In 1966, The Beatles' world tilted on its axis. Their previous album 'Rubber Soul' had marked a turning point in their approach to studio work. The group's focus on making something revolutionary in the studio was pursued even more fervently upon their return to Abbey Road on 6 April, 1966. The result of 300 hours of work in three months of sessions, 'Revolver' is a towering artistic achievement.
There is an astonishing variety of moods in the songs by Lennon/McCartney - ranging from the feel-good bounce of "Good Day Sunshine" to the scary paranoia of "She Said She Said". The LP's two ballads have contrasting emotions. The joyful "Here, There And Everywhere" has an uncluttered arrangement distinguished by exquisite harmonies. The melancholy narrative of "For No One" unfolds over a backing track with a classical mood, which is heightened by a rhythmic clavichord accompaniment and a French horn solo. The LP contained the biggest songwriting contribution to date from George Harrison. His caustic "Taxman" was given the status of the album's opener. "Love You To" reflects his growing fascination with Indian music and is mostly devoid of Western instrumentation. "I Want To Tell You" is a more straightforward rocker but, as with the other two, has an unconventional lyric.
During the first session for the album The Beatles began recording "Tomorrow Never Knows". The track introduced many of the new sonic ideas that were used throughout 'Revolver', including innovative techniques to record the drums, a much more prominent bass guitar, electric guitar played back on a reversed tape and a special vocal sound. With other musicians, the use of studio effects might have sounded gimmicky and, before too long, quaintly old-fashioned. But The Beatles and George Martin always applied an unerring sense of taste while they experimented. The unusual sounds enhance the songs. The homemade tape loops on "Tomorrow Never Knows" create an ethereal atmosphere that matches the spirit of the song. The "backwards" electric guitar on "I'm Only Sleeping" has a yawning quality that complements the dreamy nature of the words and the languorous performance. The many sound effects on "Yellow Submarine" amplify the track's sense of childish fun. Unlike anything else on the album - and in the music world to that date - "Eleanor Rigby" is a solemn masterpiece. With little evidence of the electronic manipulation of sound heard throughout 'Revolver', it was the score for double string quartet that made "Eleanor Rigby" sound so stark and radical. These were adventurous times. — Kevin Howlett