Limey Lang

[Oasis_Lad]

I think I've given her a puncture. I ope' you got plasters, Laddie. That usually fixers em'.

I'll patch her up with me love glue.

[Southpaw Stinger]

I'll patch her up with me love glue.

I'm knackered, Laddie. No beer to keep me going.


Shag yer later

[Oasis_Lad]

I'm knackered, Laddie. No beer to keep me going.


Shag yer later

Sweet dreams big fella.

[Oasis_Lad]

REVOLVER

Revolver is The Beatles' seventh album, released on August 5, 1966. The album showcased a number of new stylistic developments which would become more pronounced on later albums. Many of the tracks on Revolver are marked by an electric guitar-rock sound, in contrast with their previous, folk-rock inspired Rubber Soul. It reached #1 in the UK chart for 7 weeks and #1 on the US chart for 6 weeks.

Revolver is often cited as one of the greatest albums in rock music history. In 1997 it was named the 3rd greatest album of all time in a 'Music of the Millennium' poll conducted by HMV, Channel 4, The Guardian and Classic FM. In 2006 Q magazine readers placed it at number 4, while in 2000 the same magazine placed it at number 1 in its list of the 100 Greatest British Albums Ever. In 2001 the TV network VH1 named it the number 1 greatest album of all time, a position it also achieved in the ****** All Time Top 1,000 Albums.[1] A PopMatters review described the album as "the individual members of the greatest band in the history of pop music peaking at the exact same time",[2] while Ink Blot magazine claims it "stands at the summit of western pop music".[3] In 2002, the readers of Rolling Stone ranked the album the greatest of all time. In 2003, the album was ranked number 3 on Rolling Stone magazine's list of the 500 greatest albums of all time. It placed behind only Sgt. Pepper's Lonely Hearts Club Band and Pet Sounds.

Songs

Melodic diversity; innovation in the studio

"Eleanor Rigby", one of Paul McCartney's more notable songs on the album, was released as a single (in a double A-side with "Yellow Submarine") concurrently with the album. The song contains McCartney's lyrical imagery and a string arrangement (scored by George Martin under McCartney's direction), which was inspired by the Bernard Herrmann score for François Truffaut's film Fahrenheit 451. The strings were recorded rather dry and compressed, giving a stark, urgent sound. Ringo Starr has confirmed that he contributed the line "Father McKenzie, writing the words of a sermon that no one will hear."[citation needed] It was originally written as "Father McCartney" but was changed as it was thought that listeners would assume that it referred to Paul's father. So, after looking through a local phone book, he found the name McKenzie. The song had a great effect upon release for its stark imagery and elegiac tone, which contrasted with The Beatles' prior output.

Lennon was the main writer of "I'm Only Sleeping". George Harrison and John Lennon played the notes for the lead guitar (and for the second guitar in the solo) in reverse order, then reversed the tape and mixed it in. The backwards guitar sound builds the sleepy, ominous, and weeping tone of the song. This, along with backwards vocals used on the Beatles song "Rain" (recorded at the sessions and released separately, as the B-side to the "Paperback Writer" single), was the first recorded instance of backmasking in popular music, which Lennon discovered after mistakenly loading a reel-to-reel tape backwards under the influence of marijuana.[citation needed]

Another key production technique used for the first time on this album was automatic double tracking (ADT), invented by EMI engineer Ken Townsend on 6 April 1966. This technique used two linked tape recorders to create automatically a doubled vocal track. ADT was an improvement over the standard method, which was to double the vocal by singing the same piece twice onto a multitrack tape, a task Lennon particularly disliked. The Beatles were reportedly delighted with the invention, and used it extensively on Revolver. ADT quickly became a standard pop production technique, and led to related developments, including phasing, flanging and chorus.

Lennon's other contributions included "And Your Bird Can Sing" and "She Said, She Said", both of which are guitar-laden tracks with swirling melodies.

McCartney's "Got to Get You Into My Life" was a Memphis soul tribute, inspired by Stax Records, which used brass instrumentation extensively. Although cast in the form of a love song, McCartney has since revealed that the song was actually an ode to marijuana. (Lennon is quoted in Anthology as claiming that the song is about LSD.) It was released as a single in 1976, ten years after the album.

McCartney also contributed "For No One" (written for his then-girlfriend Jane Asher), a melancholy song featuring him playing clavichord and a horn solo played by Alan Civil; "Good Day Sunshine", a cheery pastiche of The Lovin' Spoonful, which was quickly covered as a single by The Tremeloes; and the epic "Here, There, and Everywhere", written in the style of The Beach Boys, which was covered by The Lettermen and in 1976 was a hit for Emmylou Harris.

Harrison's emergence as songwriter

Revolver was also a breakthrough album for Harrison as a songwriter, and he contributed three songs on Revolver, including the opening track, "Taxman". The guitar solo is actually played by McCartney, making "Taxman" one of relatively few Beatles songs on which Harrison did not play lead guitar. The "Mr. Wilson" and "Mr. Heath" referred to in the lyrics (right after the word "taxman") are Harold Wilson and Edward Heath, who were, respectively, the British Labour Prime Minister, and Conservative Leader of the Opposition at the time. This marked the first time that public figures were directly named in a Beatles song. In the Anthology 2 version, "Mr. Wilson and Mr Heath" were replaced with "Anybody got a little money." The song was a protest against the high marginal rates of income tax paid by high earners like the Beatles, which were sometimes as much as 95 percent of their income. (This would lead to many top musicians becoming tax exiles in later years.)

Harrison also wrote "I Want to Tell You", about his difficulty expressing himself in words. "Love You To" marked a significant expansion of his burgeoning interest in Indian music and the sitar, which started with "Norwegian Wood (This Bird Has Flown)" on 1965's Rubber Soul. Beatles fans also point out that it was the intro to "Love You To" that was playing in the background when the Harrison character first appears in Yellow Submarine, the animated Beatles movie released in 1968.

Heralding the psychedelic era

The most light-hearted track on Revolver is the childlike "Yellow Submarine." The song's main inspiration can be traced back to one of Lennon's school drawing books from the early 1950s[citation needed]. McCartney himself has said that he wrote "Yellow Submarine" as a children's song for Starr to sing. It is commonly regarded as a psychedelic song[citation needed] .

Although not credited on the album, the Scottish singer-songwriter Donovan, who had become a close friend of the Beatles, assisted with vocals and with the writing of the song itself. Donovan came up with the line "Sky of blue, sea of green, in our yellow submarine."[citation needed] Rolling Stones guitarist Brian Jones can be heard clinking glasses in the background, and Beatles road manager Mal Evans also sang on the track. With the help of their EMI production team, the Beatles overdubbed stock sound effects they found in the Abbey Road studio tape library. (George Martin had collected these for his production of recordings of the British radio comedy programme The Goon Show.)

According to Lennon, some of the trippy lyrics of "She Said, She Said" were taken almost verbatim from an exchange he had with actor Peter Fonda in August 1965, while he (Lennon), Harrison and Starr were under the influence of LSD at their rented house in Benedict Canyon (in Beverly Hills, California). Fonda had stopped by to see his friends (members of the Byrds) — and to meet the Beatles. During the ensuing conversation, Fonda said to Harrison, "I know what it's like to be dead," because as a boy he had almost died from a self-inflicted gunshot wound. Hearing this, Lennon bluntly replied: "Who put all that **** in your head?"

In 1972, Lennon offered some context for the influence of drugs on the Beatles' creativity (quoted in The Beatles Anthology):

"It's like saying, 'Did Dylan Thomas write Under Milk Wood on beer?' What does that have to do with it? The beer is to prevent the rest of the world from crowding in on you. The drugs are to prevent the rest of the world from crowding in on you. They don't make you write any better. I never wrote any better stuff because I was on acid or not on acid."

Cover

The cover illustration was created by German-born bassist and artist Klaus Voormann, who was one of the Beatles' oldest friends from their days at the Star Club in Hamburg. At the time of the album's release, Voormann was the bassist for Manfred Mann.

Voormann's illustration, part line drawing and part collage, included photographs by Robert Whitaker, who also took the back cover photographs and many other famous images of the group between 1964 and 1966, such as the infamous "butcher cover" for Yesterday and Today.

Voormann's own photo as well as his name (Klaus O. W. Voormann) is worked into Harrison's hair on the right-hand side of the cover. In the Revolver cover appearing in his artwork for Anthology 3, he replaced this image with a more recent photo.

Harrison's Revolver image was seen again on his single release of "When We Was Fab" along with an updated version of the same image.

Title

The title Revolver, like Rubber Soul before it, is a pun, referring both to a kind of handgun as well as the "revolving" motion of the record as it is played on a turntable.

[The Raging Bull]

Have you guys watched the Earle vs Katsidis fight?

If so does anyone know the song that Katsidis used for his intro?

[Oasis_Lad]

Southpaw, are you mourning the death of our beloved Tweedy thread?

[Southpaw Stinger]

Southpaw, are you mourning the death of our beloved Tweedy thread?

I am ****ing destroyed, Laddie.

You must do somthing to fill the void.

[Oasis_Lad]

I am ****ing destroyed, Laddie.

You must do somthing to fill the void.

I'm going to bomb Phototbucket headquarters and destroy their ****ing servers.

Slags!

[Southpaw Stinger]

I'm going to bomb Phototbucket headquarters and destroy their ****ing servers.

Slags!

They can sell our navy to the French, they can bomb all breweries... but they go a step too ****in far when they remove the tweedy pics.

[Oasis_Lad]

They can sell our navy to the French, they can bomb all breweries... but they go a step too ****in far when they remove the tweedy pics.

A ****in' moon leap too far.

If only the bandwidth was as large as our trousersnakes - then we could ogle the gorgeous Cheryl for many years to come.