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Revolver Special Edition[Half-Speed 4 LP/7" Vinyl EP]

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The Beatles Format: Vinyl

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The Beatles Revolver Special Edition 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, 28 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.

TRACK LISTING

LP One: 2022 Mix [Side 1]

1. Taxman (2022 Mix)

2. Eleanor Rigby (2022 Mix)

3. I’m Only Sleeping (2022 Mix)

4. Love You To (2022 Mix)

5. Here, There And Everywhere (2022 Mix)

6. Yellow Submarine (2022 Mix)

7. She Said She Said (2022 Mix)

LP One: 2022 Mix [Side 2]

1. Good Day Sunshine (2022 Mix)

2. And Your Bird Can Sing (2022 Mix)

3. For No One (2022 Mix)

4. Doctor Robert (2022 Mix)

5. I Want To Tell You (2022 Mix)

6. Got To Get You Into My Life (2022 Mix)

7. Tomorrow Never Knows (2022 Mix)

LP Two: Sessions [Side 1]

1. Tomorrow Never Knows (Take 1)

2. Tomorrow Never Knows (Mono Mix RM 11)

3. Got To Get You Into My Life (First Version / Take 5)

4. Got To Get You Into My Life (Second Version / Unnumbered Mix)

5. Got To Get You Into My Life (Second Version / Take 8)

6. Love You To (Take 1)

7. Love You To (Unnumbered Rehearsal)

LP Two: Sessions [Side 2]

1. Love You To (Take 7)

2. Paperback Writer (Takes 1 & 2 / Backing Track)

3. Rain (Take 5 / Actual Speed)

4. Rain (Take 5 / Slowed Down For Master Tape)

5. Doctor Robert (Take 7)

6. And Your Bird Can Sing (First version / Take 2)

7. And Your Bird Can Sing (First version / Take 2 / Giggling)

LP Three: Sessions [Side 1]

1. And Your Bird Can Sing (Second Version / Take 5)

2. Taxman (Take 11)

3. I’m Only Sleeping (Rehearsal Fragment)

4. I’m Only Sleeping (Take 2)

5. I’m Only Sleeping (Take 5)

6. I’m Only Sleeping (Mono Mix RM1)

7. Eleanor Rigby (Speech Before Take 2)

8. Eleanor Rigby (Take 2)

LP Three: Sessions [Side 2]

1. For No One (Take 10 / Backing Track)

2. Yellow Submarine (Songwriting Work Tape / Part 1)

3. Yellow Submarine (Songwriting Work Tape / Part 2)

4. Yellow Submarine (Take 4 Before Sound Effects)

5. Yellow Submarine (Highlighted Sound Effects)

6. I Want To Tell You (Speech & Take 4)

7. Here, There And Everywhere (Take 6)

8. She Said She Said (John’s Demo)

9. She Said She Said (Take 15 / Backing Track Rehearsal)

LP Four: Revolver (2022 Mono Transfer of original master tape) [Side 1]

1. Taxman (Mono)

2. Eleanor Rigby (Mono)

3. I’m Only Sleeping (Mono)

4. Love You To (Mono)

5. Here, There And Everywhere (Mono)

6. Yellow Submarine (Mono)

7. She Said She Said (Mono)

LP Four: Revolver (2022 Mono Transfer of original master tape) [Side 2]

1. Good Day Sunshine (Mono)

2. And Your Bird Can Sing (Mono)

3. For No One (Mono)

4. Doctor Robert (Mono)

5. I Want To Tell You (Mono)

6. Got To Get You Into My Life (Mono)

7. Tomorrow Never Knows (Mono)

7" Single: Additional EP [Side 1]

1. Paperback Writer (2022 Stereo Mix)

2. Rain (2022 Stereo Mix)

7" Single: Additional EP [Side 2]

1. Paperback Writer (Mono)

2. Rain (Mono)

Track Listings

Disc: 1

1	* LP One: Side 1 - 2022 Mix
2	Taxman (2022 Mix)
3	Eleanor Rigby (2022 Mix)
4	I'm Only Sleeping (2022 Mix)
5	Love You to (2022 Mix)
6	Here, There and Everywhere (2022 Mix)
7	Yellow Submarine (2022 Mix)
8	She Said She Said (2022 Mix)

Disc: 2

1	* LP One: Side 2 - 2022 Mix
2	Good Day Sunshine (2022 Mix)
3	And Your Bird Can Sing (2022 Mix)
4	For No One (2022 Mix)
5	Doctor Robert (2022 Mix)
6	I Want to Tell You (2022 Mix)
7	Got to Get You Into My Life (2022 Mix)
8	Tomorrow Never Knows (2022 Mix)

Disc: 3

1	* LP Two: Side 1 - Sessions
2	Tomorrow Never Knows (Take 1)
3	Tomorrow Never Knows (Mono Mix RM 11)
4	Got to Get You Into My Life (First Version / Take 5)
5	Got to Get You Into My Life (Second Version / Unnumbered Mix)
6	Got to Get You Into My Life (Second Version / Take 8)
7	Love You to (Take 1)
8	Love You to (Unnumbered Rehearsal)

Disc: 4

1	* LP Two: Side 2 - Sessions
2	Love You to (Take 7)
3	Paperback Writer (Takes 1 & 2 / Backing Track)
4	Rain (Take 5 / Actual Speed)
5	Rain (Take 5 / Slowed Down for Master Tape)
6	Doctor Robert (Take 7)
7	And Your Bird Can Sing (First Version / Take 2)
8	And Your Bird Can Sing (First Version / Take 2 / Giggling)

Disc: 5

1	* LP Three: Side 1 - Sessions
2	And Your Bird Can Sing (Second Version / Take 5)
3	Taxman (Take 11)
4	I'm Only Sleeping (Rehearsal Fragment)
5	I'm Only Sleeping (Take 2)
6	I'm Only Sleeping (Take 5)
7	I'm Only Sleeping (Mono Mix RM1)
8	Eleanor Rigby (Speech Before Take 2)
9	Eleanor Rigby (Take 2)

Disc: 6

1	* LP Three: Side 2 - Sessions
2	For No One (Take 10 / Backing Track)
3	Yellow Submarine (Songwriting Work Tape / Part 1)
4	Yellow Submarine (Songwriting Work Tape / Part 2)
5	Yellow Submarine (Take 4 Before Sound Effects)
6	Yellow Submarine (Highlighted Sound Effects)
7	I Want to Tell You (Speech & Take 4)
8	Here, There and Everywhere (Take 6)
9	She Said She Said (John's Demo)
10	She Said She Said (Take 15 / Backing Track Rehearsal)

Disc: 7

1	* LP Four: Side 1 - Revolver (2022 Mono Transfer of Original Master Tape)
2	Taxman (Mono)
3	Eleanor Rigby (Mono)
4	I'm Only Sleeping (Mono)
5	Love You to (Mono)
6	Here, There and Everywhere (Mono)
7	Yellow Submarine (Mono)
8	She Said She Said (Mono)

Disc: 8

1	* LP Four: Side 2 - Revolver (2022 Mono Transfer of Original Master Tape)
2	Good Day Sunshine (Mono)
3	And Your Bird Can Sing (Mono)
4	For No One (Mono)
5	Doctor Robert (Mono)
6	I Want to Tell You (Mono)
7	Got to Get You Into My Life (Mono)
8	Tomorrow Never Knows (Mono)

Disc: 9

1	* 7" Single: Side 1 - Bonus Ep
2	Paperback Writer (2022 Stereo Mix)
3	Rain (2022 Stereo Mix)

Disc: 10

1	* 7" Single: Side 2 - Bonus Ep
2	Paperback Writer (Mono)
3	Rain (Mono)

Editorial Reviews

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, 28 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 master 180-gram 4 LP set + 7" vinyl EP in a 12.56" x 12.36" slipcase.

Product details

Language ‏ : ‎ English
Product Dimensions ‏ : ‎ 14.17 x 13.98 x 3.54 inches; 10.4 Ounces
Manufacturer ‏ : ‎ Capitol
Original Release Date ‏ : ‎ 2022
Date First Available ‏ : ‎ September 7, 2022
Label ‏ : ‎ Capitol
ASIN ‏ : ‎ B0BB3DXS6M
Country of Origin ‏ : ‎ USA
Number of discs ‏ : ‎ 5

Best Sellers Rank: #892 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #340 in Rock (CDs & Vinyl)

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4 Stars for the Remix and Sessions Discs, 5 Stars for Mono and 7", 2 stars for Quality Control

Reviewed in the United States on October 29, 2022

Verified Purchase

This is principally a review of the vinyl version of the Super Deluxe edition. I also picked up the 2-CD abbreviation and, as discussed more thoroughly below, find the vinyl to be the better option.

THE REMIX

Based on about 8 complete playings as well as additional listens to selected songs (including some side-by-side comparison with the LP of the ’09 stereo remaster), I give the remix 4 stars. Indeed, as a serious plus, almost all the songs sound generally fuller, richer, and fresher—with more definition and detail shining through (especially on the vocals, Ringo's drums, the Indian and brass instruments, acoustic guitars, and George’s 12-string passages on “Here, There, and Everywhere” and "And Your Bird Can Sing") combined with new breathing room amongst the instruments. Giles has done a fine job of improving the balance of the stereo mix and separating sounds that originally had been cloistered together, which wipes a thick layer of dust off counter-rhythms, -melodies, and -harmonies that have been there the whole time but, until now, have been harder to decipher. For example, consider the interplay of the cowbell and tambourine on "Taxman”—which, also, along with “And Your Bird Can Sing” and “Dr. Robert,” packs a new punch.

On "Tomorrow Never Knows," I like Giles’ separation of Ringo's drum pattern so that the snare is on one side and the rack tom on the other. Also, the tape loops sweep around and around the stereo spectrum like a Mobius strip. At first, I didn\'t like that decision. Because he used the mono mix as his reference (in which the loops fade in/out a lot more quickly compared to the original stereo mix), it felt a little too much like the cheap, headache-inducing early stereo sweeping that had been done on Pink Floyd's "Interstellar Overdrive" and all over Hendrix's "Electric Ladyland." But then, when I realized upon a subsequent listen that Giles had timed the sweeps to convey a sense of ongoing circularity, and that he also had adjusted the volume on the tape loops to dynamically match the rest of the mix (which is apparent on the vinyl but less so on the over-compressed CD), it all clicked!

On the other hand, the remix does have some notable limitations. Across the album, the tambourine can be abrasively loud at times, and the vocals are pushed too high on a few songs (e.g., "She Said She Said," where, at high volume, they verge on clipping). Meanwhile, the piano tinkering that concludes "Tomorrow Never Knows" and Ringo's tom fill toward the end of "Got to Get You Into My Life" are underwhelmingly quiet—and the characteristic bass amp rumble at the beginning of "Taxman" is almost non-existent. I am disappointed that Giles faded the end of “Love You To” a la the original stereo mix and not the mono mix, which lasted an additional 8-ish seconds. (To be fair, though, the extended fade-out is extended even further on Take 7, which is included on the "Sessions" set.) Further, the stereo configuration on "She Said She Said" is odd—with John’s rhythm guitar and George’s treble-y lead (that mimics the vocal melody) on the same side while George’s rhythmic plucking of the middle strings on his guitar during the verses is placed on its own channel with the vocals and drums. This makes for an unevenness that, while still better spread compared to the original, nonetheless does not demonstrate the enhanced balance shared by the other 13 songs. (I speculate that perhaps this could have been a limitation of the AI technology that was employed to tease out the individual parts. Might the frequencies of John’s and George’s guitars have been too similar to adequately separate them?)

MONO and 7”

I compared the new mono LP side-by-side with my 60s U.K. pressing. The new copy delivers more in the way of both warmth and punch that either was absent from the original or has become washed out from a half-century of use (I imagine a little of both). My only complaint is that my copy arrived with a bit of snap/crackle/pop due to poor manufacturing (more below). Also, there is a smidgen of distortion when the disc is played at high volume. On the other hand, given that it is unlikely I'll ever play it that loud on an average day, all in all, I'd give it 5 stars.

I can say the same for the mono mixes on the "Paperback Writer"/"Rain" 45. Upon reflection, I've concluded that it was a good idea to keep those songs on a standalone 7" (versus sneak them onto one of the LPs in the set) given that, from the beginning, it was always conceptualized and disseminated as its own entity, though it was recorded in the midst of the "Revolver" sessions. I also like that the new stereo mixes of both sides of the ’66 single are presented together on one side, with the original mono mixes of both songs together on the other side (versus dedicate each side to both mixes of the same song or to making two 7"s, which would have been overkill).

"SESSIONS" DISCS

For an overview of the “Sessions” collection, the selections include remixes of 4 alternate takes previously released on “Anthology 2” (Take 1 of “Tomorrow Never Knows” with some extra vocal at the end, Take 5 of “Got to Get You Into My Life” with additional chat at the beginning, Take 2 of “And Your Bird Can Sing,” and Take 11 of “Taxman”) as well as 2 rare mixes (alternate mixes of “Tomorrow Never Knows” from the first U.K. mono pressing of “Revolver” and of “I’m Only Sleeping” from the U.S. mono “Yesterday and Today”); basic tracks of “Rain,” “I’m Only Sleeping,” and “Yellow Submarine” prior to tape speed manipulation at the overdub stage; and basic tracks of “Dr. Robert” (with an additional verse as well as rhythm guitar passages that were edited out of the final mix), “Get You into My Life” (featuring both trumpets/saxes and the later-repurposed “Paperback Writer” guitar riff—more below), “Rain,” and “For No One.” Some material has been around on bootlegs for quite a while: John’s demo of “She Said She Said” and the basic tracks of “Paperback Writer” and “Here, There, and Everywhere.” From there, to my knowledge, the remaining tracks are previously unreleased: 2 demos of “Yellow Submarine," 2 alternate takes of “And Your Bird Can Sing" (including one sans giggles), an early run through “I Want to Tell You,” a guided tour through the development of “Love You To” (first take featuring acoustic guitar and low harmony as guide vocal, sitar/tabla rehearsal take with George's high harmony vocal, and final track with extended ending and an odd harmony vocal by Paul that borders on Spinal Tap singing "Heartbreak Hotel" at Elvis' grave), “I’m Only Sleeping” (John: “Mal, can you get this boy a plectrum, please?”), and “She Said She Said” (basic track rehearsal).

While there are a few exceptions (e.g., "Tomorrow Never Knows," “I'm Only Sleeping,” “And Your Bird Can Sing”), for the most part, the Sessions discs focus less on the overall evolution of the songs and more on the evolution of the final versions of the songs. At this price, the set could have showcased the development of more songs from demo through rehearsals and early takes of the basic track to overdubs and mixing/editing. To be fair, there is some studio banter following a breakdown of “I’m Only Sleeping” as well as brief discussions regarding the title of “I Want to Tell You” and the arrangements of “For No One” and “Get You Into My Life.” But to get more of a bird's-eye view of the formation of the songs in the studio, I wish they had included a third disc of more chatter and rehearsing and false starts/breakdowns/alternate takes beyond remixes/remasters of the takes already available for many years. I'm also not thrilled about the inclusion of composite tracks a la the Anthology—for example, they stuck some chatter from Take 2 of "She Said She Said" on the front of Take 15, and they did something similar with "I Want to Tell You." At this price, why not include both takes? Why not also include George teaching “Taxman” to the group, the early acoustic rendering of "Here, There, and Everywhere," and any of the early takes of "Good Day Sunshine" (all of which are briefly described in the book)?

On the other hand, these caveats aside, the Sessions selections do stand well on their own as a double-LP that I will be inclined to pull out and listen to again a few more times in the future.

I'm glad they included the original RM11 version of "Tomorrow Never Knows," which, closer to the original stereo mix, features longer fades on the tape loops and better accentuates the piano at the end. Also, the "unnumbered mix" of "Get You Into My Life" greatly demonstrates the Beatles' creative process--showcasing a moment-in-time that both echoes where they had been and anticipates where they would go from that point in their evolution. The vocal harmonies are reminiscent of those on "Girl" (picking up where one of the last "Rubber Soul" sessions had left off), the main guitar riff (replaced by trumpets/saxes on the final recording) was repurposed on "Paperback Writer" (which they recorded a few days later), and the choppy, chimey rhythm guitar part was revisited on "Getting Better" 11 months later.

The demos of “Yellow Submarine” also are a highlight. John’s initial run (the melancholic “no one cared” version) anticipates the raw authenticity and intimacy of “Julia” and “Plastic Ono Band.” Meantime, the Donovan-esque run through the song as we know it (with John singing lead and Paul joining in on the choruses) foretells the spirit of “All Together Now” and, also, portrays the dynamic between the composers that recently has been depicted in “Get Back.”

It also was a nice touch to hear George Martin’s diplomatic interactions with Paul and the string quartet as they sorted out the arrangement of “Eleanor Rigby.” It would have been neat to hear Martin admonishing the musicians to sit closer to the mics as they attempted to distance themselves (as described in Geoff Emerick’s account of the session in “Here, There, and Everywhere”).

THE BOOK

Several of the photos (especially those by Robert Freeman) have been around for many years, but there are quite a few new ones here, as well. Like many of the photos in the "Abbey Road" set, they don\'t always show the Beatles at their most photogenic—which is probably why they haven\'t been seen until now. However, it shows that a reasonable degree of thought was put into developing that component of this set.

I also enjoyed Klaus Voorman's graphic novel recounting the development of the cover. John's arrogance on the phone to request a drawing, sarcastically scolding George to not break the EMI canteen's crockery as he cleared the table for Klaus to present a draft, and an early iteration of the college featuring photos of Paul on the toilet in Hamburg and Brian Epstein wearing a chamberpot during a celebration dinner circa '63 all sound true to form.

The essays emphasize the band’s lifestyle during the “Revolver” period. Lennon and McCartney made a conscious decision to make an altogether-different album as well as to put on the brakes prior to embarking on the project; this enhanced their creative process—and, all the same, it enabled George to present 3 songs on a single LP. The essays also summarize Maureen Cleave’s portrayals of the group’s individual personalities in her series of articles on "How a Beatle Lives." Further, they reveal some new details: tracing the path from a broken sitar string during the "Norwegian Wood" session in '65 to George meeting Ravi Shankar, as well as clarifying who spoke the count-off before "Taxman" and the extent to which Paul was and was not present at the "She Said She Said" session.

As a supplement to the book included with this set, I recommend also reading Geoff Emerick's "Here, There, and Everywhere"--which shines light on relevant detail about the sessions that is omitted from or, at best, only alluded to in the Deluxe set essays. These include Emerick's first-hand accounts of the steps leading up to his employing a Leslie speaker on John's vocal on "Tomorrow Never Knows"; of his close-micing techniques on Ringo's drums, the bass on "Paperback Writer," and the strings on "Eleanor Rigby"; of conversations between the Beatles in the studio about John's Jesus comment; and of their last-minute realization that they needed to record "She Said She Said" as a 14th track. Emerick further underscores the time they took to develop several songs compared to previous years.

Importantly, Emerick's book also calls into question the validity of some details in the Deluxe set book—especially those pertaining to "Yellow Submarine." For example, according to the Deluxe set book, to arrive at an underwater sound on one of John's vocal overdubs, a small mic had been wrapped in a plastic sandwich bag and then placed in a quart milk bottle filled with water. In contrast, per Emerick, while the small mic and the milk bottle parts are accurate, instead of a sandwich bag (which is unlikely to have been in popular use as early as '66), it was a condom supplied by Mal Evans (a story I find more convincing). Notably, Emerick also goes on to recount how they nearly missed getting busted by a studio administrator who walked in on that part of the session and the implication that violation of studio protocol could have had for Emerick—and, with that, for the subsequent months of the Beatles career! More importantly, whereas the Deluxe set book says "they were able to sing around" the submerged mic, per Emerick, it was a failed experiment that was quickly abandoned. Further, the Deluxe set book conveys a sense of mystery as to whether the brass band was recorded live or culled from a recording, whereas more extensive research by the authors would have shown that the answer has been around for over a decade. In his book, Emerick explained that, as with "Mr. Kite" a few months later, he had been instructed by George Martin to cut up and then reassemble a recording of a Sousa march in lieu of needing to hire an actual band or apply for copyright clearance—neither of which, with a deadline hanging over their heads and exhaustion setting in, would have been feasible that late in the game. Meantime, the Deluxe set book altogether leaves out the story of why, during the last verse, the call-and-response between Ringo and John is missing the first line ("As we live...").

CD vs. VINYL: THE GOOD, BAD, AND UGLY

Despite the generally-strong content of this set, here's the rub. The quality of the vinyl on my copy ranges from, at best, D+/C- to B+. The 45 has severe-enough warping that the tone arm surfs (thankfully, not enough to affect play), and “Sessions 2" requires a 15-oz. weight to lay flat enough to be playable. Another two discs (remix and “Sessions 1") have too-small spindle holes (which, thankfully, have loosened--but still remain too tight), and two (remix and mono) are pressed slightly off-center. Also, every disc arrived covered in paper flakes which, even after a good cleaning, still caused snap/crackle/pop right out of the box. Further, the shrinkwrap permanently buckled the front and back panels of the slipcase, which renders it difficult to take the individual LPs in and out. I find it disappointing that I paid $40 per disc for this poor workmanship; on the other hand, I am disinclined to send it back because, according to other reviews, they're all like this—and, thus, there's the risk that a new copy actually could be worse.

However, having compared the over-compressed CD (which is too bright and offers too little bottom end) side-by-side with the vinyl edition, I can definitely say that, looking past the quality control issues, the latter still sounds SO MUCH better.

CONCLUSION

Given the quality control issues (fair-at-best vinyl pressing, sometimes-poorly-researched book essay)
in conjunction with the inclusion of an abundance of previously-released material as well as composite tracks on the “Sessions” discs at the expense of more raw material, I'm not sure this set is worth almost $200. On the other hand, given the sound quality of the vinyl release, I'd still recommend it over the CD format. And, given the generally-strong remix and the new material presented on the “Sessions” set, as well as some new photos and factoids in the book, there are plenty more good reasons to purchase than to pass on this set or forego it in favor of the 2-CD abbreviation.

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elvisthebeagle

It is the Beatles, sounding amazing

Reviewed in the United States on November 23, 2023

Verified Purchase

They were in a 1950's studio. 2 track recording all the way to Abby Road. Ever notice the HUGE difference in the sound of that compared to all the rest? They gutted the studio and installed state of the art recording equipment. NOW.....listening to this recording of Revolver makes me feel it was possibly the BEST album they made. Starts of with a slam bang Harrison song "Taxman". Ends with Lennon's masterpiece "Tomorrow never knows". A song with basically 1 chord "C":. That Album was a lesson in "Less is more" as in bells and whistles. Just songs that could by played live. Well most of them. Money well spent. Cheers!

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Steven Haarala

A classic among classics

Reviewed in the United States on March 10, 2023

Verified Purchase

What is there to say about Disc 1, which presents one of the most innovative and celebrated pop-rock albums of all time? And it still sounds good. In fact, this new stereo mix sounds even better. Just about every track is clear, crisp and full, allowing for a decent amount of treble with minimal distortion. "Taxman" bursts forth like an explosion. "Here, There & Everywhere" sounds dreamier than ever. Sly "Doctor Robert" keeps it that way with a lowdown rocking groove. "Got To Get You Into My Life" uses the Motown horns to full advantage. "Tomorrow Never Knows" takes the spotlight and shuts it all down, retaining the distinction of being the strangest, most hypnotic and most ambitious pop-rock track to exist at that point. Not bad for a recording made in 1966.

This album unleashed psychedelia on us fans in a big way. Of course, before we heard it, we had already heard "Paperback Writer" and "Rain", the first 2 tracks presented on Disc 2. ("Rain" in particular gave us something to think about.) All we had was a 2-sided hit single, and you have to know this stereo mix sounds way better than a mono 45. Of the Sessions Highlights, the gem for me is "Tomorrow Never Knows". Most of the musicality featured on the finished product is absent on Take 1. What replaces it (per the notes, "a tape loop made from a performance of drums, electric guitar recorded through a rotating Leslie speaker and a second guitar with fuzz tone") sounds industrial and actually a bit disturbing. On "Love You To" Take 7, we hear Paul singing harmony on the last line of each verse. It is exotic, very non-Western, and appropriate. For some reason it was dropped from the finished version, along with a longer instrumental fadeout. Missing on this Take 7 is the longer instrumental intro, including the sitar glissandos that are present on the finished product. In the First Version of "And Your Bird Can Sing" I think I hear additional layers of harmony in the vocals of the verses. The take of "Got To Get You Into My Life" is more pop-sounding, less Motown; and that of "I'm Only Sleeping" is light and non-psychedelic, leaving me with an image of John lying in the bed strumming on an acoustic, smiling, drapes open for the Sun. John's vocal is more clearly audible on the stripped-down "Doctor Robert", as is Paul's on "Here, There And Everywhere" without the backup vocals. And speaking of backup vocals, on the second-to-last verse of "Taxman" Take 11 there are some additional funny manic ones. The Backing Track on "For No One" allows us to hear the beauty and finesse of Paul's piano, and also a clavichord which George Martin added to the track. The "Eleanor Rigby" instrumental octet is elegant and majestic, a treasure in its own right. And, every now and then you get to hear the boys talking, goofing, laughing and just being human.

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C Passionnant

Un coffret enthousiasmant pour mieux cerner l’extraordinaire talent d’un groupe de légende..,

Reviewed in France on October 1, 2023

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La carrière des Beatles a été si exhaustivement documentée, chroniquée et piratée qu’on peut avoir l’impression qu’il n’y a plus beaucoup de surprises à découvrir.
Ainsi le disque bonus du coffret de l’édition super de luxe « Revolver » de 1966, augmenté, remixé et remastérisé, offre une expérience des plus immersives : une séquence vraiment fascinante de bandes de travail de « Yellow Submarine » retrace l’évolution de la chanson, depuis sa version initiale tout de même un peu fragile et triste chanté par John Lennon à son itération ultérieure sous la forme d’un dessert à la crème psych-pop dirigé par Ringo Starr. Et si des lors, il semblait improbable que le groupe ait fait passer « Yellow Submarine » du statut de bagatelle folk morose à celui de chanson stoner endiablée, les bandes enregistrées le démontrent pourtant avec clarté et précision : sous l’effet d’une démarche artistique progressive intégrant une version acoustique augmentée de quelques risques fantaisistes en studio .. et le tour est joué , nous conduisant à la version d’un « Yellow Submarine » plus familier, plus optimiste et finalement idéalement joué et interprété.
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.
Pour la première fois depuis leur percée mondiale, les Beatles font une pause au début de l’année 1966, annulant un projet de film et prenant quatre mois de congé avant de rentrer en studio. La musique de «Revolver » est le résultat du fait que les membres du groupe ont eu l’espace pour respirer et remettre leur créativité à zéro.
A l’écoute de ce concret pantagruélique, on découvre que l’album enregistré entre début avril et fin juin de cette année-là, est un patchwork d’humeurs et de styles : sonorités psychédéliques, pop orchestrale, rock influencé par le R&B et folk robuste.
Ce disque marque également le début de leur phase de magie en studio (les boucles de bande vertigineuses qui tourbillonnent dans Tomorrow Never Knows restent aussi glorieusement désorientantes que jamais) et aussi l’adoption d’instruments provenant d’autres horizons lointains ; « Love You To » met en scène George Harrison jouant du sitar aux côtés du joueur de tabla invité Anil Bhagwat, tandis que des cordes descendantes donnent du sérieux à la superbe « Eleanor Rigby ».
Et puis il faut parler du contexte marquant autour de cet album. Une grande partie de la musique et des paroles de Revolver reflètent les expériences du groupe avec les drogues psychotropes – « She Said She Said » en est l’expression la plus représentative.
Mais l’album intégré aussi des personnages métaphoriques parmi les plus intelligents issus de l’imagination des Beatles. On pourra citer à ce sujet, l’alter ego Docteur Robert, qui distribue des pilules, et la note de McCartney à la marijuana, « Got to Get You Into My Life ». Et puis l’humeur de l’album vagabonde autour de divers thèmes, voyageant au gré de l’humeur de ses quatre compagnons : la mortalité qui imprègne « Eleanor Rigby », émotionnellement sophistiquée, contraste joliment avec l’innocence de « Good Day Sunshine ».
Pour ce très beau coffret immersif qui passionnera tous ceux qui écoutent les Beatles comme l’un des meilleurs groupes au monde, il faut aussi évoquer le travail extraordinaire du fils de George Martin, Giles, qui s’occupe de la production et du remixage de Revolver. Le jeune Martin a eu la sagesse de rester dans le son de l’époque pour ne pas dénaturer l’œuvre originale.
Son approche consiste plutôt à amplifier les nuances existantes de la musique donnant ainsi à entendre des chansons familières sonnant plus fraîches, comme si elles se parait d’une saveur renouvelée. Les nouveaux détails de Revolver font ressortir les significations plus profondes des chansons. Les harmonies de fond peu lumineuses sur « Here, There and Everywhere » font de cet air une chanson d’amour rock’n’roll à l’ancienne ; le piano qui se plie en deux sur « I Want to Tell You » crée une sensation toute spécifique.
Les bandes de travail et les démos de Revolver sont fascinantes d’un point de vue archivistique.
Bien que le groupe s’amuse certainement – sur une prise de « And Your Bird Can Sing », ils s’effondrent de façon charmante en gloussant et arrivent à peine à terminer la chanson – de nombreuses démos laissent entendre que Revolver aurait pu être assez mélancolique. Ainsi une démo de « She Said She Said » réalisée chez Lennon avec une mélodie modifiée est plus orageuse, tandis qu’une version plus ascétique de « Here, There and Everywhere » donne ici une impression de manque. Il faut écouter attentivement toutes ces démos en essayant ainsi de décrypter les humeurs des Beatles au moment de ces enregistrements. Au final, tout ceci s’avère être véritablement passionnant et débordant de vie… ici, on est tout près des Beatles et des instant qui donnèrent naissance à ces titres devenus pour certains des classiques indépassables.
Enfin, pour être complet, il fait évoquer le livre de 100 pages qui accompagne ce superbe coffret.
Dans la préface du livre inclus dans le coffret, Paul McCartney écrit : “Lorsqu’on nous a demandé quelle était notre formule, John et moi avons répondu que si nous en trouvions une, nous nous en débarrasserions immédiatement”. Cela explique pourquoi, après toutes ces années, « Revolver » sonne toujours avec autant de vibrations et d’émotions palpables à l’écoute de cet album.
Avec chaque album studio enregistré, les Beatles ont cherché constamment de nouvelles façons de s’exprimer et de faire avancer leur musique. « Revolver » en est l’incarnation pour poser les bases d’une musique encore plus ambitieuse pour les albums qui suivront… En espérant que cet avis vous sera utile…

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Plattenmann

Tolle Sammler Edition

Reviewed in Germany on September 30, 2023

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Schöne Sammler Edition in guter Qualität. Auch wenn die Druckerei offenbar "Probleme mit den Schwarztönen" zu haben scheint, ist diese Ausgabe dieses mal ganz gut gelungen. Soundqualität ist super. An der Schallplatten Pressung gibt es dieses mal nichts zu meckern. Die Platten machen einen hochwertigen Eindruck und laufen plan. Auch der Label Druck sieht sehr gut aus. Besonders toll finde ich das Demo Label auf den beiden Platten mit den Studio Outtakes, die ich persönlich als eingefleischter Fan sehr spannend finde. Ach die beigefügte Single ist sehr gut gelungen. Nur schade dass dieses mal keinen bisher unveröffentlicher Track auf der Edition ist. - Einziges Manko der Edition: Das Buch gibt es wieder einmal nur in Englischer Sprache. Das finde ich sehr schade. Für jemanden der nicht perfekt Englisch kann ist das Lesen des Buches sehr schwierig und teils fast unmöglich. Früher war das einmal anders. Ansonsten kann ich die Edition nur empfehlen.

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ING.

un must

Reviewed in Italy on October 9, 2023

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La recensione riguarda l'edizione super deluxe con dischi in vinle.
Altro cofanetto dei Beatles, pienamente degno di figurare accanto al monumentale super deluxe di Sgt Pepper di qualche anno orsono. Edizioni stereo e mono rimixate a dovere, gran bel libro a corredo, un EP in veste originale, ma la sorpresa (bella) è il doppio vinile con edizioni alternative o work in progress dei brani di Revolver: non tracce scelte a caso, come è per il 90% dei casi, ma vere e proprie testimonianze del lavoro in studio dei fab four. Molto consigliato, anche per i non amanti del quartetto di Liverpool (c'è sempre qualcosa da imparare da loro)

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Cliente Amazon

LA PERFECTA TRANSICIÓN

Reviewed in Spain on November 9, 2023

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Una edición muy chula de doble disco y con muchos extras, la transición perfecta de las dos etapas de Beatles, Revolver marcó la frontera entre los Beatles de quinceañeras y los Beatles que una vez renunciaron a seguir haciendo directos se pusieron a crear obras maestras musicales, un disco que daba mucho pistas de lo que vendría después, imprescindible para cualquier amante de la música, lo dicho, una edición muy chula con doble disco a un precio rompedor.

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Joe Roberts

Plus expérimentaux que jamais, superbe coffret

Reviewed in France on October 28, 2022

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Ce coffret permet de plonger dans une des aventures les plus folles des Beatles. Après Rubber Soul en 1965, Paul, George, John et Ringo souhaitent aller encore plus loin dans l’expérimentation, poussés par leur génial « metteur en son » plus que simple producteur, George Martin. Le surnom qu’on lui a donné de « 5e Beatles » trouve ici toute sa signification. Cet album sera Revolver, encore un chef d’œuvre, extrêmement innovateur et aventureux, que ce soit dans le traitement du son ou des orchestrations. Mais attention, ce sont les Beatles, on reste donc au royaume des mélodies fabuleuses. Un album qui a été enregistré en quelques mois en 1966 et c’est un travail très complexe de studio : aucun de ces titres n’a été envisagé pour être joué sur scène. Les Fab Four s’éloignent peu à peu des concerts qui leur semblaient de plus en plus absurdes, puisque, au milieu des cris du public, ils ne s’entendaient pratiquement pas jouer, Ringo était obligé de se fier aux gestes que lui faisaient les autres pour suivre le rythme ! Sans qu’ils aient à se le dire, la fin des concerts démentiels et usants était donc logique. Ils ont donné leur dernier en août 1966 à San Francisco. Et c’est vrai que les orchestrations qui puisent aussi bien dans la musique classique qu’indienne, les effets sonores utilisés complexes, générés par les dernières technologies de l’époque, des harmonies vocales qui n’ont plus rien à voir avec celles de leurs débuts (4 ans auparavant seulement mais des années-lumière pour les Beatles !) ne peuvent être reproduites en concert. Leur écriture de la musique comme des paroles devient beaucoup plus profonde. Le 1er morceau qu’ils aient joué lors de ces sessions est Tomorrow never knows, ce qui en dit long sur leur volonté d’aller de l’avant sans jamais se répéter ! Par beaucoup d’aspects, c’est Paul plus que John qui était curieux de toute la scène underground bouillonnante de Londres à cette époque-là, avide de découvertes, une scène qu’il fréquentait assidument en allant aux concerts et aux expositions. L’idée reçue aujourd’hui encore veut que le « plus aventureux » des 4 ait été John, idée qui a la vie dure décidément…Mais les mélodies extraordinaires sont toujours là et impossible de résister à des merveilles pop immédiates comme Here, there and everywhere, Good day sunshine, Got to get you into my life, And your bird can sing, For no one, She said she said…Comme quoi, on peut parfaitement être accessible et aventureux en même temps, c’est ce qui rend cet album si riche. Ce coffret comprend le CD du nouveau mix de l’album réalisé en 2022 par Giles Martin (superbe son, clair et puissant, basses bien présentes, les guitares sont magnifiques), on est heureusement loin des 1ers pressages CD du début des années 80 au son tellement plat. 2 CD de sessions ont été joints, les collectionneurs les ont déjà probablement dans leur CDthèque non officielle mais là, on les a enfin officiellement et tout le monde peut en profiter. L’album mono original de 1966 ensuite et enfin, un EP avec Paperback Writer et Rain. Les CD sont accompagnés par un très beau livre de 100 pages rempli de photos et d’infos sur chaque morceau, ainsi qu’un mot d’introduction de Paul et une note de Questlove (le batteur de The Roots) sur l’influence majeure que cet album a été pour lui. Allez, pour chipoter un peu, j’aurais aussi aimé avoir ici la version vinyle de Revolver. Du travail très soigné, forcément indispensable pour tous/toutes les fans des Beatles. Un album fascinant dont on n’est pas près d’avoir fait le tour. De combien d’albums peut-on dire qu’il y a un avant et un après ?

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Product Details

Disc: 1

1	* LP One: Side 1 - 2022 Mix
2	Taxman (2022 Mix)
3	Eleanor Rigby (2022 Mix)
4	I"m Only Sleeping (2022 Mix)
5	Love You to (2022 Mix)
6	Here, There and Everywhere (2022 Mix)
7	Yellow Submarine (2022 Mix)
8	She Said She Said (2022 Mix)

Discount 0% 4.7 ratings

Our Price $13297 of 5 stars

Listed Price ~~$199.98~~ 422 reviews

Product Description

Discount 0% 4.7 ratings

Our Price $13297 of 5 stars

Listed Price ~~$199.98~~ 422 reviews

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Manufacturer Information

The Beatles Revolver Special Edition Super Deluxe 4LP + 7” Vinyl EP

TRACK LISTING

LP One: 2022 Mix [Side 1]

1. Taxman (2022 Mix)

2. Eleanor Rigby (2022 Mix)

3. I’m Only Sleeping (2022 Mix)

4. Love You To (2022 Mix)

5. Here, There And Everywhere (2022 Mix)

6. Yellow Submarine (2022 Mix)

7. She Said She Said (2022 Mix)

LP One: 2022 Mix [Side 2]

1. Good Day Sunshine (2022 Mix)

2. And Your Bird Can Sing (2022 Mix)

3. For No One (2022 Mix)

4. Doctor Robert (2022 Mix)

5. I Want To Tell You (2022 Mix)

6. Got To Get You Into My Life (2022 Mix)

7. Tomorrow Never Knows (2022 Mix)

LP Two: Sessions [Side 1]

1. Tomorrow Never Knows (Take 1)

2. Tomorrow Never Knows (Mono Mix RM 11)

3. Got To Get You Into My Life (First Version / Take 5)

4. Got To Get You Into My Life (Second Version / Unnumbered Mix)

5. Got To Get You Into My Life (Second Version / Take 8)

6. Love You To (Take 1)

7. Love You To (Unnumbered Rehearsal)

LP Two: Sessions [Side 2]

1. Love You To (Take 7)

2. Paperback Writer (Takes 1 & 2 / Backing Track)

3. Rain (Take 5 / Actual Speed)

4. Rain (Take 5 / Slowed Down For Master Tape)

5. Doctor Robert (Take 7)

6. And Your Bird Can Sing (First version / Take 2)

7. And Your Bird Can Sing (First version / Take 2 / Giggling)

LP Three: Sessions [Side 1]

1. And Your Bird Can Sing (Second Version / Take 5)

2. Taxman (Take 11)

3. I’m Only Sleeping (Rehearsal Fragment)

4. I’m Only Sleeping (Take 2)

5. I’m Only Sleeping (Take 5)

6. I’m Only Sleeping (Mono Mix RM1)

7. Eleanor Rigby (Speech Before Take 2)

8. Eleanor Rigby (Take 2)

LP Three: Sessions [Side 2]

1. For No One (Take 10 / Backing Track)

2. Yellow Submarine (Songwriting Work Tape / Part 1)

3. Yellow Submarine (Songwriting Work Tape / Part 2)

4. Yellow Submarine (Take 4 Before Sound Effects)

5. Yellow Submarine (Highlighted Sound Effects)

6. I Want To Tell You (Speech & Take 4)

7. Here, There And Everywhere (Take 6)

8. She Said She Said (John’s Demo)

9. She Said She Said (Take 15 / Backing Track Rehearsal)

LP Four: Revolver (2022 Mono Transfer of original master tape) [Side 1]

1. Taxman (Mono)

2. Eleanor Rigby (Mono)

3. I’m Only Sleeping (Mono)

4. Love You To (Mono)

5. Here, There And Everywhere (Mono)

6. Yellow Submarine (Mono)

7. She Said She Said (Mono)

LP Four: Revolver (2022 Mono Transfer of original master tape) [Side 2]

1. Good Day Sunshine (Mono)

2. And Your Bird Can Sing (Mono)

3. For No One (Mono)

4. Doctor Robert (Mono)

5. I Want To Tell You (Mono)

6. Got To Get You Into My Life (Mono)

7. Tomorrow Never Knows (Mono)

7" Single: Additional EP [Side 1]

1. Paperback Writer (2022 Stereo Mix)

2. Rain (2022 Stereo Mix)

7" Single: Additional EP [Side 2]

1. Paperback Writer (Mono)

2. Rain (Mono)