Part of The Beatles’ story is that of pop’s transformation into something like art. Not that Revolver was without precedent. Frank Sinatra’s serial-like string of albums in the ’50s (In the Wee Small Hours, Only the Lonely, No One Cares), Ray Charles’ Modern Sounds in Country and Western Music, the sound sculptures of producers like Phil Spector and Joe Meek, the arrangements of The Beach Boys’ Pet Sounds—all undoubtedly pop music. But they’re also examples of artists stretching pop to accommodate a sense of depth and conceptual ambition that hadn’t been there before. As George said around the time of Revolver’s release, selling a lot of records was nice. Now the point was to make them better. Bromell qualifies the statement by saying, "If we don't count the Holy Modal Rounders' 1964 cover of Leadbelly's ' Hesitation Blues'", which included a newly written verse referring to "the psychedelic blues". [256]

Clough, Matthew H.; Fallows, Colin, eds. (2010). Astrid Kirchherr: A Retrospective. Liverpool, UK: Liverpool University Press. ISBN 978-1-84631-477-3. Norwegiancharts.com – The Beatles – The Beatles In Stereo". Hung Medien. Retrieved 20 September 2023. Philo, Simon (2015). British Invasion: The Crosscurrents of Musical Influence. Lanham, MD: Rowman & Littlefield. ISBN 978-0-8108-8626-1. George Martin– producer; mixing engineer; piano on "Good Day Sunshine" and "Tomorrow Never Knows"; Hammond organ on "Got to Get You into My Life"; tape loop of the marching band on "Yellow Submarine"

Album Top 50 KW 10 | charts". MTV. 14 January 2011. Archived from the original on 15 December 2009 . Retrieved 12 March 2011. Spanishcharts.com – The Beatles – The Beatles In Stereo". Hung Medien. Retrieved 20 September 2023. Given their cultural stature, it’s easy to forget that The Beatles didn’t really know what they were doing at the time. So, while Revolver’s experimental qualities—the tape loops of “Tomorrow Never Knows,” the dislocated horn sections of “Got to Get You Into My Life”—could seem pretentious or alienating, they’re better understood as an embrace of the same unknowns that led to “Yesterday” or “Norwegian Wood (This Bird Has Flown).” Namely, can this be done? Though the band’s interest in avant-garde composers like John Cage or Luciano Berio wasn’t always obvious in their sound, it spoke to a sense of experimentation and open-mindedness that spurred them on when they could’ve easily and comfortably stayed in the same place.

The most improbably surprising song here, though, is “Yellow Submarine.” For the box set, the Beatles’ archivists discovered Lennon’s work tape, which finds him keening about his doldrums over a folky acoustic guitar: “In the place where I was born, no one cared, no one cared.” It sounds both like a Daniel Johnston cassette and the Stanley Brothers bleating “Man of Constant Sorrow”— and nothing like a children’s song about psychedelic seafaring. Along with the rest of the Beatles catalogue, the album was first issued on compact disc in 1987. [460] In 2009, Apple and EMI released remastered versions of the Beatles albums on CD. Revolver was also included in the box sets released at the time, The Beatles: Stereo Box Set and The Beatles in Mono Box Set. [461]

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Baltin, Steve (9 September 2012). "Brian Wilson Holds Out Hope for New Beach Boys Music". rollingstone.com . Retrieved 24 June 2017. Beatles' 'Revolver' judged best album". Jam!. Associated Press. 4 January 2001. Archived from the original on 13 November 2004 . Retrieved 18 April 2020. Riley calls Revolver the Beatles' best album but also, in the edition issued by Capitol, their "most artistically compromised". [429]

Moss, Charles J. (3 August 2016). "How the Beatles' 'Revolver' Gave Brian Wilson a Nervous Breakdown". Cuepoint. Archived from the original on 8 May 2017 . Retrieved 24 June 2017. Mawer, Sharon (May 2007). "Album Chart History: 1966". The Official UK Charts Company. Archived from the original on 17 December 2007 . Retrieved 8 November 2019.The sixteen-disc collection contains the remastered stereo versions of every album in the Beatles catalogue. The first four albums ( Please Please Me, With the Beatles, A Hard Day's Night and Beatles for Sale) made their CD debut in stereo, though most songs from those albums have previously appeared on CD in stereo on various compilations. Both Help! and Rubber Soul use the remixes prepared by George Martin for the original 1987 CD releases (the original 1965 stereo mixes were released on The Beatles in Mono). Magical Mystery Tour is presented in the sequence and artwork of its original North American Capitol Records album release, as opposed to the UK six-song EP.