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Revolver
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Revolver

First released: 1966, August 5

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Guitar/vocal songbook at Sheetmusicplus.com
Piano/vocal/chords songbook at Sheetmusicplus.com
Tracks
  1. Taxman (2:39)
    Recorded: April 20, 1966 at Abbey Road, London, England but remade April 21, 1966 with overdubbing on April 22, 1966 and May 16, 1966
    John Lennon - tambourine, background vocal
    Paul McCartney - bass guitar, background vocal, guitar solo
    George Harrison - double-tracked lead vocal, lead guitar
    Ringo Starr - drums
  2. Eleanor Rigby (2:08)
    Recorded: April 28, 1966 at Abbey Road, London, England with vocals overdubbed April 29, 1966 and another McCartney vocal added June 6, 1966
    John Lennon - harmony vocal
    Paul McCartney - double-tracked lead vocal
    George Harrison - harmony vocal
    Session musicians - four violins, two violas, two cellos
  3. I'm Only Sleeping (3:01)
    Recorded: April 27, 1966 at Abbey Road, London, England with lead vocal overdubbed April 29, 1966, backward guitar May 5, 1966 and background vocals May 6, 1966
    John Lennon - lead vocal, acoustic guitar
    Paul McCartney - bass guitar, background vocal
    George Harrison - lead guitar, background vocal
    Ringo Starr - drums
  4. Love You to (3:01)
    Recorded: April 11, 1966 at Abbey Road, London, England with overdubs added April 13, 1966
    George Harrison - double-tracked lead vocal
    Anil Bhagwat - tabla
    Session musicians - other instruments
  5. Here, There and Everywhere (2:26)
    Recorded: June 14, 1966 at Abbey Road, London, England with overdubs added June 16-17, 1966
    John Lennon - background vocal
    Paul McCartney - double-tracked lead vocal, acoustic guitar
    George Harrison - lead guitar, background vocal
    Ringo Starr - drums
  6. Yellow Submarine (2:41)
    Recorded: May 26, 1966 at Abbey Road, London, England with special effects overdubbed June 1, 1966
    John Lennon - acoustic guitar, background vocal, blowing bubbles through a straw
    Paul McCartney - acoustic guitar, background vocal
    George Harrison - tambourine, background vocal, swirling water in a bucket
    Ringo Starr - lead vocal, drums
    Mal Evans, Neil Aspinall, George Martin, Alf, Geoff Emerick, Patti Harrison and studio staff - chorus on fadeout
    Session musicians - brass band
  7. She Said She Said (2:37)
    Recorded: June 21, 1966 at Abbey Road, London, England
    John Lennon - lead vocal, acoustic guitar
    Paul McCartney - bass guitar
    George Harrison - lead guitar
    Ringo Starr - drums
  8. Good Day Sunshine (2:10)
    Recorded: June 8, 1966 at Abbey Road, London, England with overdubs added June 9, 1966
    John Lennon - harmony vocal
    Paul McCartney - lead vocal, bass guitar
    George Harrison - harmony vocal
    Ringo Starr - drums
    George Martin - piano
  9. And Your Bird Can Sing (2:01)
    Recorded: April 20, 1966 at Abbey Road, London, England but remade April 26, 1966
    John Lennon - lead vocal, rhythm guitar
    Paul McCartney - bass guitar, harmony vocal
    George Harrison - lead guitar, harmony vocal
    Ringo Starr - drums, tambourine
  10. For No One (2:02)
    Recorded: May 9, 1966 at Abbey Road, London, England with the vocal overdubbed May 16, 1966 and the French horn solo overdubbed May 19, 1966
    Paul McCartney - lead vocal, bass guitar, piano
    Ringo Starr - drums, tambourine
    Alan Civil - French horn
  11. Doctor Robert (2:15)
    Recorded: April 17, 1966 at Abbey Road, London, England with vocals overdubbed April 19, 1966
    John Lennon - double-tracked lead vocal, harmonium, maracas
    Paul McCartney - bass guitar, harmony vocal
    George Harrison - lead guitar
    Ringo Starr - drums
  12. I Want to Tell You (2:30)
    Recorded: June 2, 1966 at Abbey Road, London, England with bass guitar overdubbed June 3, 1966
    John Lennon - tambourine, harmony vocal
    Paul McCartney - bass guitar, piano, harmony vocal
    George Harrison - double-tracked lead vocal, lead guitar
    Ringo Starr - drums
  13. Got to Get You Into My Life (2:31)
    Recorded: April 7-8, 1966 at Abbey Road, London, England with overdubs added April 11, May 18, and June 17, 1966
    John Lennon - tambourine
    Paul McCartney - double-tracked lead vocal, bass guitar
    George Harrison - lead guitar
    Ringo Starr - drums
    George Martin - organ
    Eddy Thornton - trumpet
    Ian Hamer - trumpet
    Les Conlon - trumpet
    Alan Branscombe - tenor saxophone
    Peter Coe - tenor saxophone
  14. Tomorrow Never Knows (2:57)
    Recorded: April 6, 1966 at Abbey Road, London, England with overdubs added April 7, 1966 and April 22, 1966
    John Lennon - lead vocal, tambourine, tape loops
    Paul McCartney - bass guitar, tape loop (bird sounds)
    George Harrison - lead guitar, sitar
    Ringo Starr - drums
    George Martin - piano
Credits
Producer: George Martin
Engineer: Geoff Emerick
Photography: Robert Whitaker
Design: Klaus Voormann

George Harrison: Vocals, Guitar, Sitar, Tambourine, Sound Effects
John Lennon: Vocals, Guitar, Horn, Marimbas, Organ, Rhythm Guitar, Tambourine, Sound Effects
Paul McCartney: Vocals, Bass Guitar, Guitar
Ringo Starr: Drums, Vocals, Tambourine

Neil Aspinall: Background Vocals
Anvil Bhagwat: Tabla
Alan Branscombe: Tenor Saxophone
Alan Civil: Horn
Peter Coe: Tenor Saxophone
Les Conlon: Trumpet
Geoff Emerick: Background Vocals
Mal Evans: Background Vocals
Tony Gilbert: Violin
Ian Hammer: Trumpet
Patti Harrison: Background Vocals
Jurgen Hess: Violin
Norman Jones: Cello
George Martin: Background Vocals, Organ, Piano
Sidney Sax: Violin
John Sharpe: Violin
Stephen Shingles: Viola
Derrick Simpson: Cello
Eddie "Tan Tan" Thornton: Trumpet
John Underwood: Viola
Releases
1966, August 5 Parlophone PMC 7009 / PCS 7009 (UK)
Reviews & comments
Joe (2011, June 2)
Brilliant album. Love Taxman.
M??rcio Ivam (2010, December 14)
Great album.A true lesson to musicians.Some people says that "She said, she said", is not Paul in bass guitar.Is true or not?
john cocks (2006, July 23)
As song writing goes youll be hard to find it better than this,well yes pepper, but this is a msterpiece "here there and everywhere" and "for no one" maccas finest love songs lennons "im only sleeping" "she siad she said" "tomorrow never knows shear brilliance if you dont own this album stop reading this and go and buy it NOW!
jonny (2006, July 12)
really super stuff. some lovely songs on this. absolutely terrific boys.
Carlos Perez (2004, May 31)
It has been said that Rubber Soul could be called Part I, and Revolver Part II. Whatever the case, Revolver was the greatest Beatles album up to this point-and is widely critically acclaimed as not only the best Beatles album but the best ALBUM of all time! Why; especially when none of the songs eclipse three minutes and track by track, it deviates little from albums before (not until Pet Sounds/Sgt. Pepper were albums TRULY looked upon as art forms)? Because this album runs rampant with experimentation-just about every genre of music can be found on this album: pop ballads, rocking numbers, the Motown Sound, and even some experimentations of their own (backwards tape loops and such). George shows that he no longer takes second fiddle to John and Paul, as the album explodes with his vengeful "Taxman", and he continues to expound on the sitar's use in conventional music. John is here again at top form, with his contributions reverberating with the wares and woes of drug use and enlightenment. Paul sticks mostly to his ballads and good cheer with the timeless "For No One" and "Here, There, and Everywhere", but show his penchant for experimentation (and clever, drug-inspired lyrics) with "Got To Get You Into My Life". And Ringo sings the beloved "Yellow Submarine", stuck in the middle of the songlist and probably the best-known track on the album. Analyzing the structure of the album itself, its like one big escalator, that goes up and up until it reaches its climax-"Tomorrow Never Knows", closing the album with a bang that gives way to the impending Sgt. Pepper.
dyer (2004, February 19)
this's the best album it includes the best beatles song 'i'm only sleeping' / by lennon
Jon (2003, October 2)
What the hell is going on with the two and a half star rating that was given by some fool in this place? This album is THE BEST POP ALBUM EVER! I love all music, pop/rock/house/reggae/jazz/hip-hop/ambient house, but as far as albums pop albums go, in MY opinion, this is the BEST there is in the universe! Allso my all time fav album!
Deaners (2003, March 25)
Revolver, aptly named, must have been a shot in the dark of sorts as far as the Beatles were concerned upon it's release in 1966. Nothing they had ever done up to that point even comes close. McCartney himself warned that the music was different and experimental at times. Harrison serves notice that his writing skills take a back seat to no one, as the album kicks off with the edgy and cynical "Taxman". Lennon begins his metamorphisis to the dark side with his contributions here, especially with the physecdelic "Tommorrow never knows" which ends the album with an exclamation point. As always Ringo is the perfect piece of the puzzle. "Yellow submarine" is a beloved fan favorite. McCartney's contributions are startling with such melodic love songs as "For no one" and "Here there and everywhere". I agree that this album was neccessary in order for Sgt. Peppers to become the ultimate rock album of our time. Revolver comes in the right place at the right time. Everything that came after evolved from this classic.
Marcus Xavier (2003, February 5)
It's sad to know that many non-Beatles "buffs" don't give this album the credit that it deserves. Before Sgt. Pepper's could have been made a masterpiece, it was essential for the Beatles to first experiment, and with Revolver, they did. Harrison gets to show off his talents with songs such as "Taxman" and "Love You To". Starkley gets his break as lead vocals in "Yellow Submarine", which his nautical voice blends perfectly into the fantasy. Lennon starts to get 'darker' with his contributions such as "She Said She Said" and "Tommorow Never Knows", and his ode to his dealer with "Doctor Robert". McCartney sticks to the love songs, but strays with the rest of the Beatles with the over dubbings and other studio magic. Over all, Revolver represents a turning point in not only the Beatles history, but a history of music as well.
Pablo Traine (2002, August 20)
This album is the better of the history. All the songs 10/10
jelly. (2002, July 7)
Definitely one of their best works. A great leap in evolution for the best band there in rock history. I'll rate individually each and every track found in Revolver from the rating of 1-10. 1. Taxman: One of my favorite Harrisongs and with the best of the Revolver lot. 8/10 2. Eleanor Rigby: A great song by Paul. Beautiful composition. 8/10 3. I'm only sleeping: A great sleepy, druggy song by Lennon. One of my favorites. 9/10 4. Love you to: The oddball of Revolver, thanks to its eastern music influence. 7/10 5. Here, there and everywhere: The Beatles themselves loved this song, but I tend to disagree a little bit. Nice harmony though. 7/10 6. Yellow Submarine: Simple, catchy and easy to love. 8/10 7. She said she said: Awesome acid composition by Lennon. Other of my personal favorites. 9/10 8. Good day sunshine: Nothing special about this song. 7/10 9. And your bird can sing: And again, more good rock for you (brought to you by The Beatles). 8/10 10. For no one: Simple and beautiful. 8/10 11. Doctor Robert: Avant-garde. Awesome. By Lennon. 9/10 12. I want to tell you: A great, underrated Harrisong. 9/10 13. Got to get you into my life: Magnifico! 8/10 14. Tommorow never knows: A far-out experimental track way ahead of its time. The last and best song in Revolver. 10/10
All Music Guide (2002, April 28)
All the rules fell by the wayside with Revolver, as the Beatles began exploring new sonic territory, lyrical subjects, and styles of composition. It wasn't just Lennon and McCartney, either — Harrison staked out his own dark territory with the tightly wound, cynical rocker "Taxman"; the jaunty yet dissonant "I Want to Tell You"; and "Love You To," George's first and best foray into Indian music. Such explorations were bold, yet they were eclipsed by Lennon's trippy kaleidoscopes of sound. His most straightforward number was "Doctor Robert," an ode to his dealer, and things just got stranger from there, as he buried "And Your Bird Can Sing" in a maze of multi-tracked guitars, gave Ringo a charmingly hallucinogenic slice of childhood whimsy in "Yellow Submarine," and then capped it off with a triptych of bad trips: the spiraling "She Said She Said"; the crawling, druggy "I'm Only Sleeping"; and "Tomorrow Never Knows," a pure nightmare where John sang portions of the Tibetan Book of the Dead into a suspended microphone over Ringo's thundering, menacing drumbeats and layers of overdubbed, phased guitars and tape loops. McCartney's experiments were formal, as he tried on every pop style from chamber pop to soul, and when placed alongside Lennon and Harrison's outright experimentations, McCartney's songcraft becomes all the more impressive. The biggest miracle of Revolver may be that the Beatles covered so much new stylistic ground and executed it perfectly on one record, or it may be that all of it holds together perfectly. Either way, its daring sonic adventures and consistently stunning songcraft set the standard for what pop/rock could achieve. Even after Sgt. Pepper, Revolver stands as the ultimate modern pop album and it's still as emulated as it was upon its original release. — Stephen Thomas Erlewine

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