History Music / RevolverBeatlesAlbum

Musically, the album marked the point where the band began to feel confident about trying new approaches to music making. In some cases, this meant taking concepts they'd tinkered with in the past and exploring them further. The light string quartet on "Yesterday" gave way to a strident string octet on "Eleanor Rigby". George's sitar part on "Norwegian Wood" was followed up by his writing and singing an entire song based on Indian classical music ("Love You To"). The GenreRoulette wheel was spun like never before, as they tried their hand at straight pop ("Good Day Sunshine"), {{Soul}} ("Got to Get You Into My Life"), children's music ("Yellow Submarine") and romantic balladry ("Here, There and Everywhere"), plus some early stabs at HardRock ("Taxman", "And Your Bird Can Sing") and the first inklings of PsychedelicRock ("She Said She Said", "Tomorrow Never Knows"). Their lyrics suddenly gained a sophisticated edge, with ruminations on failed love ("For No One"), loneliness ("Eleanor Rigby") and philosophy ("Tomorrow Never Knows"). And they began using recording technology in earnest, with backwards guitars and tape loops peppering some of the songs. Or, as Music/BobDylan summed it up when they played an advance copy of the album for him, [[DarkerAndEdgier "Oh, I get it: you don't want to be cute anymore."]]

** The Giles Martin stereo mixes on thevbox set address the GratuitousPanning issues on "Eleanor Rigby" and "Yellow Submarine" by centering the lead vocals and, on "Eleanor Rigby", dividing the strings between both channels ("Yellow Submarine" still keeps the music on the left and backing vocals on the right).

* UnbuiltTrope: While it wasn't the intention, "Tomorrow Never Knows" today sounds like an early attempt at {{Industrial}}, particularly when the Leslie speaker-filtered vocal starts.

The album was conceived during an unusually long break in the Fab Four's schedule in early 1966.[[note]]They were supposed to film their third movie, ''A Talent for Loving'', during this period, but the project was canceled.[[/note]] Their music had already started to become more sophisticated on their previous album, ''Music/RubberSoul'', and they took advantage of the free time to develop their sound even further. Also, they spent the better part of three months in the studio (something that was unheard-of in TheSixties), which gave them plenty of time to experiment. ''Revolver'' made Music/GeorgeHarrison more prominent than ever by giving him three songs, including the opening track. (The most he'd ever gotten on their previous albums was two.) It was also the group's final regular studio album to have different British and American track listings on its original release.

** While the album's original mono mix doesn't differ a whole lot from the original stereo mix in terms of the song elements, the mono "Tomorrow Never Knows" is a somewhat different listening experience, since, to keep the various tape loops from drowning the mix in cacophony, they're sometimes quickly faded up and back down instead of just playing in the background. It's especially noticeable on the guitar solo, where the "carnival organ" loop gets cut off for the start of the guitar, giving it a SmashCut effect, then the "seagull" and "orchestra" loops pop up abruptly for a split second behind the guitar, giving it more of a {{Montage}} feel than the more fluid stereo mix.
** The Giles Martin stereo mixes on the 2022 box set addresses the GratuitousPanning issues on "Eleanor Rigby" and "Yellow Submarine" by centering the lead vocals and,.on "Eleanor Rigby", dividing the strings between both channels ("Yellow Submarine" still keeps the music on the left and backing vocals on the right).

** While the album's original mono mix doesn't differ a whole lot from the original stereo mix in terms of the song elements, the mono "Tomorrow Never Knows" is a somewhat different listening experience, since, to keep the various tape loops from drowning the mix in cacophony, they're sometimes quickly faded up and back down instead of just playing in the background. It's especially noticeable on the guitar solo, where the "carnival organ" loop gets cut off for the start of the guitar, giving it a SmashCut effect, then the "seagull" and "orchestra" loops pop up for just a split second behind the guitar, giving it more of a {{Montage}} feel than the more fluid stereo mix.

-->"Now my advice for those who die\\
Declare the pennies on your eyes."