‘Revolver’ is reloaded
English Rock band The Beatles are back under the microscope. Many fans and critics hail “Sgt. Pepper’s Lonely Hearts Club Band” (1967) as their crowning achievement, the album that reshaped the music industry in its image.
However, the newly remixed “Revolver (super deluxe)” notes that the game-changing seeds of variety and psychedelia were sowed at least one album sooner.
Released on Oct. 28, this expansion project was completed by producer Giles Martin and engineer Sam Okell. This is Martin’s (the son of Beatles producer George Martin) latest visit to The Beatles’ discography.
He previously oversaw the universally acclaimed, remixed and expanded special editions of “Sgt. Pepper’s” (2017), “The Beatles” (“White Album”) (2018), “Abbey Road” (2019) and “Let it Be” (2021).
Reuniting with the award-winning sound team led by Emile de la Rey, at Peter Jackson’s WingNut Films Productions Ltd., Martin again aimed to bring forth the musical audio in stunning clarity.
While that mission was successful, “Revolver (super
deluxe)” is more suited for diehard fans. Sure, the album audio is remixed, so you can hear all elements with more clarity. You can now pick out any hard to notice buried cymbal, or a small ending verse guitar lick from Harrison or Lennon, for example. There are a few hidden gems and unique outtakes/jams to make it worthy of checking out, but the magic of this release follows the legacy-redefining steps of “Let it Be” (2021).
That project reframed the “fractured” Fab Four into a group that was aware of its collective mortality, but they were still forged by a musical brotherhood.
Sans John Lennon’s (rhythm guitar, vocals) typical cynicism, moods were typically light and once they got warmed up, they reminded audiences why they are special.
Many of the outtakes on “Revolver” (super deluxe) are dotted with comedy and whimsy from the band, not redefining, but reinforcing, The Beatles’ friendship, familiarity and dedication to their art at that time. What’s better, from a music lover’s view, is how these outtakes illustrate the scope of their creativity.
Their influence in a pre-Internet world can’t be understated. Yes, there was the rivalry with the Beach Boys, but no one else as popular as The Beatles had openly embraced so many different influences and made them their own.
First off, in no particular order, “Revolver’s” basic offerings are: Three from George Harrison (lead guitar, vocals), one for Ringo Starr (drums) and 10 to the writing duo of Lennon and Paul McCartney (bass, vocals).
Harrison’s opening rocker “Taxman” (with a stylish guitar solo from McCartney), “I Want to Tell You,” and, “Love You To” are heavily colored by Indian culture.
Starr’s “Yellow Submarine” is an effects-heavy sing-along. Lennon’s “I’m Only Sleeping,” is emotional and purposefully dreary, giving way to the band’s avant garde, trailblazing fancies in psychedelic, philosophical songs, “She Said, She Said” and “Tomorrow Never Knows.” These songs — styled with multi-tracks, sped, slowed and reversed samples and other effects — are a few examples of the band pushing the capabilities of studio technology to create unique works.
While here, listen to the takes and fragment of “I’m Only Sleeping” from the deluxe-plus super edition. On one hand, it’s inspiring that a person’s early demo can be so near completion. It’s also a joy to hear the song’s final form come to life from an imaginative soundscape and other outtakes that play with different moods. That creativity reminds you that The Beatles and their audio crew were recording geniuses.
McCartney’s “Eleanor Rigby” is an early masterpiece between Rock and Orchestra that floats like a film through your perceptive organs. The upbeat sugar Pop of “Got To Get You Into My Life” and “Here, There and Everywhere” meanwhile, is offset by the melancholy of “For No One.”
For all packages across multiple price points, “Revolver’s” (1966) 14 album tracks are now remastered in stereo and were sourced directly from the original four-track master tapes. The album’s new Dolby Atmos mix was released, Oct. 28, digitally. The expansive super deluxe collections, which retail for $198.88, feature the album’s original 1966 mono mix, 28 early takes from the sessions, three home demos and a four-track EP with new stereo mixes and remastered original mono mixes for the 1966 singles, “Paperback Writer” and “Rain.”
A 100-plus-page book is also included with rare photos of master tape boxes, track sheets and the band in the studio.
A new Klaus Voorman graphic novel telling the story of the making of the album’s cover, and in-depth descriptions of the songs on the set, is packaged, as well.