Revolver

She said: "Revolver is the best Beatles album. It doesn't overwhelmingly rock, roll or pop because its strategy is to transport the listener to the until-then uninhabited space between all three via melodic aggressiveness and sonic inventiveness." I said: "Who put all those thoughts in your head? It's got Yellow Submarine, for Christ's sake. And that strategy meant they took their eye off the ball lyrically and out popped Good Day Sunshine and Doctor Robert. (Let's just ignore the Harrison lyrics)." She said: "No, no, no, you're wrong. What sounds like filler or a lack of cohesion is the embodiment of the main theme: alienation. Listen again to how many of the songs take a side-on approach to loneliness and people talking past each other. As standalone songs, they're crystal clear, but together they jar. That's deliberate." I said: "Even though you know what you know, you're wrong." She said: "Then how come you're using one of their songs as a framing device for your review?" I said: "..."

don't ever fucking make me listen to these piece of shit rat boys again you malfunctioning toaster

One of the most influential albums of all time and the point where the Beatles started changing the game. Tomorrow Never Know’s is perhaps one of the greatest finale’s on any album.

Just a damn great album. Just ... just so great. If I didn't have a soft spot for the sheer quirkiness of "Rubber Soul", "Revolver" would be my #1 Beatles album. Great songwriting, performances, production, and arrangments from top to bottom. Hands down, one of the all-time greats of rock and roll.

1 good song (eleanor rigby) + a whole heap of stuff that sounds like kmart jingle fodder, only it's considered some of the best music ever written. either i'm a philistine, or the world is full of idiots.

This album scores highly purely on innovation and influence but when you add the quality of songs that feature on this album (minus Yellow Submarine) it gets full marks. Lyrically it’s probably their best work - “wearing a face that she keeps in a jar by the door.” 👌 The Beatles at their songwriting and creative peak, I love this album.

Finishing this classics week with a BANG. I've been looking forward to the day we'd get a Beatles album for months now, and here we are starting with my favorite! Revolver is such an unbelievable piece of art. The recording techniques are still mind-blowing by today's standards, and the genre exploration is such a welcome reprieve from the band's earlier work. There are, frankly, too many hits on here. I could list them, or you could literally just read the tracklist. Eleanor Rigby?? Taxman?? This is also home to one of my all-time favorite songs ever made, "Tomorrow Never Knows." What a dazzling, mystifying piece of music. And of course there's also "Here, There and Everywhere," famously sampled by Frank Ocean on Blonde. "She Said, She Said," reworked by the Black Keys. It's an experimental pop rock album, and it still manages to be a hit parade. As cliche as Beatles praise has become, it's almost frightening how good their albums like this are. This was made in 1966. Who was anywhere near this in 1966? We've heard so many rock albums on this list from that decade and decades after, and it's crazy how this holds up compared to any and all peers. This could never get less than a perfect score from me. Favorite tracks: Tomorrow Never Knows, Love You To, Taxman, Eleanor Rigby, Got to Get You Into My Life, Here There Everywhere, She Said She Said. Album art: Definitely iconic. I don't know what my favorite cover from the Beatles is honestly, but it isn't likely this one. Still, I can't escape it. 5/5

I kind of wish I were listening to the Beatles albums in order, to follow their evolution, but it's also interesting to look at each album as a snapshot of one point in time, and to hear the familiar and unfamiliar songs in their original collections together. I do remark how this album represented an exploration of what it meant to craft recordings in a studio as its own thing, as opposed to capturing a group performance. I wouldn't really have noticed that if I hadn't read about it, but it's quite interesting to me to learn the details and innovations they came up with. I loved all the songs, from the very familiar to the less. I'm sure there would be a different favorite every time I listened. Today, unpredictably, it was "Got to Get You Into My Life."

For about 15 years, I believed, and would argue, that this is the best Beatles album. I'm less certain now - purely because so many are brilliant, but it still feels like the balance of pop and experimentation is so perfect on this album, at least for me. It really isn't worth going track by track with the Beatles, as you'd almost believe every song is a single, such is their impact. It's perfect, or so near it doesn't matter anyway.

This album blows my mind. Every single time. This is a pop/rock album, right? But here's Eleanor Rigby, a piece of chamber music with pop lyrics; Love to You, with its tabla and sitar; Yellow Submarine, which feels like something written for Sesame Street; For No One, backed only by piano, percussion, and French horn; and Tomorrow Never Knows which still sounds, in 2021, like it's from the future. The rest of the songs are more traditional rock and pop but they are an eclectic mix that I find difficult to place in a specific time period. Here, There and Everywhere sounds like 1960 Beatles. Got to Get You Into My Life sounds like 1970s Wings (which is honestly ok with me). Here is a short list of the things on this album that make me exclaim, "Are you kidding me?" to these geniuses when I listen to Revolver: The too slow countdown + cough + in tempo countdown that open Taxman and the guitar solo in the middle. The psychedelic fuzzy guitar on She Said She Said. The staggered entrances of the instruments and vocals at the beginning of Good Day Sunshine and the change to the melody on "Sunshine" the last time through the chorus. The way the bass and the piano play with each other on I Want to Tell You. The entirety of Tomorrow Never Knows. ARE YOU KIDDING ME? This is my favorite Beatles album.

Honestly has to be a 10. This album revolutionized the studio as we know it. The Beatles experimented so hard with recording styles and it changed everything.

One of the greatest albums of all time. You can hear the seeds of experimentation which would explode the next year in Sgt. Pepper's Lonely Hearts Club Band. This album represents a huge leap forward musically, and technologically as the Beatles began using the studio as an instrument in itself.

Good album :)

Are you strapped in? Got your helmet on? Ready to clutch your pearls? I’ve got a doozy for ya: “Tomorrow Never Knows” is the best song The Beatles ever committed to tape and it’s 99.9% of the reason why I’m giving this record 5 stars.

mmmmmmmmmeh

Decided to be more lenient with what I consider a 5. When it comes to the Beatles, you might assume they’re overrated. That is until you listen to their catalogue. Beyond the big hits, they have so many beautiful songs and this album is full of them. It's is so soothing that takes you to different places looking at love, regret and living in a fucking yellow submarine. For an album to come out in 1966 and still sound this good speaks volumes about what a generational band they were. I absolutely loved this album.

Here are The Beatles about to leap headlong into their new psychedelic personas. From the backwards guitar solo on Taxman to… the backwards guitar on Tomorrow Never Knows, the band is firing on all four cylinders. Everyone has their spotlight songs, and the album shows a group taking their first real step into the unknown.

Does nothing for me

For about a year, back in 2020, this was my favourite album of all time. Here's why: Years of stressful touring, tens of thousands of screaming fans sacrificing their dignity/lives to get to you, a goofy comment about being more popular than Jesus leading to the most powerful country in the world turning against you. That's what the Beatles were wrapped up in. It's no wonder they started taking LSD in addition to heavy use of cannabis. The LSD had the side effect of creating some of the best 2-minute pop of the 60s. Taxman is the Beatles' first time opening an album with a George Harrison-penned track, and it's rock-solid. Jam-packed with distorted guitars, biting lyrics, and brash, infectious basslines, there's really nothing to complain about here. The "ah-ah, Mr Wilson" and "ah-ah, Mr Heath" backing vocals are one of the many tricks pulled out of the Beatles' collective hat here. Then we move onto Eleanor Rigby, a depressingly stark reminder that people like Eleanor Rigby, me, and others exist everywhere. One of the earliest uses of strings in a definitively rock-genre song, and it sounds fantastic. The contrast between staccato and legato string playing in the chorus is great. And other than the strings, there's just Paul McCartney and his more-nasally-than-usual vocal (he was sick during recording). "Eleanor Rigby died in the church and was buried along with her name / Nobody came / Father MacKenzie, wiping the dirt from his hands as he walks from the grave / No one was saved / All the lonely people, where do they all come from?" Harrowing stuff. I'm Only Sleeping - one of the earliest, if not the earliest, uses of reversed guitar in a pop song. There's an entire solo built around this and it really adds to the slow, swung, dreamy mood of the piece. Also, fun little bass licks bookending those music breaks. They're three for three so far, these Liverpudlian lads. Love You To is a track I feel gets too much hate simply for being wildly outside the Beatles' pre-1966 sound. I think it's a solid fusion of sounds from Indian classical and British rock (cool instrumentation especially), and George's vocal melody is super fun. Here, There, and Everywhere is gorgeous. Apparently it was Paul's "reply" to the Beach Boys' gentle yet revolutionary Pet Sounds, released a few months before this album, as part of the two bands' ongoing rivalry. It's a huge standout track in the Beatles' discography as a whole, particularly the chord progression, which is a masterclass in harmony by itself. Yellow Submarine is unequivocally the weakest track on the album, but that's not to say it's bad. On the contrary, it's probably the catchiest song released by the band that year (if not in their entire discography). Everybody knows Yellow Submarine. The "band begin[ning] to play" is the best part of the song. She Said She Said features some distorted, layered guitars, giving a very distinctive texture that would feature in many later Beatles tracks (including some others later on Revolver). There's so much going on here sonically that it's easier just to bask in the incredible harmonic work between the guitars and vocals, along with Ringo's crash-heavy percussion. Flip over the record and we come to Good Day Sunshine, an upbeat pop track centred around a very low piano register. What is it about low-register pianos that makes music sound comedic? This song makes me want to laugh, prance about, remember this song's lyrics don't really apply to me, and then sit down glumly and acknowledge the lack of a nearby presence. And Your Bird Can Sing, one of John Lennon's best Beatles tracks (despite the nonsense he spouted about it being a throwaway). The distorted, self-harmonising lead guitar line is brilliant, the vocal harmonies are on-point, and whoever's doing that tambourine at the end should probably be fired. (It's pretty low in the mix, though, don't worry.) This is taking too long to write, so I'll make this quick. For No One is a short, to-the-point ballad that is so simple and elegant that it may just be in my top 5 Beatles tracks. Doctor Robert's guitar riff is maybe a little annoying, but that middle organ section is a moment of spiritual ascension. I Want To Tell You has that great tritone+semitone clash in the piano part that some people apparently hate but I personally love. Got To Get You Into My Life is energetic, brassy, and has an excellent one-liner chorus, as well as a brilliant final section where the guitars take over for the trumpets. Tomorrow Never Knows still sounds like the future even 58 years later, with some of Ringo's best drumming to date, heavily edited guitars(?) that are made to sound like gulls, a pedal tone, an indecipherable lyric (LSD), and some stunning surround-sound mixing. What a freaking awesome album. Of course, as with every sane Beatles fan, I eventually started to prefer Abbey Road over Revolver. But the latter has this brilliant energy and raw creativity that I'll never forget. 5/5 Key tracks: all, pretty much

This is a beautiful album of artwork and I always enjoy listening to it. It's not even my all-time top fave Beatles album but it's still deserving of 5 stars. I love where these songs take my imagination and I had a great time listening to some classic genius song-writing which did in fact change the direction of pop music inspiring millions globally. Well done Beatles love you long time.

I often fall on the Alan Partridge trap of listening to ‘The Best of The Beatles’ and inevitably miss out on rediscovering songs that would be the pinnacle of most bands’ careers. Revolver is full of these, in particular Tomorrow Never Knows, Taxman, I’m Only Sleeping, and Got to Get You Into My Life. 5 stars in spite of Yellow Submarine.

A dynamic album with top notch production value. There is a fair amount of experimentation with stereo sound, instrumentation and arrangements. When used, the harmonies are excellent. The drum lines simple and true. Individual songs differ enough from one another so as to not make for a monotone collection. There are pop-hooks a plenty, making fans of first-time listeners.

I hate the Beatles. I like the album cover drawing

Was an okay album. Maybe wasn’t in the mood but just didn’t hit right

Enjoyed several songs but Got to get You into my life was a favorite. Not a Beatles fan or should I say groupie. Can’t name a band I have ever screamed, cried or lamented for. Better writers than singers.

Willingness to be experimented for a band like this but that fact doesn’t make this album any better

I just really don't like the Beatles. Completely burned out on them. But this does get 1 additional star for Eleanor Rigby, which is a great song.

my god....boring.

Great use of other instruments for background parts. I was not a big fan of the Beatles before listening to this album, and my opinion has not changed much. I can acknowledge that it is quality music, but I don't particularly enjoy it.

No denying they have a unique sound but it doesn't really appeal to me.

didn't like it that much, felt kind of bland

Greta album!!

There's a reason this album is usually in the top 10 on any best ever list. Including this one. This influenced the direction of music in my opinion. Like a lot of Beatles albums, it's my favorite when I'm listening to it. And Paul McCartney, he's one of the best bassists ever. The horn section in Get You into My Life is outstanding. 35 minutes of perfection.

Album 656 of 1001 Beatles - Revolver (1966) Rating : 5 / 5 Just an awesome album. There are a couple of tracks that I just don't dig as much but they don't change the fact that this is a great one.. Even with the diversity of the tracks, it is cohesive and shows their ability to experiment while maintaining the sound for which they're known. Easily near the top of the list.

Not really much to say other than this is a masterpiece album. It changed everything when it came to studio work and experimental sounds. It’s inspired so many works in the future and still sounds timeless today. Taxman, I’m only sleeping and she said she said are my highlight tracks. 10/10

Typically I like to save my 5s for albums that are conceptual , sound spacey and flow great. Revolver is not quite excelling in any of these categories although it flows well and embodies core 60s rock as well as any. It maybe close to a compilation than a convention 5 album for me but it’s hard to deny it when every single song is an add for me. Whether it’s the sole experimental track , tomorrow never knows or the ever catch taxman or the psycheldic yellow submarine, the revolver never misses . In its own very Beatles way, the revolver is excellence

The only band to release 6 five star records consecutively.

One of the most influential albums of all time. An easy 5 for Tomorrow Never Knows alone.

The best album so far on this list.

Revolver What can you say that hasn’t been said a hundred times before and a hundred times more artfully? It’s much a perfect Beatles album and therefore just a perfect album. I’ve heard it so many times but I can pretty much listen to it on repeat endlessly, like I have all day today. Like all of their albums it's amazing how it can sound different every time you listen, and songs you'd previously only liked suddenly become your favourites. For a long time I wasn’t keen on Yellow Submarine, but hearing its genesis on the box set a couple of years back has changed my perspective. For some reason I didn’t appreciate She Said, She Said for a long while, but again, now it's one of my favourites on the album (and I didn’t realise until recently that Paul doesn’t play on it at all) It’s kind of interesting that this is the start of the fracturing of the 4 headed monster, pre-empting what happened on the White Album, with each person’s song very much their own thing. You can feel George wanting to get his songs heard, Paul is at the start of his man about town supremely confident songwriting period, and while John is descending into LSD befuddlement, he still comes up for air occasionally to deliver some incredible songs that really make the album what it is. He only has 5 or 6 songs, but I’m Only Sleeping, She Said She Said and Tomorrow Never Knows are absolute cornerstones of the album, and without them the whole atmosphere and quality of the record would be hugely diminished. I’m also constantly amazed by their ability to synthesise sounds with the ideas and themes of the songs, without heavy-handedness or gaucheness or literalness, as on how the piano is slightly off-key on I Want to Tell You, signifying George’s uncertainty in the words, and the horn on For No One encompassing the wistfulness and realism of people drifting apart. Also George’s backing vocals on the chorus, singing Yellow Submarine on one note (in the right channel on the 220 stereo mix), giving a very welcome air of vague cynical detachment, as a counterpoint to the exuberance of the song. There are countless examples of this throughout the album, and it’s surely one of those things that consistently sets them apart from their peers. I know this is also when George started to fall out of love with the guitar, but some of his parts on here are incredible, not necessarily just for technical complexity, but for feel and most importantly for unusualness, some of the stuff hes does on She Said She Said and Dr Robert are quite odd in a brilliant way. Paul’s bass playing on Rubber Soul is fantastic, but this is at another level. That little groove behind the ‘if you drive too far…’ lines, and the whole of I’m Only Sleeping is just unbelievably good, great in it’s own right but the bass floating around the upper register suits the songs superbly. And Ringo of course is as ever superb - Tomorrow Never Knows (and Rain as part of the sessions) are incredible bits of futuristic drumming, but he’s amazing throughout, I love the deceptively simple pattern on I’m Only Sleeping, the gentle rolls and jazzy feel on Here, There and Everywhere. The into roll and slightly disjointed pattern on She Said She Said is so good, both technically and as a service to the song. He also has that brilliantly tight Stax/Al Jackson pattern and sound on Dr Robert. As with all their albums is also sequenced brilliantly, the groove of Taxman followed by the deeply resonant Eleanor Rigby, followed by the dreamlike and hazy I’m Only Sleeping, then followed by the Indian sounds of Love You To. That must have been mindblowing in 1966. And then you get possibly Paul’s finest ballad, tender, warm, touching before the schoolyard singalong of Yellow Submarine. Then an Indian/LSD influenced guitar pop banger to finish off the first side. A sunny bit of barrelhouse rolling piano kicks off side 2 before that great riffing with And Your Bird Can Sing, followed by the amazing For No One, running Here There and Everywhere close, not quite a ballad, but a quite incredible bit of baroque pop with a superb lyric, before we get some more drone influenced guitar pop and then part 2 of if I Needed Someone, with its uncertain and hesitant lyric counterpointing brilliantly with the declarative and unequivocal effusiveness and exuberance of Got to Get You Into My Life, which in turn acts as a brilliant bit of melodic rnb/pop before the experimental and psychedelic masterpiece of Tomorrow Never Knows. This is possibly my favourite Beatles song and I would love to go back to 1966 and hear this album for the first time and then hear this song at the end, what must that have been like? I oscillate between Revolver, Sgt Pepper the White Album and Abbey Road as my favourites, but this is probably the one I listen to most and if I had a type of pistol to my head this would be my one Beatles album. Something the Beatles music does, and this album in particular does, is make me think everything’s going to be ok, that if something like this can exist then the world is a good place. That four people made this album and brought so much joy, happiness, curiosity and colour to the world and to my life it makes me feel so incredibly hopeful and touched. I’ll stop now, as this is more a patchwork of different thoughts than a review. Obviously a 5. 🔫🔫🔫🔫🔫 Playlist submission: Tomorrow Never Knows

It's one of The Beatles best albums, containing some of their most iconic tracks. At the risk of sounding like every other 5 star review, it really marked a new era that had started to peak out during Rubber Soul, but really hit hard by Revolver. I honestly can't gush about it enough.

One of the greatest albums ever recorded a must listen for any human. Simply perfection.

This is the second Beatles album I’ve gotten on this journey, after Sgt. Pepper’s. Oddly enough, Revolver is the album preceding that one. At this point, the boys were just about done performing live as a band. They started ramping up their studio production tinkering to create an innovative soundscape inspired by LSD trips, Eastern philosophy, and avant-garde music. There’s the horn section on “Got to Get You Into My Life”, the string octet for “Eleanor Rigby”, the back-masked guitar solo of “I’m Only Sleeping”, the Indian instrumentation on “Love You To”, the tape loops assembled for “Tomorrow Never Knows”, the list goes on for what they achieved. I know these tape effects and instrument choices will be used more frequently by artists in the future, but the Beatles did a lot to make well-structured music with these new-at-the-time methods. Adding to that, the song structures are a lot more varied on this album. A fair amount of tracks are idiosyncratic - the out-of-tempo count-in to “Taxman”, the switching between 4/4 and 3/4 time on “She Said She Said”, and the syncopated drum pattern of “Tomorrow Never Knows” as a few examples. These variations are complemented by more normally structured songs that serve as good palate-cleansers like “And Your Bird Can Sing” and “Yellow Submarine”. As for the lyrics, Revolver largely deviates from the Beatles' prior work of mostly love songs. Instead, the themes range from isolation in "Eleanor Rigby" and "And Your Bird Can Sing", to drugs in "Got to Get You Into My Life" and "Doctor Robert", to other assorted topics like taxes and sleeping on "Taxman" and "I'm Only Sleeping". There's a great deal of variety in the emotional delivery throughout the album, whether a song evokes sadness, joy, angst, or bliss. Honestly, I couldn’t think of a bad or middling track off this album. Each song brought something unique to the table, as every band member was on their game lyrically and sonically. I know they would continue to experiment on Sgt. Pepper’s and onward, but Revolver became a high mark to surpass.

Probably my favourite Beatles album; 35 minutes of perfect 60s music. So much variation, but still feels cohesive enough with the Revolver 'sound'. There is little to separate Paul and John on this one - this is the one album I'd choose to demonstrate the best of both.

I loved this album. It started strong, with Eleanor Rigby as the second song. Then throughout the album there are so many classics. Even the songs that I didn’t know going into it, I really liked. My favorites were Eleanor Rigby, Here There and Everywhere (this one makes me feel peaceful), Yellow Submarine, Good Day Sunshine (this one makes me feel so happy and in a summery mood), For No One, and Got To Get You Into My Life. I listened to it twice through to be sure I wanted to rate it a 5, and I enjoyed it immensely both times.

Not bad, but just another Rutles wannabe. ⭐⭐⭐⭐⭐+⭐ ________________________________ 🎧 LPs reviewed: 62 🎧 LPs left to review: 939 🎧 LPs I found great/relevant enough to be mandatory listens (5): 14 🎧 LPs I *might* include in my own list (4): 17 🎧 LPs I will certainly *not* include in mine (1-2): 17

This album has my favorite Beatles song of all time on it (For No One), but might be my second favorite album if theirs next to Rubber Soul. Still essential and a great listen ever for the zillionth time.

Everyone knows Elenor Rigby and Yellow Submarine, but it’s the supporting songs that make this is a classic. My favorites are I’m Only Sleeping, And Your Bird Can Sing, and Tomorrow Never Knows

Rubber Soul was a toe in the trippy pool, Revolver was the cannonball. Put youself in the place of a kid in 1966 dropping the needle on this bad boy. Talk about getting your mind blown. This was the most popular band in the world getting a head full of acid and totally reinventng the game. Virtually every moden band is dirivitive of these guys, be it songwriting, arranments, recording innovations.

Game changer. Revolutionary. Simply staggering. Harrisons sitar solos are mesmerising

Eleanor Rigby and Tomorrow Never Knows are beautiful 5/5

Sometimes this is my favorite Beatles record. You can hear the experimentation of Rubber Soul solidify into a more cohesive expression. So much growth in just the two years from Meet The Beatles safe and an approachable pop melodies. This is a now a group that is reinventing something almost wholly new. The innovation of this album definitely inspired several types of music to be born. "Taxman is a punk song!" - Seantegrity

My favorite Beatles album didn't really blew me away in an explosive sense that albums like "Abbey Road" did. Instead, "Revolver" is deceptively plain and simple. Yet it quickly grew on me. It has beautiful harmonies and melodies, as well as trippy sections which effortlessly blend with the classic rock sound. It's a brilliant and sneaky move towards their psychedelic sound, and maybe the psychedelic sound of '60s rock in general. Amazing, beautiful album overall.

Another Beatles album. What can I say that hasn’t already been said? Kicks off with Taxman and the boys never miss a beat, unlike some other so called “GOATs”. I guess I’ll give you my sleeper song: “Here, There, and Everywhere” very clever and catchy, surprised we don’t hear it more often.

Some of me favorite Beatles songs on this album. It’s the clear start to the separation of styles within the band. Rubber Soul and Revolver are a great pair of albums to hear the past and future genius of all four members.

This was the first Beatles album I listened to, and the density of outstanding songs on this still drops my trap. Rubber Soul appeals to me more as I love the band sound, Abbey Road because it feels richer and sadder, but this might be their greatest achievement.

First song sampled by the Jam in Start

They’re going to be big!

No. 250/1001 Taxman 4/5 Eleanor Rigby 5/5 I'm Only Sleeping 5/5 Love You To 3/5 Here, There and Everywhere 4/5 Yellow Submarine 5/5 She Said She Said 4/5 Good Day Sunshine 5/5 And Your Bird Can Sing 4/5 For No One 5/5 Doctor Robert 4/5 I Want To Tell You 3/5 Got To Get You Into My Life 5/5 Tomorrow Never Knows 3/5 Average: 4,21 Although not my favorite of their catalogue, this is still an exceptional album. Eleanor Rigby is among the best songs ever written.

Favourite songs: Got to Get You Into My Life, Yellow Submarine, Eleanor Rigby, Love You Too, Doctor Robert Least favourite songs: "Here, There and Everywhere" 4/5

Предисловие: я хуй знает как оценивать альбомы Битлов, потому что в их дискографии как будто нет промахов. Ставить всем 5 не хочется, а низкие оценки - издевательство. Поэтому в данном случае ставлю Револьверу 4 за удивительную для поп-группы космического масштаба тягу к экспериментам (не во всех песнях удачных, но в целом кайфовых). Ну и напоследок - не употребляйте наркотики, только если вы не Джон Леннон конечно же.

The Beatles seventh album is 5x platinum and regarded as the most innovative album in popular music. There's different musical styles, diverse sounds/instruments, new recording strategies, and great lyrics. The album is said to have inspired development of psychedelic rock, electronica, progressive rock and world music. The vibe the band was going for on this album, was sounds that weren't possible during live shows and ones that sounded otherworldly. The album accomplished this and it still holds up today as being extremely rich in different sounds, while holding up that pop rhythm. Furthermore, the album captured the spirit of the times which was progressive social and cultural changes - especially in London which during recording was regarded as a cultural capital. This is the first time I have listened to this album all the way through and I have to agree it sounds pretty epic!

I have never been a true Beatles fan. Maybe it's because when I was able to "get into them" I was too busy getting into "better" bands like Led Zepplin, Rush, and Van Halen. Anytime I listened to them I thought they were just a lighter version of that and never impressed me. But any time I really dove into a song, I tended to like it for the most part. I'm very excited that we have finally gotten an Beatles album on this list so I have an excuse to listen to them and this one didn't dissapoint. With classics like Elanor Rigby and Yellow Submarine (is it the true version?) I was hooked. Even the lesser knowns were enjoyable. I actually ended up listening to the album twice over and I can confidently say I am a fan. I have no ranking of the beatles albums but since this is the first I've fully listened to, I'll say, for now, it's my favorite. Super strange and cool album cover, something I'm sure they made while they were tripping on acid.

I did enjoy listening to this album, having never fully listened to any Beatles albums from beginning to end. Only knowing a few of their major singles, this definitely felt more psychedelic/experimental than perhaps their earlier work. Especially with the sitar and other instruments. It seemed obvious that they were on some good drugs around the time of recording this album. Controversial opinion - didn't care too much for Yellow Submarine. Best: Taxman; Elenor Rigby Worst: Here, There and Everywhere

Maybe it's because I'm not a huge Beatles fan, or maybe it's because I hate "Yellow Submarine" with a burning passion. Either way, I thought this album was average, and I initially wanted to rate it 3 stars. However, I acknowledge that "Revolver" contains a few classic hits, such as "Eleanor Rigby" and the other song I mentioned. I was also pleasantly surprised by "Love You To," which I've never heard before. Therefore, I'll give this album 4 stars.

The translation album between pop and psychedelia. Like every Beatles album it’s jammed with hits!

I would love this album in mono when listening on headphones. It probably sounds great in stereo on speakers - this wasn't how I listened to it. The instruments and vocals were too spaced out (man).

I understand why people like The Beatles now. I hate John Lennon but this was good. I'm mad that I actually like this but at least Paul McCartney and Ringo Starr seem cool.

Another Beatles album. This is number five. Seriously is the whole discography on this list? Not everything that the Beatles did was great. Never have I thought to myself, "Oh boy! Let's listen to an entire Beatles Album!" This album is no different, but at least the songs are concise and the album is short. Naturally, a lot of the songs are recognizable, but does that mean I needed to listen to the entire albu? The songs weren't as eccentric as other Beatles albums, save for a couple, but there were quite a few campy songs - I am looking at you, Yellow Submarine. Eleanor Rigby is the best song hands down. A Beatles song here and there is fine, and I will probably listen to some of these songs again, but the entire album is not necessary.

I sure hope I don't lose any friends over this, but The Beatles don't do much for me. I think my dad was probably a Stones-over-Beatles guy, and I don't recall 97.5 or 98.5 playing much of the Beatles when I was a kid, so I never listened to them much despite their popularity. I think I listened to one of their greatest hits albums about a decade ago, and it didn't grab me enough to ever follow up. I feel like "Yellow Submarine" is a terrible song; I just don't get how that became one of their hits. I thought maybe I was missing something, so I listened to the version on the "Yellow Submarine" album, and it still sucks. They named a whole album after this dogshit?? I know people smoked a lot of pot in the '60s and '70s, but I can't imagine being high enough to think this is a good song. Then again, I don't have a great imagination. I guess I just had to be there at the time? Some of the songs on this album are decent, but I can't say I loved any of them. "Got To Get You Into My Life" was pretty good, though. Sorry. I know this is sacrilegious, but I can't honestly give this any better than a 2, and I wouldn't blame anyone who gives it a 1. I will now turn in my Music Fan card, admit to being uncultured swine, and delete the 1,300 or so albums on my laptop/iPod.

Mid, tbh

Favs: Eleanor Rigby Least favs: I’m Only Sleeping, Love You To, Most of the rest I don’t want to be someone who hates on the Beatles just to be unique. I don’t hate the Beatles….. I just find I almost exclusively only enjoy their big hits. The rest of this album just didn’t do it for me.

Ugh, more Beatles. Yellow submarine reminds of Uncle Jeff and Grandma Morrow's house. Other than that, most other songs same old stuff. Do like Got to get you into my life. And I did think of Shankar's album when I heard Tomorrow never knows and Love you to. Speaking of Shankar, I should have rated him higher. Album released Aug 5th. My college roommate, Ninja's birthday. All I got except a plea for no more Beatles. 1.5 Bonus .5 for reminding me of Shankar.

2 Our third Beatles album, and one that falls directly between the past two chronologically. So, it's only fitting my rating should fall there as well. It's interesting to listen to this album third, as it's very much a midpoint marker in the transition from the sound of early Beatles to later Beatles... and I'm learning I prefer the latter (though not drastically). That all being said, this is probably the longest 34-minute album I've ever heard, and I was pretty surprised to learn that the longest song on this album is exactly 3 minutes when I checked in on my listen progress - I just don't feel like there's a ton interesting going on here. Eleanor Rigby is a good song, though as if to counterbalance that, Yellow Submarine is probably one of the hottest pieces of garbage I've heard. As a whole, I didn't hate it, but I definitely felt underwhelmed. (Why is this the biggest band of all-time???? A global average of 4.26 are you kidding me?????) Favorite songs: Eleanor Rigby, Tomorrow Never Knows

Remastered stereo version on Spotify. Super jarring mix and master, making the songs almost unlistenable. I'm sure there's greatness here, I just wasn't able to find it.

Ratio: 14.20% Can understand why people love the Beatles, they have such a unique sound, interesting story telling. I just can't get behind the music, it's not for me. Favs: Eleanor Rigby / Got to get you into my life Dislikes: I'm only sleeping / Taxman

inoffensive but boring

I listened to it for study music, but it didn't make me wanna get up in front of the class and boogie down, so it is not a 5/5. There were a few good tracks but overall it wasn't anything interesting. I need something to wow me.

Kärlek som är lätt att förstå och känna igen. Förstår att de här pojkarna var så populära. Skivan är dock inte i min smak. Lite ojämn i stilen.

Honestly, it's neither better nor worse than those no-name albums I've rated 2 stars but I don't like Beatles + it's overrated + I'm not in the mood + 0

listened to this with my dad both of us were waiting for it to end

I‘m aware of the fame that the beatles have but the only song that ever did it for me is „Yesterday“. Nothing on this album impressed me personally or stayed in my mind once it was over, not one song made me „listen up“ and it mostly just passed me by. The „beatle voice“ also doesn‘t do anything for me and I find it a little bit annoying if I‘m fully honest. I can hear that there is something, but it missses me completely.

I don't know what it is about the Beatles that I've never liked. I understand how and why they got popular, and musically they're pretty good, but I just can't get into them enough to delve into their library. This was a new one for me, but again, there isn't anything on here that stands out in my opinion. Pretty generic and dated, there are so many artists from the same time period that are infinitely better in so many ways that I would rather give my time to.

And Your Bird Can Sing is in my top 5 or so songs ever, so that's that. Listening today it occurred to me that if you heard these songs for the first time knowing nothing about anything you might not believe that the John songs and the Paul songs (never mind George and Ringo) were by the same band. If I knew my Beatles chronology better I might suggest that this album planted the seed of their eventual divergence. (I tend to think Paul's a sap but his beautiful songs are very beautiful, and For No One is one.)

Among my many memories associated with The Beatles, one that always brings a smile to my mug is the time I saw them live. Yes... i did indeed see the Beatles live at a wedding reception about a decade ago. And let me tell you they were magnificent playing songs from their entire career. I danced and drank and danced and drank... and drank some more. I woke up on Brighton's stoney beach around 4am having missed my train home with no money in my account to afford another. I called a friend (who was fortunately up eating before sunrise... i love the muslims) and she transferred some money. I got home in London about 8am with a colossal headache, stones in my stones, BUT... i saw The Beatles live. Well... I'm pretty sure it was them.

It's Revolver. You could argue it's the best album by the best band ever. Interesting, quirky, a bit stupid, just really good. Great wedding band too.

Great Haven’t disliked any of their albums so far

Masterpiece. Solid 10.

Meu primeiro disco do Beatles dessa lista e, apropriadamente, também o primeiro disco deles que ouvi inteiramente na minha vida. Minha história com Beatles é longa, mas vou resumir: Por volta dos meus 8 anos de idade tive meu primeiro contato com a banda, através do filme Yellow Submarine, que assisti com meu irmão mais velho. Uma história que guardo com muito carinho e que escrevi detalhadamente na minha review do filme no Letterboxd. Para o interesse dessa review aqui, é importante notar que uma das primeiras cenas do filme inclui a faixa “Eleanor Rigby”, do Revolver, (e que cena maravilhosa ein, pqp, https://www.youtube.com/watch?v=HuS5NuXRb5Y) e foi nessa faixa que eu fiquei instantaneamente mesmerizado e viciado. Passei a infância toda absolutamente vidrado nessa canção, e em algumas outras dos Beatles. Ao atingir a adolescência eu comecei o hábito de ouvir álbuns inteiros, e obviamente, fui ouvir o álbum que deu origem ao meu crack juvenil, Revolver. Hoje, 15 anos depois, já me aprofundei tremendamente em toda a discografia da banda e todo tipo de informação que pude encontrar deles. Já rankeei toda sua discografia e a discografia solo dos quatro membros e, além disso, rankeei individualmente cada música deles (209 canções, aqui vai o link para a playlist que montei contendo todas as músicas em ordem decrescente da favorita pra menos favorita https://open.spotify.com/playlist/3RsvOxaH0v2Yh9o7GGG9Gi?si=eyZgwJoKTe6vs9a-PJet5A) E depois desse longo prefácio, o que tenho a dizer a respeito desse disco? Prefiro o Rubber Soul! Brincadeiras à parte, tenho esse álbum como meu quinto favorito da banda. Não o vejo como absolutamente perfeito e impecável como alguns outros trabalhos da banda (Rubber Soul e Abbey Road). O lado 1 é maravilhoso, mas o lado 2 deixa um pouco a desejar pra mim. Particularmente, não ligo muito pra canção “Good Day Sunshine” ou “Got To Get You Into My Life”. Não escondo o fato que sou fanboy do John, mas até ele chegou a pecar um pouco nesse disco com “Doctor Robert". Essas três músicas são ótimas, mas pra mim, que vejo cada disco principal da banda como um manto sagrado, “ótimo” não é o suficiente. O que mais faz falta nesse disco são as duas faixas que eles lançaram no mesmo período como singles, “Rain” e "Paperback Writer". Ok, todo mundo pensa a mesma coisa, mas não deixa de ser verdade! “Rain”, particularmente, é uma das melhores canções da banda e muita gente nem a conhece porque ela nunca esteve em um LP. Sim, era uma política da banda na época de não incluir faixas dos compactos nos álbuns para não fazer o ouvinte comprar a mesma música duas vezes. Gesto bondoso, mas em retrospectiva, esse gesto acaba nos roubando de “Rain” em Revolver e “Strawberry Fields Forever” em Sgt. Pepper’s, duas músicas que elevariam drasticamente o patamar de seus respectivos discos. Mas, na realidade, tudo isso sou eu tentando achar pelo em ovo. Beatles tem discos perfeitos, esse infelizmente não é um deles. Mas eu ainda tenho um carinho infinito por esse álbum e por tudo que ele significou e significa pra mim. Ouvi minha cópia do álbum em LP pra escrever essa review, e enquanto o ouvia, nenhuma dessas imperfeições pareciam importar. Revolver é simplesmente Revolver. Mesmo que você não goste particularmente do estilo musical deste álbum ou da banda como um todo, você precisa ler sobre o impacto que ele teve na cultura pop e no mundo de forma geral. Uma das minhas coisas favoritas de Revolver é o crescimento imenso que o George Harrison exibe. Aqui temos não apenas uma, mas sim TRÊS faixas dele, e todas elas são destaques positivos no álbum. A abertura “Taxman”, possivelmente o melhor álbum opener de toda a discografia da banda (junto de “Come Together”). Seu primeiro flerte com música indiana com “Love You To”. Eu particularmente não gosto das músicas indianas do George, mas essa, no contexto do álbum, eu aprecio muito. E minha favorita de suas três faixas, “I Want To Tell You” com suas letras sardônicas e guitarras noiosas. As adições do Paul a esse álbum são extremamente… McCartney… Não tem palavra melhor para descrevê-las! “Here, There and Everywhere” é a balada mais linda que ele já escreveu, se você conhece um hater da banda, apenas toque essa música pra ele e diga que o AMA! Já li vários beatlemaníacos negando o valor de “For No One” no disco, mas eu amo seu posicionamento em seu Lado 2. E sinceramente, eu não preciso dizer nada sobre “Eleanor Rigby”… A música diz tudo por si só. Uma composição dessas em um álbum de música pop em pleno 1966. Paul McCartney tinha 24 anos de idade quando compôs essa canção. “Os Beatles não foram uma banda, eles foram um milagre” -David Gilmour. E meu favorito… John Lennon. Suas adições elevam esse disco pra estratosfera. O storytelling de “She Said She Said”, as harmonias e riffs joviais de “And Your Bird Can Sing”, a atmosfera de “I’m Only Sleeping”… TOMORROW NEVER KNOWS!!!! Jesus Cristo, é díficil achar as palavras pra descrever o que John Lennon fez em Revolver. Se você tá lendo isso, bota pra tocar “Tomorrow Never Knows” aí rapidão e tenta se imaginar em 1966 ouvindo essa canção, com seus tape loops, com suas tracks reversas, com suas letras místicas… Sério… Se você aprecia música, naturalmente reconhecerá e respeitará o legado e a influência desse disco e desses quatro meninos de Liverpool. Talvez você não ame a banda e suas músicas, mas você realmente precisa ouvir esse disco antes de morrer, não só ele mas sim toda a discografia da banda. O mundo em que vivemos é um mundo pós-Beatles. Imaginar um mundo sem Beatles é como imaginar um mundo sem eletricidade. Não tem como! 5/5

So this is the album with classics like Yellow Submarine. It's really good and not too long.

Immaculate. There was a stretch in my junior year at FSU where I listened to this album on repeat for weeks.

This is a lovely album, it makes me happy. All the songs are good!

The coolest Beatles album. It’s the one I want to say is my favorite but they did so many great things. Definitely the most psychedelic Beatles release. Eleanor Rigby is a top three Beatles track for me.

Very good

I mean, this is Revolver. Five immediately. Having been born long after this album made a splash and revolutionized culture and the possibilities of rock and pop music, I can say from a song by song basis, and feeling how the tracklist flows or doesn’t flow together, I prefer their later work. Abbey Road is the best Beatles album, then White Album, then Peppers. Stop saying Revolver is the best. This album is the launch-pad to the greater state. It is not in itself the greatest state. When I listen to Revolver, it makes me want to listen to the later albums (sans Let it Be). Listening to the later albums doesn’t make me want to listen to Revolver. Discuss. Still, Revolver is better than 99.9% of all other albums the world has produced. Just take Taxman, for instance. Taxman is supremely badass, and not just because of its witty lyrics about taxing your feet. This is literally The Beatles doing battle against a supertax that would’ve wrung them dry. They didn’t sit back and accept it, especially as the tax in question would be allocated for military use. George, as you can guess from his later ‘Within You, Without You,’ was not so keen on the idea of going bankrupt to fund instruments of death. So he wrote a song about it, risking the group’s massive popularity across party lines, and in the end, won. Sorry Mr. Heath, but you’ll forever be known as an absolute douche. You don’t go up against the Fab Four.

IMO, this is the first truly great Beatles album. I like the pop stuff.....Rubber Soul is really good, but this transcends exponentially. Experimental Beatles are the best Beatles. They pretty much cook from here to the end. Multi-tracking is mastered at this point, the basic pop stuff has dropped off, the drugs are flowing, and experimental mindset is in top gear. I sometimes wonder it what it must be like to be in a fully immersed mindset and scenario that allows you to just fuck around and find out. No one tells you no, everyone says how can I help, and you are....just kind of free to make it how you want to make it. You release a bomb at this point and you are still good. It is not like they were constrained before, but this sounds like freedom to me.

Hi ha tants angles com tòpics quan toca parlar dels Beatles. Primer, meditava sobre els verbs del desig en anglès. Tenim desire, need, want, like, long, crave... i yearn. Yearn és intraduïble. Mira endavant i enrere alhora. És un ansia, un sospir impossible nascut de la boca del estómac, i, també, un enyor. I Revolver és conjuga, sencer, des del yearn: Eleanor Rigby, Love You Too, Here There and Everywhere, Got To Get You Into My Life, i la genial For No One. Un al.lè es torna verb, angoixa i desig. Yearn. Una turbulencia que edifiquen musicalment, i que amaneixen amb tracks divertits. Perquè són els Beatles. Encara ho són. Aquest és el segon angle amb el que parlar de Revolver. El que ens obsessiona a tots des que vam veure Get Back: què i com són els Beatles? Que Peter Jackson ens mostrés què hi havia rere la cortina dels Apple Studios no va decebre'ns, no va aixafar la guitarra amb un Mag d'Oz de pa sucat amb oli, sinó que va atrapar un llampec de la gran colaboració creativa del centre, justament quan les potències que la conformaven eren ja tan fortes que esfilagarçaven el conjunt. Si ho mirem així, Revolver és interessantíssim: l'harmonia, encara regent, comença a dissoldre's, els individus es consoliden més enllà de veus o instruments: comencen a ser creadors. A ser propietaris de cançons i dels seus sons. Encara no hi ha McCartneys dictatorials ni Lennons iconoclastes, però ja neixen, perquè ja els distingeixes. I competeixen. I és apassionant, perquè és un senyal de maduresa. Justament el tòpic més gruixut al voltant de Revolver. "És l'àlbum que marca el pas a la edat adulta de la banda" diu la dita popular que m'acabo d'inventar. Segurament el que hauríem de dir és que Revolver enceta l'edat madura del rock perquè es treuen de la màniga els primers indicis del que serà un so identitari -no del grup o del single- de l'àlbum. I el conceptualitzen com un viatge coherent. Aniràs caient pel talp del conill, des de I'm Only Sleeping fins a She Said She Said. Ja fan alguna cosa més que cançons. I després, per fer servir el perfecte profètic, ha de venir el Concepte. La mitologia se'ns menja i les revisions també. Què paga més la pena d'escoltar per tastar Revolver. La versió Mono? La Stereo? El Remaster del 2009? El recent Remix del 2022? Les tres primeres, amb diferents matisos i intensitats, son un tro. El darrer Mix s'afarta de pistes i no compacta bé les mil i una coses que estan sonant en cada cançó, i l'experiència unitària que et sometia a un encanteri es converteix en una dissecció de cada tema. Sí, desenterra tresors com Lennon inventant-se Yellow Submarine com una aventura de folk dylanià, sobre misèria proletària, fantasies escapistes i una penombra mortuària. Yellow Submarine! Però si parlem de música i no d'arqueologia, el mix 2022 fa que les cançons deixin de ser peces d'un àlbum a ser relíquies encaparrades.Els envitralla. Una natura morta. Excepte per Tomorrow Never Knows. TMK mereixeria una categoria propia. Una dimensió pròpia, si ens hi posem. Si abans parlàvem de com neixen els egos artístics d'enmig d'una harmonia de quatre cabelleres amb forma de tassa, TMK agafa aquesta analogia i l'anorrea. TMK dissol qualsevol ego, i s'esmuny de qualsevol metàfora matussera que busqui enllaunar-la. L'últim mix et trepana el cap.

One of the greatest albums of all time.

Sou suspeito pq esse já foi até papel de parede do meu computador, mas é logo aí na dobradinha Rubber Soul/Revolver que eles começam a ficar MUITO interessantes

Easiest 5 I have given.