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Side 1:
1. Taxman (2009 – Remaster)
2. Eleanor Rigby (2009 – Remaster)
3. I’m Only Sleeping (2009 – Remaster)
4. Love You To (2009 – Remaster)
5. Here, There And Everywhere (2009 – Remaster)
6. Yellow Submarine (2009 – Remaster)
7. She Said She Said (2009 – Remaster)
Side 2:
1. Good Day Sunshine (2009 – Remaster)
2. And Your Bird Can Sing (2009 – Remaster)
3. For No One (2009 – Remaster)
4. Doctor Robert (2009 – Remaster)
5. I Want To Tell You (2009 – Remaster)
6. Got To Get You Into My Life (2009 – Remaster)
7. Tomorrow Never Knows (2009 – Remaster)
As they devoted more time to the studio, the Beatles’ individual voices and confidence continued to grow, resulting in the sonic landmark Revolver.
Like any band, the Beatles’ recording career was often altered, even pushed forward, as much by external factors as their own creative impulses. The group’s competitive drive had them, at times, working to match or best Bob Dylan or Brian Wilson; their drug use greatly colored the musical outlook of John Lennon and George Harrison in particular; and the death of former manager Brian Epstein ushered in a period of distracting and poor business choices and opened the door for individuals such as the celebrity guru Maharishi Mahesh Yogi, Yoko Ono, and businessman Allen Klein to penetrate, alter, and, some would say, disintegrate their inner circle.
The most important of these external shifts in the Beatles narrative, however, was a series of changes that allowed them to morph into a studio band. The chain of events that ushered in the band’s changing approach to studio music began before Rubber Soul, but the results didn’t come into full fruition until Revolver, a 35-minute LP that took 300 hours of studio time to create– roughly three times the amount allotted to Rubber Soul, and an astronomical amount for a record in 1966.
Longtime Beatles producer George Martin, justifiably upset that EMI refused to give him a raise on the back of his extraordinarily profitable work with the Beatles, quit his post with the label in August 1965. Martin used his clout to create his own company, and the group and producer used theirs to effectively camp out at Abbey Road Studios for whatever length of time suited them rather than being forced to comply to the rigid and economically sound schedules demanded by labels at the time. The Beatles could now work both in and out of the studio, taking full advantage of new advancements in sound recording that allowed them to reflect upon and tinker with their work, explore new instruments and studio trickery, and refine their music by solving problems when they arose.
