THE BEATLES-REVOLVER-PARLOPHONE YELLOW & BLACK MONO PMC.7009 1966
£
35
$
46
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Description
THE BEATLES-REVOLVER TYPE SINGLE LP-MONO LABEL/PRESSING INFO PARLOPHONE YELLOW & BLACK 1ST "CORRECTED" PRESS WITH MATRIX NUMBERS XEX 605-2 & XEX 606-2 and SIDE 2 LABEL CREDIT DOCTOR ROBERT CATALOGUE NUMBER PMC 7009 YEAR OF RELEASE 1966 COUNTRY OF RELEASE U.K. SLEEVE TYPE SINGLE-GARROD & LOFHTOUSE Patents pending LAMINATED FLIPBACK WITH SMALL SOLID mono INSERTS/EXTRAS NONE GRADING/CONDITION DISC(s) EXCELLENT (CLEAN with just LIGHT playwear and LIGHT handling wear,plays well throughout with no nasty surprises and just a little light background noise in some of the quiet bits.) LABELS
EXCELLENT ( CLEAN with NO stickers,rips or tears and just LIGHT spindleusage)
SLEEVEFront board EX+ CLEAN with NO rips tears or stickers,the laminate is clean bright and shiny with just a little light creasing Rear board EX CLEAN with no writing,has a little light rubbing wear to the black ink,and a light strip of old glue along the opening where someone once put some protective tape along the opening Flipbacks EX+ COMPLETE and clean with no lifting cracking or peeling, and a few light creases. Spine EX+ COMPLETE and uncrushed with nice clear black on white lettering Top & bottom edge EX TOP edge has minimal wear,bottom has a very small piece of tape,which is only just discernable Opening EX AS it has been protected by a piece of tape there is no actual wear to the opening,just the discolouration as explained above Corners EX ALL 4 corners have some light wear,the bottom of the opening is a bit heavier with a bit of rounding INNER /EXTRAS N/A DETAILS
All the rules fell by the wayside with Revolver, as the Beatles began exploring new sonic territory, lyrical subjects, and styles of composition. It wasn't just Lennon and McCartney, either -- Harrison staked out his own dark territory with the tightly wound, cynical rocker "Taxman"; the jaunty yet dissonant "I Want to Tell You"; and "Love You To," George's first and best foray into Indian music.
Such explorations were bold, yet they were eclipsed by Lennon's trippy kaleidoscopes of sound. His most straightforward number was "Doctor Robert," an ode to his dealer, and things just got stranger from there as he buried "And Your Bird Can Sing" in a maze of multi-tracked guitars, gave Ringo a charmingly hallucinogenic slice of childhood whimsy in "Yellow Submarine," and then capped it off with a triptych of bad trips: the spiraling "She Said She Said"; the crawling, druggy "I'm Only Sleeping"; and "Tomorrow Never Knows," a pure nightmare where John sang portions of the Tibetan Book of the Dead into a suspended microphone over Ringo's thundering, menacing drumbeats and layers of overdubbed, phased guitars and tape loops.
McCartney's experiments were formal, as he tried on every pop style from chamber pop to soul, and when placed alongside Lennon's and Harrison's outright experimentations, McCartney's songcraft becomes all the more impressive. The biggest miracle of Revolver may be that the Beatles covered so much new stylistic ground and executed it perfectly on one record, or it may be that all of it holds together perfectly. Either way, its daring sonic adventures and consistently stunning songcraft set the standard for what pop/rock could achieve.
Even after Sgt. Pepper, Revolver stands as the ultimate modern pop album and it's still as emulated as it was upon its original release.
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