The third of Jokerside’s tributes to the mighty cornerstone of pop culture that was 1966 links back to the first. It’s August 1966 and the arrival of the second of two musical landmarks that heralded the start of something new. A few months after The Beach Boys’ Pet Sounds, The Beatles were about to turn into something else entirely … Revolver, released 50 years ago today.
Yet you may see the meaning of within… It is being, it is being
“Alchemy” – Tony Visconti
IN THE MIDST OF A CULTURAL EXPLOSION, UNCHALLENGED SINCE, MUSIC, FILM, TELEVISION AND ALL MANNER OF MEDIA EXPLODED IN 1966. It collided with street level pop culture revolution, simultaneously responding to and dousing those same flames with its own intoxicating fuel. Sat prime in the cultural decade that reached from 1963 to 1974, it blended with the baby boomers’ coming of age, the counter-culture and social revolutions that set a template that’s still felt today.
It had been building for some time. And having played a huge part in the beginnings of the cultural revolution in 1963, four years and six albums into their career, The Beatles were perfectly placed to help this seminal time reach its apex. They were also in the right place. The first two long-reads in this 1966 series have necessarily dwelt in America, celebrating the immediate success of Batman the television series and the May release of the Beach Boy’s Pet Sounds. But few places could rival London as a hotbed for the ongoing revolution. And unlike The Rolling Stones, The Who, The Kinks and other bands who’d sprung from the capital, The Beatles had soon left the Merseybeat boom in the early sixties when they led the British invasion of America and by the mid-1960s were lodged in the British capital as observers as much as instigators. But unlike many other bands of the time, The Beatles’ output rarely responded or referenced the cultural shifts around them. Typically, the songs, films and long players that emerged from their prolific work-rate rose sat self-contained. Above that. But 1966 caught them on a cusp.
“I was alone, I took a ride…”
Writing about Revolver always feels daunting task, as it teeters on the brink of full pelt worship. But subjective as The Beatles’ back catalogue is, it’s helped by its incredible quality. Picking a favourite tune from The Beatles’ output may wax and wane from day to day, season to season, but this writer’s favourite songs don’t sit on Revolver. Nor is the distinctive, monochromatic album cover their best. The difference comes on the turntable. While every Beatle album is an enjoyable album to spin, Revolver couldn’t have been better named. It slots together from that sleeve to the split of the sides, the balance of the tracks and the inspiration of its musicians make for a combination greater than the sum of its quality parts. It’s simply the greatest record playing experience in the Beatles’ oeuvre.
True, it followed close on the heels of albums like A Hard Day’s Night and Rubber Soul each of which marked a new step in maturity, skills and depth for the band. But compared to the huge, influential leaps into the unknown that followed, Revolver is a clear tipping point. Balanced and varied, emotional deep and frivolously disrespectful, it’s an album of the future.
Because what Revolver does is something different altogether. It shows the Beatles at their full power: a live band, whose players were just about cohesive, before later albums found them drifting apart. That later divergence would take them on to higher plains, but the looser fit abandoned the energetic phenomenon that was the Fab Four, the unbreakable force that had defined Beatlemania.
Cohesion would remain in aspects of the albums that followed of course. But in many ways Revolver is the end of one Beatles story. The songs between it and its successor Sgt Pepper’s Lonely Hearts Club Band started a revolutionary new tale altogether.
At the end of the road, Abbey Road brought back the illusion of beautiful collaboration but from the work of many band members toiling in pairs or on their own, while most were working on solo projects. As a result, that album incorporates the worst excess of both McCartney and Lennon, left unchecked, where Revolver had demonstrated the power of the two working together just a few years before. The rivalry had stretched too far. Before Abbey Road, Let it Be featured a notably unified sound and blues sentiment under the brash production of Phil Spector, but that plastered over growing disdain for each other and multiple disagreements that had grown from mid-1960’s grumbling. Before that, Magical Mystery Tour was to find them rudderless without Brian Epstein, trying the experiment of McCartney leadership. Even Revolver’s follow-up Sgt Pepper’s Lonely Hearts Club Band was a fraction too far into the band’s splintering. The arrival of facial hair and new costumes came with a studio-bound band that had left touring behind. Revolver was the lightning period, the tipping point. The Beatles’ recording era had arrived, where they had chosen studio over road. That, among other things… Continue reading “1966: Revolver at 50”