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Revolver: How the Beatles Re-Imagined Rock 'n' Roll
Received wisdom has always put Sgt. Pepper at the head of the class, but it was Revolver that truly signaled the Beatles' sea change from a functional band to a studio-based ensemble. These changes began before Rubber Soul but came to fruition on Revolver, which took an astonishing 300 hours to produce, far more than any rock record before it. The making of Revolver - hunkered down in Abbey Road with George Martin - is in itself a great Beatles story, but would be nothing if the results weren't so impactful. More than even Sgt. Pepper and Pet Sounds, Revolver fed directly into the rock 'n' roll zeitgeist, and its influence could be heard everywhere, from the psychedelic San Francisco sound (Jefferson Airplane, Grateful Dead) to the first wave of post-blues hard rock (Sabbath, Zeppelin) through movie soundtracks and pretty much everything that followed it, including every generation of guitar-based pop music and even heavy metal. More than any record before or after, Revolver was the game-changer, and this is, finally, the detailed telling of its storied recording and enormous impact.
282 pages, Paperback
First published May 15, 2012
7 people are currently reading
178 people want to read
About the author
Robert Rodriguez
6 books6 followersPop culture historian Robert Rodriguez has written or contributed to nine books. 2012 saw the publication of two: Fab Four FAQ 2.0: The Beatles' Solo Years 1970-1980 and The Beatles: Fifty Fabulous Years. The first is the acclaimed sequel to his previous volume, Fab Four FAQ, a much lauded fan and critic favorite. The second is a colorful gift book, on sale exclusively at Barnes & Noble, and features a bonus documentary DVD.
See Fab Four FAQ 2.0 on Facebook for daily archival video postings.
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Displaying 1 - 30 of 52 reviews
June 10, 2012
Without doubt "Revolver" is my favourite Beatles album, so I was intrigued to read this book looking at the making of an album the author puts above "Sgt Pepper" - usually cited as the bands high point. Rodriguez asserts that although Pepper is usually considered the apex of the Beatles creativity, it is actually "Revolver" that is the artistic high water mark - a true group collaboration which pushed the studio's technological limits as far as they could go.
1966 saw the band coming to the end of their touring life (it would later end with the "bigger than Jesus" comment and the chaos that was the Phillipines). However, what allowed the band to actually settle into the studio and create music without pressing time commitments was the lack of agreement of a third feature film, for which Brian Epstein had blocked out three whole months for shooting. Finding themselves without a script, they were left with the space they needed to create a masterpiece. John and Paul were at the exact mid-point states the author, before dominance in the group shifted from John to Paul. Also, this was a time when the members of the band happily experimented (Paul playing lead guitar on "Taxman" for example) without treading on each others toes.
This excellent book begins with what the Beatles were up to in early 1966 and what music their peers were creating, before looking at how the songs were written and then recorded. There is lots of the detail Beatle fans thrive on and examination of the revolutionary innovations used, such as Automatic Double Tracking and use of reversed tape. The Beatles were no longer looking to produce records they could even hope to replicate on stage with their current set up - they used far more session musicians than ever before, including horn players on "Got to get you into my life", strings on "Eleanor Rigby" and a French Horn on "For No One". At this point the four were pulling together, giving their all to make great music, which is shown on the attention and care given to every track, including "Rain", which was destined to be a B-side. Their professionalism, song writing ability and musicianship show them all to be at the peak of their abilities. Ringo's drumming, especially on "Rain" is his own personal favourite performance.
The book continues to discuss how the album was named and the artwork picked (Brian Epstein cried when Klaus Voormann first unveiled the album cover artwork) and then goes on to look at how it was received. Sharing a room on tour, John told Paul that, "I think your songs are better than mine," which is praise indeed, as John was not short of believing in his own talent! "Revolver" was generally received well, although some fans were slightly mystified by the more "far out" tracks. However, Melody Maker stated, "their new LP will change the direction of pop music". Lastly, the book looks at what was to come - Pepper. On hearing "Strawberry Field Forever", the single preceding the album, Brian Wilson pulled his car to the side of the road and apparently sobbed. The Beatles were a band at the height of their powers. Whatever album you feel shows the band at their best is obviously a matter of personal opinion. However, this is an extremely interesting read and the author manages a convincing argument for "Revolver" being the top of a very high standard.
1966 saw the band coming to the end of their touring life (it would later end with the "bigger than Jesus" comment and the chaos that was the Phillipines). However, what allowed the band to actually settle into the studio and create music without pressing time commitments was the lack of agreement of a third feature film, for which Brian Epstein had blocked out three whole months for shooting. Finding themselves without a script, they were left with the space they needed to create a masterpiece. John and Paul were at the exact mid-point states the author, before dominance in the group shifted from John to Paul. Also, this was a time when the members of the band happily experimented (Paul playing lead guitar on "Taxman" for example) without treading on each others toes.
This excellent book begins with what the Beatles were up to in early 1966 and what music their peers were creating, before looking at how the songs were written and then recorded. There is lots of the detail Beatle fans thrive on and examination of the revolutionary innovations used, such as Automatic Double Tracking and use of reversed tape. The Beatles were no longer looking to produce records they could even hope to replicate on stage with their current set up - they used far more session musicians than ever before, including horn players on "Got to get you into my life", strings on "Eleanor Rigby" and a French Horn on "For No One". At this point the four were pulling together, giving their all to make great music, which is shown on the attention and care given to every track, including "Rain", which was destined to be a B-side. Their professionalism, song writing ability and musicianship show them all to be at the peak of their abilities. Ringo's drumming, especially on "Rain" is his own personal favourite performance.
The book continues to discuss how the album was named and the artwork picked (Brian Epstein cried when Klaus Voormann first unveiled the album cover artwork) and then goes on to look at how it was received. Sharing a room on tour, John told Paul that, "I think your songs are better than mine," which is praise indeed, as John was not short of believing in his own talent! "Revolver" was generally received well, although some fans were slightly mystified by the more "far out" tracks. However, Melody Maker stated, "their new LP will change the direction of pop music". Lastly, the book looks at what was to come - Pepper. On hearing "Strawberry Field Forever", the single preceding the album, Brian Wilson pulled his car to the side of the road and apparently sobbed. The Beatles were a band at the height of their powers. Whatever album you feel shows the band at their best is obviously a matter of personal opinion. However, this is an extremely interesting read and the author manages a convincing argument for "Revolver" being the top of a very high standard.
August 28, 2020
I'm pretty much a sucker for all things Beatle. And this, a thorough discussion about their best album, hit me where I live.
May 25, 2015
Great book with some amazing facts on the Beatles' album REVOLVER. I loved the insights on the individual songs, like the way "Got To Get You Into My Life" is exactly the kind of hard-rocking soul sound Paul was thinking about earlier, when he named their last album RUBBER SOUL. Also loved the analysis of the amazing musical effects on "Tomorrow Never Knows," the last track on the album and my all-time favorite psychedelic track.
The one thing I didn't like was the author's assumption that the Beatles had "outgrown" their "primitive" phase of recording classic songs from their live act like "Twist and Shout" live in one take. "Twist and Shout" is just as god as anything on REVOLVER. And that's saying a lot!
The one thing I didn't like was the author's assumption that the Beatles had "outgrown" their "primitive" phase of recording classic songs from their live act like "Twist and Shout" live in one take. "Twist and Shout" is just as god as anything on REVOLVER. And that's saying a lot!
May 17, 2012
Robert Rodriguez's Revolver: How the Beatles Reimagined Rock `N' Roll casts a wide net over a singular moment in the history of the Beatles and he does it well. Much as Mark Kurlansky did in 1968 Mr. Rodriguez weaves social, cultural and musical context in a wonderful tapestry that enlightens beyond the surface of the ostensible event.
The book is basically divided into three parts: Pre-Revolver, the making of Revolver and post-Revolver. In the pre-Revolver chapters Mr. Rodriguez gives a clear picture of the musical, cultural, and social landscape of the day and he does this without patronizing a less than avid fan nor dumbing it down for the crazed fan (such as myself). He takes pains to establish the relationships the Beatles had with their peers, the public and their team behind the scenes (George Martin, Geoff Emerick, et al). In the making of Revolver section he gives us a careful analysis of each song both in the creation of the individual songs (whether writing and/or social context) and the recording of said songs. He does this with a sublime touch that's sure to keep all readers interested in the entire process. In the final section Mr. Rodriguez discusses the impact that the album had on the record buying public, the attempts made by peers to emulate the success of Revolver and the Beatles' attempt to top the remarkable effort (Sgt. Pepper's Lonely Hearts Club Band).
All in all this is an excellent book and a nice, post-contemporaneous, time capsule about the Beatles' remarkable album. It's well sourced and an enjoyable read. Robert Rodriguez easily and adroitly straddles the lines between fan, journalist and historian.
The book is basically divided into three parts: Pre-Revolver, the making of Revolver and post-Revolver. In the pre-Revolver chapters Mr. Rodriguez gives a clear picture of the musical, cultural, and social landscape of the day and he does this without patronizing a less than avid fan nor dumbing it down for the crazed fan (such as myself). He takes pains to establish the relationships the Beatles had with their peers, the public and their team behind the scenes (George Martin, Geoff Emerick, et al). In the making of Revolver section he gives us a careful analysis of each song both in the creation of the individual songs (whether writing and/or social context) and the recording of said songs. He does this with a sublime touch that's sure to keep all readers interested in the entire process. In the final section Mr. Rodriguez discusses the impact that the album had on the record buying public, the attempts made by peers to emulate the success of Revolver and the Beatles' attempt to top the remarkable effort (Sgt. Pepper's Lonely Hearts Club Band).
All in all this is an excellent book and a nice, post-contemporaneous, time capsule about the Beatles' remarkable album. It's well sourced and an enjoyable read. Robert Rodriguez easily and adroitly straddles the lines between fan, journalist and historian.
February 11, 2018
This feels more like a look at the business of mid-60's rock with an extended section on Revolver. It was interesting, but not quite what I wanted. Also, I don't think it's necessary to tear down Sgt. Pepper to prove that Revolver is a great album. In the end it seems the author gave the two equal time. Overall, a good book, but it misses its mark a bit.
April 10, 2020
This book may have convinced me that Revolver is actually the Beatles masterpiece instead of Sgt. Pepper. I love them both of course! The author was eloquent, well researched and engaging. I want to read more by this awesome Beatles historian!
September 20, 2021
Meaty, provocative, detailed.
September 25, 2025
Completed this book while listening to the vinyl. a perfect match. a very well researched and detailed book perfect for any Beatles super fan.
September 30, 2012
I’m not a huge Beatles fan, I mostly see them for their historic significance, that’s not to say I don’t like their music. I became a fan of rock ‘n’ roll upon hearing “Hey Jude.” I saw it with a pictorial presentation at a museum and kept going back again and again to watch and listen to it, and side two of “Abbey Road” is one of the best album sides in rock ‘n’ roll and the White Album would have been a great record had The Beatles cut out half the songs. There, I’ve had my say on The Beatles generally, now to the specific’s. Robert Rodriguez’s excellent book, “Revolver: How The Beatles Reimagined Rock ‘n’ Roll” covers not only the influence of The Beatles album but also puts it into context with what was going on in the individual Beatles lives, what was going on in the world and the world surrounding the band, as well as, context of the songs themselves. It’s a 360 degree look at what Rodriguez argues was the album that changed The Beatles from a band that specialized in early 60’s love songs to the psychedelic rock ‘n’ roll band of the late 60’s.
“Revolver” not only looks at the songs on the album and how they were created including what inspired them, but also the events and experiences in The Beatles lives that went into the creation of the album. “Revolver” takes us from the aftermath of “Rubber Soul” to “Sgt. Peppers” which includes their experimentation with LSD and some of the myths surrounding those experiments and the truth behind them. The book also looks at the quickly changing relationship between The Beatles themselves, with revelations that fans might find surprising.
Rodriguez also pulls away the screen exposing the behind the scenes machinations and creation of the individual songs on “Revolver.” As a fan what I always find it interesting is what goes into the creation of a song because everyday events and occurrences can be changed from the quotidian to the artistic, it’s a magic that is interesting to see and Rodriguez gives us a look at how the all songs came into being. One reservation I have about the detailing of the songs is that at times it delves into the realm of the audiophile a little too deeply with fade times on mono vs. stereo releases of songs (The Beatles let songs get away from them with U.K. and U.S. releases that weren’t always there fault), but I’m sure there are fans who do enjoy that detail.
“If you’re a Beatles fan who hasn’t taken a look at “Revolver” as a turning point in The Beatles career (recording and live) Rodriguez makes a great case for “Revolver” being the career changing album that most people assume was either “Rubber Soul” or “Sgt. Peppers.”
“Revolver” not only looks at the songs on the album and how they were created including what inspired them, but also the events and experiences in The Beatles lives that went into the creation of the album. “Revolver” takes us from the aftermath of “Rubber Soul” to “Sgt. Peppers” which includes their experimentation with LSD and some of the myths surrounding those experiments and the truth behind them. The book also looks at the quickly changing relationship between The Beatles themselves, with revelations that fans might find surprising.
Rodriguez also pulls away the screen exposing the behind the scenes machinations and creation of the individual songs on “Revolver.” As a fan what I always find it interesting is what goes into the creation of a song because everyday events and occurrences can be changed from the quotidian to the artistic, it’s a magic that is interesting to see and Rodriguez gives us a look at how the all songs came into being. One reservation I have about the detailing of the songs is that at times it delves into the realm of the audiophile a little too deeply with fade times on mono vs. stereo releases of songs (The Beatles let songs get away from them with U.K. and U.S. releases that weren’t always there fault), but I’m sure there are fans who do enjoy that detail.
“If you’re a Beatles fan who hasn’t taken a look at “Revolver” as a turning point in The Beatles career (recording and live) Rodriguez makes a great case for “Revolver” being the career changing album that most people assume was either “Rubber Soul” or “Sgt. Peppers.”
February 6, 2013
A really great piece of synthesis and analysis on what is arguably the Beatles' underrated masterpiece. Rodriguez takes the view -- rising in the rock writing world -- that "Sgt. Pepper" has been a bit overrated since its release and "Revolver" has wrongly stood in its shadows due to a confluence of difficult circumstances (the inflammatory "Bigger Than Jesus" remarks from John, a questionable choice of opening single, and the general unwillingness of tween Beatlemaniacs to go along with this "strange" new direction in their development). Rodriguez breaks down, almost on a day-by-day basis, the events and connections made between the primary songwriters in the Beatles and the fast-changing musical world, then looks at the influences on their lyrics (didn't realize that "She Said She Said" was based on an anecdote told to the group by Peter Fonda during an LSD trip), and, my favorite part, a detailed rundown of all the experimental innovations tried and perfected to make "Revolver" sound like no other record that came before it.
I've seen a few hardcore scholars grouse that there's not a lot of new research in here, but really, how much more information is there to be mined from the recording logs and diaries of various producers and engineers? Like Kyle Gann's superb "No Such Thing As Silence," Rodriguez takes the material that is there and crafts an ambitious narrative with it -- one in which "Sgt. Pepper" was the beginning of the end, a point at which the group simply stopped trying to outdo itself.
Rodriguez's humor keeps the book moving, and his encyclopedic knowledge of the Fab Four (built, no doubt, by the fact that he'd already written three other books about the Beatles before this one) is amazing. I don't normally read timelines, but his use of one in the back of the book was actually pretty useful in contextualizing this album. It really gives you a sense of the chart friction as groups like the Mamas and the Papas start bumping elbows with Englebert Humperdinck and other old-style crooners.
A really superb piece of synthesis criticism. Highly recommended.
I've seen a few hardcore scholars grouse that there's not a lot of new research in here, but really, how much more information is there to be mined from the recording logs and diaries of various producers and engineers? Like Kyle Gann's superb "No Such Thing As Silence," Rodriguez takes the material that is there and crafts an ambitious narrative with it -- one in which "Sgt. Pepper" was the beginning of the end, a point at which the group simply stopped trying to outdo itself.
Rodriguez's humor keeps the book moving, and his encyclopedic knowledge of the Fab Four (built, no doubt, by the fact that he'd already written three other books about the Beatles before this one) is amazing. I don't normally read timelines, but his use of one in the back of the book was actually pretty useful in contextualizing this album. It really gives you a sense of the chart friction as groups like the Mamas and the Papas start bumping elbows with Englebert Humperdinck and other old-style crooners.
A really superb piece of synthesis criticism. Highly recommended.
March 26, 2020
Man, I really wanted to like this book. After all, the Beatles are, IMHO, the best band ever, and Revolver is the best album ever. Always has been. And I have recently begun listening to a podcast that the author co-hosts (Something About the Beatles), and I have found most of those podcasts enjoyable and often enlightening.
However, this book really does not offer anything new that I have not encountered in my other reading about The Beatles. If you are more than a casual or new fan and have read a couple of biographies/histories of the band, you will have already encountered most of what this book has to offer. (One new thing I DID learn, however, is the source of the album's title, and Ringo's hilarious suggestion.)
Another reason for the two star rating is that out of the eight chapters in this book the three that open the work (setting the stage, so to speak) could easily have been consolidated into one chapter, (there is really no need for the bulk of one of these chapters to discuss the Rolling Stones) and the two chapters are post-Revolver and could have been consolidated as an epilogue, which leaves all of three chapters actually devoted to Revolver. Finally, not to be piling on but the sub-title of this book could apply to virtually any Beatles album, certainly all those that followed HELP!.
Sorry, Mr. Rodriguez, I really tried.
However, this book really does not offer anything new that I have not encountered in my other reading about The Beatles. If you are more than a casual or new fan and have read a couple of biographies/histories of the band, you will have already encountered most of what this book has to offer. (One new thing I DID learn, however, is the source of the album's title, and Ringo's hilarious suggestion.)
Another reason for the two star rating is that out of the eight chapters in this book the three that open the work (setting the stage, so to speak) could easily have been consolidated into one chapter, (there is really no need for the bulk of one of these chapters to discuss the Rolling Stones) and the two chapters are post-Revolver and could have been consolidated as an epilogue, which leaves all of three chapters actually devoted to Revolver. Finally, not to be piling on but the sub-title of this book could apply to virtually any Beatles album, certainly all those that followed HELP!.
Sorry, Mr. Rodriguez, I really tried.
April 18, 2023
I found this a really excellent book about my favorite Beatles album. Great cultural insights about the times and how bands like The Beach Boys and the Byrds fit these adventurous times. Loved listening to the album while listening to this audiobook. An excellent and very thorough author. Cheers!
August 28, 2020
Revolver is an album that is timeless in its originality - it's songs remain as perceptive and expansive now as they did then. Host and creator of popular Beatles podcast "Something About The Beatles" makes the case for Revolver as the true pinnacle of the Beatle's innovation and last true group collaborative (hereafter songs were crafted by one lead Beatle supported by the other three). Due to a combination of circumstances in the media & public controversy, the grinding end to the Beatle's touring career, and the pop landscape, Revolver was never given the reception it deserved. By contrast, Sgt Pepper was blessed by an absence of competition, a scarcity of Beatle releases, and a commentariat establishment eager to catch up to the times and annoint the Bealtes as one of their own.
Whether this is Rodriguez's own assertion or a drawing together of contemporary opinion, he argues the case compellingly, with thorough research and allusion to the times. The book is by no means limited to the lives of the Fab Four, but lays out a comprehensive view of Pop at that time. In that regard it would find favour with anyone interested in understanding the burgeoning music scene of the mid 60s (In my estimation it makes a great follow on read from Nik Cohn's Awopbopaloobop Alopbamboom).
Yet for me what makes this a most enjoyable read is the little details that emerge, to do with the writing and creation of themselves. For example John Lennon's reluctant older-brotherly help to George Harrison's songcraft, suppling the line in Taxman "Now my advice for those who die / Declare the pennies on your eyes" neatly tying in the theme of the certainty of Death and Taxes; this compared to George's clunkier earlier attempt "You may work hard trying to get some bread / You won't make out before you're [sic] dead".
There will of course be endless things to marvel at with Beatles compositions, but being able to explore their influences, reading, and social habits immerses the reader in the feeling of the time. The Beatles were four wondering demi gods then and now, but they were also ordinary talented people with the good fortune to have boundless resources at their disposal to fuel their creativity. Still, reading back on events, the quality and ease with which timeless classics are delivered seems to be inevitable. What the Beatles possessed above any other band was taste. The ability to sense what was coming and artfully bring it to the people. Back then, listening to the Beatles and their contemporaries must have felt mind expanding, the changing of an age, feeling the very currents of the times. This is no romanticisation or nostalgic longing for greener pasturers - the fruits of that era are still a defining cultural canon.
Rodriguez for the most part he successfully navigates meaning and consequence in an era alive with happening. Aside from a few minor (amusing) errors (like placing Kent between Richmond and Twickenham), he delivers on detail which is exatly what the reader wants. John, Paul, George, and Ringo are as alive as they've ever seemed. A recommended read for any Beatle fan holding to the same pursuit of intellectual, sonic, human, and spiritual ideals.
Whether this is Rodriguez's own assertion or a drawing together of contemporary opinion, he argues the case compellingly, with thorough research and allusion to the times. The book is by no means limited to the lives of the Fab Four, but lays out a comprehensive view of Pop at that time. In that regard it would find favour with anyone interested in understanding the burgeoning music scene of the mid 60s (In my estimation it makes a great follow on read from Nik Cohn's Awopbopaloobop Alopbamboom).
Yet for me what makes this a most enjoyable read is the little details that emerge, to do with the writing and creation of themselves. For example John Lennon's reluctant older-brotherly help to George Harrison's songcraft, suppling the line in Taxman "Now my advice for those who die / Declare the pennies on your eyes" neatly tying in the theme of the certainty of Death and Taxes; this compared to George's clunkier earlier attempt "You may work hard trying to get some bread / You won't make out before you're [sic] dead".
There will of course be endless things to marvel at with Beatles compositions, but being able to explore their influences, reading, and social habits immerses the reader in the feeling of the time. The Beatles were four wondering demi gods then and now, but they were also ordinary talented people with the good fortune to have boundless resources at their disposal to fuel their creativity. Still, reading back on events, the quality and ease with which timeless classics are delivered seems to be inevitable. What the Beatles possessed above any other band was taste. The ability to sense what was coming and artfully bring it to the people. Back then, listening to the Beatles and their contemporaries must have felt mind expanding, the changing of an age, feeling the very currents of the times. This is no romanticisation or nostalgic longing for greener pasturers - the fruits of that era are still a defining cultural canon.
Rodriguez for the most part he successfully navigates meaning and consequence in an era alive with happening. Aside from a few minor (amusing) errors (like placing Kent between Richmond and Twickenham), he delivers on detail which is exatly what the reader wants. John, Paul, George, and Ringo are as alive as they've ever seemed. A recommended read for any Beatle fan holding to the same pursuit of intellectual, sonic, human, and spiritual ideals.
April 2, 2024
This was...okay. Not terrible, not fantastic.
My biggest issue is with the books of this style, purportedly written to examine a single album's influence on the greater musical industry, then proceeds to give a history of the Beatles' output prior to that (as though, with the millions of books written on the Beatles, their history, and their influence, that's even a requirement).
After the history, we get a bit of an overview of where their heads were at, which is good. Then we're taken on a mostly workmanlike overview of the making of each song, which is fine, but I was hoping for a touch more insight.
Then there's an overview of its initial reception, which is expected and should be there, and how it seemed to influence the other artists and bands' output afterward, which I thought was a big part of the point of this examination.
But then we get a quicker overview of the buildup and making of Sgt. Pepper and the reception, just so the author can basically rip into it for not being as groundbreaking as Revolver.
Overall, felt like much ado about nothing, to be honest.
My biggest issue is with the books of this style, purportedly written to examine a single album's influence on the greater musical industry, then proceeds to give a history of the Beatles' output prior to that (as though, with the millions of books written on the Beatles, their history, and their influence, that's even a requirement).
After the history, we get a bit of an overview of where their heads were at, which is good. Then we're taken on a mostly workmanlike overview of the making of each song, which is fine, but I was hoping for a touch more insight.
Then there's an overview of its initial reception, which is expected and should be there, and how it seemed to influence the other artists and bands' output afterward, which I thought was a big part of the point of this examination.
But then we get a quicker overview of the buildup and making of Sgt. Pepper and the reception, just so the author can basically rip into it for not being as groundbreaking as Revolver.
Overall, felt like much ado about nothing, to be honest.
October 19, 2019
Not a huge fan of this book, which comes across as hurriedly written and unedited at times and, worse, at times displays a kind of smugness or even disdain for the subject matter. I almost gave up on it, but then returned to read through the recording session notes. The section on the recording sessions is pretty solid, some of it second- or third-hand, some of it from the author's own careful listening to different versions of the tracks in process.
Though not perfect, I recommend readers interested in "Revolver" turn to Steve Turner's book, "Beatles '66: The Revolutionary Year," which is much more engaging, respectful of and enthusiastic about its subject (sometimes to a fault), though like this book, both Turner and Rodriguez blur the line between when they're clearly working from other sources, when they've adapted anecdotes as fact, or when they're just making their own guesses and offering ideas. I wish for more critical engagement with the subject of "Revolver" in both of these books, and as mostly historical treatments, they're okay projects but not yet the book I'm really looking for on this album.
Though not perfect, I recommend readers interested in "Revolver" turn to Steve Turner's book, "Beatles '66: The Revolutionary Year," which is much more engaging, respectful of and enthusiastic about its subject (sometimes to a fault), though like this book, both Turner and Rodriguez blur the line between when they're clearly working from other sources, when they've adapted anecdotes as fact, or when they're just making their own guesses and offering ideas. I wish for more critical engagement with the subject of "Revolver" in both of these books, and as mostly historical treatments, they're okay projects but not yet the book I'm really looking for on this album.
December 14, 2017
Fairly in-depth look at arguably the Fab Four's greatest album. Though I readily admit a certain bias -- the '65-'66 trifecta of Help!, Rubber Soul, and Revolver are personal favorites, and indispensable in my music collection -- the author presents both known and new information on the writing / production, plus comparisons to other notable acts (Stones, Dylan, etc.) sharing the charts and airwaves at the time. Also, perhaps predictably but no less entertainingly, it takes some of the wind out of the sails of Sgt. Pepper as the supposed high-water mark for the group's work. This would make an excellent companion piece to Scott Freiman's 2017 lecture-documentary about the album.
December 8, 2022
Beatles are my favorite band, and Revolver my favorite record - so my allegiance is out in the open. That said, I very much enjoyed this book. It not only details the conception and recording of Revolver, it also contextualizes it terms of the Beatles own development and the state of popular music at the time. The read was timely as I just got the Super Deluxe cd version of the record and was able to listen to many of the alternative takes mentioned.
While the book doesn't break much in the way of new ground, it should be a great pleasure for most Beatles fans. Fans of music, in particular classic rock but even those of more recent trends, will find much to appreciate. There are echoes of this record in many things being recorded to this day.
While the book doesn't break much in the way of new ground, it should be a great pleasure for most Beatles fans. Fans of music, in particular classic rock but even those of more recent trends, will find much to appreciate. There are echoes of this record in many things being recorded to this day.
June 29, 2018
Comprehensive detailing of mid-1960s culture around the progression of The Beatles through Rubber Soul, Revolver, and Sgt. Pepper's Lonely Hearts Club Band albums. Makes a very good case for Revolver being the more groundbreaking and experimental album. Now I am convinced, too. I was absolutely inundated with praise and acclaim for Sgt. Pepper's Lonely Hearts Club Band as a child of the 1980s. Now I see why that acclaim wasn't attributed to Revolver, and why so many music geeks insist that it is the better album. BTW: I love them both, and Rubber Soul too. But the "White Album" remains my favorite (I know that it is not the "better" album - it is my "favored" album).
September 10, 2024
I know Robert Rodriquez as a filmmaker and did not learn until this book that he is also an author and Beatles scholar. He makes the case here for the achievements found on Revolver, how the Beatles got to this point and where they went after. I was impressed with his deep knowledge of the lives and recordings of the John, Paul, George and Ringo. He has studied the recorded output and points out differences in the mono and stereo releases, asides included in songs and he gathers great stories of how the lads came to discover and create their songs.
July 4, 2025
Älskar Robert Rodriguez Beatles-podd. Och han lyckas förmedla samma smarthet, värme och pålästhet i denna riktigt fina rockbok. Han lyckas vara både dokumentär och kritiker, och det funkar riktigt bra. Kanske inte en bok som tar upp jättemycket nytt till ytan, men som definitivt berättigar sin existens som en kritisk omvärdering av en rätt betydelsefull Beatles-period.
Det är för övrigt bisarrt att tesen för denna bok (att Revolver är en bättre och mer banbrytande skiva än Pepper) var så kontroversiell för 13 år sedan, men så otroligt vedertagen idag.
Det är för övrigt bisarrt att tesen för denna bok (att Revolver är en bättre och mer banbrytande skiva än Pepper) var så kontroversiell för 13 år sedan, men så otroligt vedertagen idag.
January 16, 2022
Four stars simply because this book is about a fascinating period in the life of the Beatles, and in western civilization in general. Having said that, the author tends to overstate his case that "Revolver" is more revolutionary than "Sgt. Pepper," and unfortunately spills a lot of ink tearing down the latter. In the process, he almost completely dismisses "Rubber Soul," which would appear on hindsight to be were the revolution in the art of the Beatles really began.
May 29, 2023
This book was a solid three-star read until the last 40 pages. Sgt. Pepper's Lonely Hearts Club Band is not my favorite Beatles album, and I do believe that Revolver saw the Beatles turning an artistic corner that had only been hinted at on Rubber Soul. But this author absolutely did not need to denigrate Sgt. Pepper to elevate Revolver. That was a horrible decision underscored by the puny support he had for his argument. Two stars, and that's generous.
July 23, 2018
For those who nerd out on the particulars of how iconic albums came together, this will be a fun ride. I didn't think that the author's main thesis was fully realized, but it definitely gave me a deeper appreciation for a landmark album from a great band, so there's that.
January 26, 2023
The only reason this book didn’t receive 5 stars was the author’s tendency to denigrate other Beatles albums (especially Sgt Pepper) to make the point that Revolver was a great album. Other than that, the book is beautifully crafted and a must-read for Beatles fans.
September 14, 2024
Fascinating. I'm sure true Beatles aficionados already know most of the stuff in this book, but I learned a lot about what kinds of forces were driving the band and what kind of creativity was going on in he studio.
52Books September mini-Challenge 2024
Prompt C: with a revolver
52Books September mini-Challenge 2024
Prompt C: with a revolver
March 3, 2020
Outstanding! If you like reading about The Beatles, you will like this book.
November 5, 2020
Rather good.
December 28, 2023
Must for the Beatles fan I am. Loved the detail and the context provided, would love to hear others by the same author and reader. Restful and relaxing.
June 5, 2024
Always interesting to read books about how albums are produced, The Beatles most of all.
November 28, 2024
4.5 stars
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