![]() ![]() Recorded between early April and the end of June that year, Revolver is a patchwork of moods and styles: psychedelic jangle, orchestral pop, R&B-influenced rock and robust folk. Revolver’s music is the result of the band members having space to breathe and reset their creativity. But, for the first time since their global breakthrough, the Beatles took a break in early 1966, canceling a proposed film and taking four months off before heading into the studio. Part of that was life experiences seeping into their art after a whirlwind few years: 1965’s Rubber Soul – the studio album directly before Revolver – contained forays into psychedelic pop as well as sharply observed (if straightforward) original songwriting. Iteration and fearless experimentation were always Beatles hallmarks, but Revolver found the band accelerating headfirst into innovation. That the band steered Yellow Submarine from morose folk trifle to boisterous stoner singalong seems improbable, but the tapes don’t lie: through a combination of focused acoustic woodshedding and whimsical studio risks, the band arrived at the more familiar, upbeat Yellow Submarine. A bonus disc on the new expanded, remixed and remastered box set of 1966’s Revolver offers an even more transformative experience: a jaw-dropping sequence of Yellow Submarine work tapes traces the song’s evolution from a fragile, sad wisp sung by John Lennon to its later iteration as a Ringo Starr-directed psych-pop goof. ![]()
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