
One of the Beatles strangest and most beloved albums, Revolver was the natural outgrowth of The Beatles digesting a number of outside influences. In particular, the band’s fascination with Eastern mysticism and copious intakes of acid resulted in psychedelic experiments that made it clear that The Beatles were not merely the loveable mop tops they were previously perceived as being. In addition, producer and de-facto fifth Beatles George Martin proves himself invaluable, as the band used the studio to a then unprecedented degree, using tape loops, instruments played backward - basically doing whatever it took get the sounds that they sought. This is most famously done on “Tomorrow Never Knows,” which is not really a song proper but a brilliant collage of sounds. Revolver has its own distinct flavor, and it proved that, when properly conceived, albums could be greater than the sum of their parts. That said, Revolver contains some spectacular parts! George Harrison takes on an increased role by penning the catchy rocker “Taxman,” the strange sitar-led droner “Love You To,” and the propulsive piano pop of “I Want To Tell You,” while Ringo gets one of his most memorable showcases in “Yellow Submarine,” a slight but catchy children's song that more than anything is a George Martin tour de force. For his part, Lennon’s acid visions dominate the lazily magical “I’m Only Sleeping,” whose hypnotic effects came from a guitar played backwards. Speaking of guitars, they sound absolutely fantastic on “She Said She Said” and “And Your Bird Can Sing," two more terrific Lennon penned tracks, though his repetitive riff rocker “Doctor Robert” (about a real life drug doctor) pales amid such stellar company. Still, fine though John and George's contributions are on the whole, the best songs here bear the distinct Paul McCartney stamp. Remember, Paul and George were a bit younger than John so it took them awhile to catch up, but whereas John was clearly the band's early leader, by this point Paul was at least his equal. Anyway, Paul delivers the lonely, strings-laden “Eleanor Rigby,” an almost classical sounding classic, while the propulsive horn push of “Got To Get You Into My Life” showed off McCartney’s ever-increasing mastery of pop ornaments. Following a more straightforward path, Paul also penned the feel-good pop of “Good Day Sunshine” and the superb ballad “For No One,” while “Here There Everywhere” is simply one of the prettiest songs ever. The band had so much fun messing around in the studio on this one that they then stopped touring altogether, believing that this was where their future lie. One can hardly argue with the decision's results, as it gave The Beatles the time to really push the envelope on subsequent recordings, resulting in the kind of “anything goes” mentality that punk would later embrace. Revolver is unlike anything else in the rock spectrum and is arguably the band’s most rewarding recording, having in recent years supplanted Sgt. Peppers as the album of choice by winning several “best albums of all-time” critic polls. If you don't like Revolver, then you probably don't like rock music.