by George's insistent guitar, then we get to the bridge and... George's guitar continues to lead. Wow, I didn't realize just how good it was in this song. Lennon gets credit for a good composition here, and Paul adds a great harmony, but it's George's guitar that really shines. It feels almost like they just kind of tacked this onto the album, but it is one hell of a tack-on if that's true.
10. "For No One" (Lennon/McCartney)
I've loved this song since the first time I heard it. This is probably the perfect song for a love that has just been broken. The melody provides plenty of regret and longing, but the backing instruments keep it from lulling into a depressive state. And what a simple yet gorgeous melody it is (it's Macca, what do you expect?!). The backing instrumentation is just great, with Paul playing an old-fashioned sounding clavichord, and then the keynote, a mournful yet bright French horn. This track is actually exactly as long as the previous one, despite the obviously huge musical differences. Back to my original point, this song is great in that it allows one to reflect on past feelings, yet emerge with a strange sense of hope. Sheer genius.
11. "Doctor Robert" (Lennon/McCartney)
*Frown* This is where Revolver comes closest to sounding pedestrian, and perhaps even worse. Yes, John, we know that you've started taking LSD; you don't need to write a song about your supplier. Really, the subject matter would only be an annoyance if it was incorporated into a cool song; but instead, John came up with the barest of vehicles for his lyrics. There is just not much going on here, at all. The guitar work here is probably the highlight (both John and George, I believe). This is the only song on Revolver I've ever skipped (OK, sometimes I skip "Yellow Submarine" too, if I have a headache).
12. "I Want To Tell You" (Harrison)
Not to fear, however, because George is here to get the album back on track. Once again, it's probably the combination of elements that makes this such a great track. George continues with his no-nonsense writing and vocal style - but this time, the main supporting instruments are a driving piano (I LOVE this) and Paul's bass. When George's guitar comes in, surprisingly it no longer has the harsh edge to it. George carries the vocal by himself for most of the song, but when John and Paul come in to back him up, it's brilliant. When I think about it, the composition is not really that strong, but the instrumental and vocal work is so superb here it more than makes up for it. George saves his best for last on the album.
13. "Got To Get You Into My Life (Lennon/McCartney)
Now we have a song that is only one of my three favorite Beatles songs. You know, nothing much. The first thing I have to say about it is that it has such a positive, uplifting feel to it. The guitar has an even smaller role here than the last track (but its debut is a brilliant touch). The song is driven by Paul's bouncing bass (again) and a section of feisty horns (TRUMPETS!!! and those other things... oh yeah, saxophones). I absolutely love Paul's composition here, and his vocal style is perfect for it. No, it isn't his achingly beautiful ballad voice nor his strong rocker, but that intense, lower register style that rises majestically when called upon. The verses build the anticipation wonderfully, and the pay off with the title unleashed is perfect. I even pay attention to the lyrics here! Just. So. Awesome.
14. "Tomorrow Never Knows (Lennon/McCartney)
And now, to conclude the album, we have perhaps the most perfect transition song of all time. Lennon busts out his acid-y style for the first time, and if "Love You To" knocked people's socks off, this one must have sent them through the roof. Sound effects abound, in an affectingly creepy, mysterious, sometimes haunting way. Ringo's drumming keeps the song humming along quite well, and Lennon chants the lyrics very much Harrison-style. There isn't a whole lot of variety, musically speaking, but the quick tempo and well-done sound effects keep it fresh and interesting (plus John's vocal goes through various distortions). This is The Beatles teasing, "what are we gonna give you next time?!"
Essentials: "Eleanor Rigby", "Got To Get You Into My Life", "Tomorrow Never Knows", "For No One", "I Want To Tell You"... for heaven's sake, get this album!!!
Weak(er) Songs: "Doctor Robert"
My Rank of The Beatles Albums So Far:
1. Revolver
2. Rubber Soul
3. Help!
4. A Hard Day's Night
5. Please Please Me
6. Beatles For Sale
7. With The Beatles
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