The BEATLES – ” Revolver ” Box Set

Posted: August 26, 2022 in MUSIC

From “Taxman” to “Tomorrow Never Knows,” The Beatles’ “Revolver” has been newly mixed by producer Giles Martin and Sam Okell, and sourced directly from the original four-track master tapes with audio brought forth in stunning clarity with the help of cutting-edge technology developed by the award-winning sound team at Peter Jackson’s Wing Nut Films Productions Ltd.

The Beatles’ classic album ‘Revolver’ will be the next of the band’s albums to be remixed & released as a boxed set. According to Variety, “Apple Corps & Universal Music have confirmed that a deluxe celebration of the 1966 release — which, like The Beatle boxes that have preceded it, will include a Giles Martin remix — is in the pipeline for this fall.” An official announcement about the project, including release date & details on what material will be included, will likely come in September.

‘Revolver’ will follow on the heels of other Beatles classic albums to be remixed & released as a boxed set. ‘Sgt. Pepper’s Lonely Hearts Club Band’, ‘The Beatles’ (aka The White Album) & ‘Abbey Road’ have all received such treatment. Last year, 1970’s ‘Let It Be’ became the latest Fab Four album added to the list.

In 2021, Martin admitted he was looking “to do something really innovative” with “Revolver“, “as opposed to just a remastering job. There’s no point in just doing this to make money or as a sales thing or because we’d done the others. It’s more important that we do it for the right reason…”

The Beatles turned themselves inside out on ‘Revolver,’ exercising a creative freedom following their retirement from the road. They used the studio as their playground, turning the record’s 14 songs into the sort of mind-expanding musical template that would influence artists for generations to come. ‘Sgt. Pepper’s’ may be the more complete work, but ‘Revolver’ is way more fun.

“Taxman,” “Revolver’s” opening song and Harrison’s extra-sharp stab at the insanely high taxes the Beatles were paying in the U.K. at the time. An early protest number by the group.

“Eleanor Rigby,” The Beatles were all about breaking down pop conventions on Revolver, and this McCartney-penned song about “all the lonely people” was a key track in this transformation. It’s all strings and voices – not a traditional pop instrument in sight.

“I’m Only Sleeping,”  Another standout track from the culture-shifting Revolver album, Lennon’s ode to the joys of sleeping features Harrison’s guitar solo unspooled backward – a first for pop music.

“Love You To,” Harrison’s first head-dive into Indian music is essentially a solo song with little input from the other Beatles. A bunch of outside musicians provide sitar, tabla and tambura.

“Here, There and Everywhere,” Inspired by the Beach Boys’ Pet Sounds LP, McCartney wanted his own “God Only Knows.” He nearly achieves it, on one of his most gorgeous ballads.

“Yellow Submarine,” Written by Lennon and McCartney, sung by Ringo Starr and later used in the Beatles’ animated film of the same name, “Yellow Submarine” is, by turns, goofy, charming and fun.

“She Said She Said,” Inspired by an acid trip, and with no input whatsoever from McCartney (he walked out of the sessions for the song), “She Said She Said” was the last track recorded for the mind-bending “Revolver”.

“Good Day Sunshine,” One of McCartney’s sunbeam-soaked throwbacks from an era when the Beatles were looking forward.

“And Your Bird Can Sing,”  One of Revolver’s most tuneful and straight-up pop songs, short on the studio experimentation that powered much of the rest of the album. Killer guitar intro too.

“For No One,”  One of McCartney’s most accomplished ballads, an end-of-relationship song that Lennon called one of his favorites. McCartney and Starr are the only two Beatles here, playing alongside that sublime French horn.

“Doctor Robert,” Supposedly true song about a doctor who supplied the Beatles with drugs during their druggiest period.

Harrison wrote and sang three songs on “Revolver“.  “I Want to Tell You,” This one’s the easiest to forget.

“Got to Get You Into My Life,”  McCartney’s brass-powered tribute to Motown was just one of the new tricks the band unveiled on “Revolver“. Another was the abundance of drug songs, like this one.

“Tomorrow Never Knows,” Recorded at the start of the “Revolver” sessions, “Tomorrow Never Knows” is the sound of the Beatles reinventing themselves and modern music in the process. Tape loops, backward guitars and an abstract wall of noise serve as the bedrocks of a truly revolutionary work. Nothing was the same after this.

“Revolver,” the album before “Sgt. Pepper,” and possibly work backward in time from there — although the keepers of the Beatles’ catalogue always refrain from confirming plans for future years in advance.

But, beyond any reverse-chronological planning that might be in order, it goes almost without saying that most fans were hoping “Revolver” would be next. Many consider it the Beatles’ finest work. Moreover, outtakes have not been widely bootlegged to the extent that they have with later projects like “Let It Be,” leaving enormous curiosity as to what may lie among the bonuses.

Some Beatlemaniacs had been skeptical, however, that Apple would be able to produce remixes of the pre-“Sgt. Pepper” albums that match what Martin had already done with the latter part of the band’s catalogue. This was due to the fact that the albums through 1966 were recorded to more basic four-track masters, where multiple instruments or vocals were often squeezed into a single track. At a time when mono was still considered the standard, the stereo mixes prior to “Pepper” often sound bizarre to the modern ear, with key elements relegated entirely to the left or right side results, which is why many Beatles fans relish finally getting a more holistic mix of “Revolver” and the albums that preceded it.

When spoken with Martin in the fall of 2021 about the prospects of doing remixes for the pre-’67 albums, he made it sound like he thought the moment was nigh to tackle them, although he said he wasn’t yet underway on work on any of them.

“I think we have to do it,” Martin said at the time. “If you take something like ‘Taxman’ from ‘Revolver’ [a track often cited for its bizarre stereo separation], ‘Taxman’ is guitar, bass and drums on one track, and vocals and a sort of shaking and guitar solo (on the right). And it sounds good; they’re amazing recordings, and amazing mixes. You know, we have to look into what technology we can do to make things de-mixed and all this kind of stuff, which I’m looking into. So I’m looking for the technology to do it with, to do something really innovative with ‘Rubber Soul’ and ‘Revolver,’ as opposed to just a remastering job, because it’s been remastered already. So I think we will. I think we also will look at outtakes as well.”

He added then, “I think we’re getting there with technology. I think we are. I’m not doing it at the moment, though, I can tell you that much. 

Super Deluxe 4LP + 7” Vinyl EP: This Special Edition of The Beatles’ “Revolver” features a new mix by Giles Martin and Sam Okell, the original mono mix, a 4-track EP, 31 session takes and home demos, a 100-page book with a foreword by Paul McCartney, an essay by Questlove, detailed track notes, photos and ephemera including handwritten lyrics, tape boxes and extracts from Klaus Voormann’s graphic novel on the making of the cover art. Half-speed-mastered 180g LPs + 7-inch vinyl EP in a 12.56” x 12.36” slipcase.

Originally released August 5th, 1966 “Revolver” saw the Beatles once again changing the world of popular music, offering deeper experimentation than anything they’d previously done. Created with producer George Martin (Giles’ father) at London’s EMI Studios, the LP utilized ground breaking recording techniques and is regarded as a landmark rock release. “Taxman,” “Eleanor Rigby,” “She Said She Said,” “Good Day Sunshine” and “Got to Get You into My Life” were among the album’s many classic tracks.

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