A Watershed Album

Revolver is probably the most important step in the evolution of the Beatles, and definitely hints at the more sophisticated things to come, such as Sgt. Pepper's, The White Album, and Abbey Road. Listening to this album is witnessing the maturity of the greatest rock n' roll band of all time, and the Beatles definately "come of age" in this collection of songs.

Released in 1966, the cover of the album was designed by Klaus Voorman, an old friend from the early days in Hamburg, Germany. The name of the band doesn't appear on the cover; by the time this album was released, those four faces were easily the most recognized in the music business.

The songs and a brief synopsis of each is as follows:

1. Taxman--The brief studio banter, coughing, the sound of fingers on strings, and the count create an air of expectancy for the first song, written by George Harrison. Delivered with a sneer and a thick English accent, the feel of the song is acrid, and is a blatant attack upon taxation. Although the song is dated politically, with its references to Mr. Wilson and Mr. Heath, the subject matter is still viable today. The guitar solo is wicked and serves to enhance the venom which is apparent in this tune.

2. Eleanor Rigby--A Victorian tale delivered by Paul McCartney, complete with strings. This tune demonstrates how Paul McCartney could "tell a tale" in the context of a pop song.

3. I'm Only Sleeping--The beginning of this song, on the downbeat with John Lennon and an acoustic guitar, gives the impression that he is just awaking from a deep sleep. Lennon's delivery is bleary and hints at things to come, like I'm So Tired, from the White Album, and Cold Turkey, from his later solo work.

4 Love You To--The second George Harrison song on the album. This tune demonstrates the influence of Ravi Shankar on George by the use of the sitar and the Indian percussion. Probably the weakest track on the record.

5. Here, There and Everywhere--Paul doing what Paul does best--writing and singing a lovely ballad. Really one of the more beautiful songs that this group ever recorded.

6. Yellow Submarine--A harmless bit of fluff written for Ringo Starr. Ringo's delivery is straightforward and simple, just like his drumming style. The concept behind this song later became a cartoon movie and an album.

7. She Said She Said--Pure John Lennon. This song is about a failure of communication with a woman, and the time and beat changes in this tune give it a feel that tugs at the listener. Lennon recalls how everything was once simpler ("When I was a boy..."), but has become complicated because of a relationship.

8. Good Day Sunshine--Pure Paul McCartney. This song is almost "ragtime", complete with "barrelhouse" piano. It's a simple, feel-good song about his woman, and the style demonstrates Paul's love for the theater and show music.

9. And Your Bird Can Sing--This song glitters, with some sonic guitar work by George Harrison, and some very melodic bass playing by Paul McCartney. This is another Lennon song about lack of communication with his lover--she doesn't "get" (understand) him. His vocal delivery is impeccable.

10. For No One--A very sad song about the end of a relationship. Paul McCartney sings this tune and the French horn solo in the middle makes this melancholy song work.

11. Dr. Robert--This song was written about a famous doctor in New York who furnished drugs to the stars. While openly addressing drug use in the body of the song, the Beatles take on a "choirboy" aspect in the bridges, complete with church organ. A real schizoid song.

12. I Want To Tell You--The third George Harrison tune on this album. It's pretty much a forgettable song, but sort of grates on you because of the discordant piano part. George's songwriting skills got better through the years.

13. Got To Get You Into My Life--A rousing vocal performance by Paul, pushed by a rocking horn section. The 10 second (if that long) guitar solo by George is incredible, and packs a lot of energy into a small space. This is a prime example of how George could do just the right thing in delivering tasteful guitar licks.

14. Tomorrow Never Knows--This song deals with metaphysical issues, but more importantly, reflects the early stages of experimentation with studio production and effects. To create the bird sounds in this tune, the Beatles, aided by George Martin, spliced tape and played it backwards. Very reminiscient of Rain and Strawberry Fields.

For all Beatle historians, this album is a "must own". As I said earlier, it is perhaps the most important step in their evolution. Without Revolver, the White Album could not have been possible.