Revolver

Product Information

Perone, James E. (2012). The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations. Santa Barbara, CA: Praeger. ISBN 978-0-313-37906-2. On 7 December 2009, The Beatles (The Original Studio Recordings) was also released as a limited edition of 30,000 apple-shaped USB flash drives. This event marks the first appearance for the Beatles catalogue in a high-resolution digital format being encoded in 44.1 kHz/ 24-bit FLAC format. CD-standard is 44.1kHz/16-bit. The 16 GB flash drive also includes 320 kbps MP3 copies of the albums, a specially designed Flash interface, and all the visual elements from the boxed set– the mini-documentary films, original UK album art, rare photos and expanded liner notes. [9] I spoke to Giles last year about mixing The Beatles and I specifically asked him about Revolver and whether the so-called ‘de-mixing’ technology was good enough to allow him to remix the 1966 album. His answer suggested not, but he left the door open for it to happen: a b c Goldstein, Richard (27 March 2020) [25 August 1966]. "Report from Swinging London: 'Revolver' Revolution [Pop Eye: On 'Revolver']". villagevoice.com . Retrieved 28 October 2021. Hiatt, Brian (28 July 2021). "The Beatles in Spatial Audio: Producer Giles Martin on How It All Works". Rolling Stone . Retrieved 11 September 2022.

Lewisohn, Mark (2010) [1992]. The Complete Beatles Chronicle: The Definitive Day-by-Day Guide to the Beatles' Entire Career. Chicago, IL: Chicago Review Press. ISBN 978-1-56976-534-0. Wargasm's Venom: a fun as hell, genre-splicing, relentlessly entertaining ride, and one of 2023's essential debut albums Caulfield, Keith (7 November 2022). "Taylor Swift's 'Midnights' Spends Second Week at No. 1 on Billboard 200". Billboard . Retrieved 7 November 2022.PopMatters staff (9 November 2009). "Re-meet the Beatles: The Records – 1964–1965". PopMatters . Retrieved 11 April 2022. Album Top 50 KW 10 | charts". MTV. 14 January 2011. Archived from the original on 15 December 2009 . Retrieved 12 March 2011. The Beatles' special edition Revolver box will feature 28 early takes from the sessions and three home demos - listen to new mix of Taxman, watch trailer Past Winners Search". GRAMMY.com. Archived from the original on 8 August 2014 . Retrieved 30 July 2014. The change in the dynamic between the Beatles and Martin began in 1964. [83] Speaking about his role in 1966, Martin said: "I've changed from being the gaffer to four Herberts from Liverpool to what I am now, clinging on to the last vestiges of recording power." [72]

Campbell, Hernan M. (27 February 2012). "Review: The Beatles – Revolver". Sputnikmusic . Retrieved 24 June 2017. On the United States Billboard Top 200 albums chart the set debuted at number 15. On the Japanese Oricon weekly album charts, it debuted at number 6, selling over 35,000 copies in its first week. [18] The set was certified triple platinum by the RIAA in April 2010. The set was also certified Diamond in Canada in March 2010. [19] Reviewing the album in late July, Cleave wrote, "I am tired of wondering how the Beatles keep it up, but how do they keep it up?" and she concluded, "Never have I been able to recommend an LP with more conviction." [377] Hertsgaard, Mark (1996). A Day in the Life: The Music and Artistry of the Beatles. London: Pan Books. ISBN 0-330-33891-9. There's a case to be made that the Beatles went on to do Sgt. Pepper's because there was nowhere else to go but too far. With Revolver, they had mapped out the pop universe so perfectly that all they could do next was tear it up and start again. [426]

a b c d Plagenhoef, Scott (9 September 2009). "The Beatles: Revolver Album Review". Pitchfork. Archived from the original on 20 June 2017 . Retrieved 24 June 2017. Oficjalna lista sprzedaży:: OLiS - Official Retail Sales Chart". OLiS. Polish Society of the Phonographic Industry. Retrieved 10 November 2022. Along with the restoration of the original album artwork by Voormann, the record sleeve that holds the session outtakes features Robert Freeman's proposed cover design, featuring the heads of the Beatles in a psychedelic circle. [8] Reception [ edit ]

Lewisohn, Mark (2005) [1988]. The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962–1970. London: Bounty Books. ISBN 978-0-7537-2545-0. On le savait depuis quelque temps maintenant mais l’itération et l’expérimentation sans limite ont toujours été la marque de fabrique des Beatles. Pourtant, avec « Revolver », on découvre combien le groupe s’est lancé tête baissée dans l’innovation. Album – Classifica settimanale WK 44 (dal 28.10.2022 al 03.11.2022)" (in Italian). Federazione Industria Musicale Italiana . Retrieved 5 November 2022. Knopper, Steve (12 November 2012). "Inside the Beatles' Vinyl Album Remasters | Music News". Rolling Stone. Archived from the original on 11 April 2014 . Retrieved 13 November 2012.Richardson, Mark (7 September 2009). "The Beatles: Stereo Box / In Mono". Pitchfork. Archived from the original on 17 September 2012 . Retrieved 22 August 2011. According to Shawn Levy, writing in his book on Swinging London, this transformation took place between November 1965 and the following April, when the sessions for Revolver began. He describes the Beatles as "the world's first household psychedelics" and "the first stars of any medium to metamorphose fully and obviously from perky and aboveboard to mysterious and covert". [32] The most improbably surprising song here, though, is “Yellow Submarine.” For the box set, the Beatles’ archivists discovered Lennon’s work tape, which finds him keening about his doldrums over a folky acoustic guitar: “In the place where I was born, no one cared, no one cared.” It sounds both like a Daniel Johnston cassette and the Stanley Brothers bleating “Man of Constant Sorrow”— and nothing like a children’s song about psychedelic seafaring. With Revolver, the Beatles finally took the time to untether themselves from their past. They got a rare break from touring and moviemaking, catching their breath between tokes and trips. When they finally reconvened at Abbey Road, the first thing they recorded, strangely, was Lennon’s acid bath “Tomorrow Never Knows,” then known as “Mark I.” Beatlemaniacs have already heard the sleepy, eerie first take of the song on Anthology 2, also included here, but in the context of the Revolver box, it’s stunning how the tune (more of a meditation really) with its dolorous, unchanging base loop (which sounds a bit like a cello with emphysema) was nearly fully formed at its onset. Lennon’s lyrics, kind of an interdimensional blues ripped from Timothy Leary’s interpretation of the Tibetan Book of the Dead, still sound ominous and anything but cute.