THE BEATLES-REVOLVER-1ST PRESS MONO-REMIX 11 - 1R/1G - FACTORY SAMPLE- E.J. DAY

	£		272
	$		360

THE BEATLES-REVOLVER TYPE SINGLE LP-MONO LABEL/PRESSING INFO

PARLOPHONE YELLOW & BLACK 1ST PRESS WITH MATRIX NUMBERS XEX 605-2 & XEX 606-1 AKA REMIX 11 with the withdrawn version of TOMORROW NEVER KNOWS and EMI STAMPER CODES 1R/1G and authentic bayonet end FACTORY SAMPLE NOT FOR SALE on the side 2 label

EXCELLENT+ (NICE CLEAN RECORD with VERY LIGHT playwear and hardly any handling handling wear with the only thing of any real note being a very light mark on side one which is no more than a smudge on the surface of the vinyl and is completely inaudible, and the whole album plays well with a great reproduction.

A quick note on the feature that makes this special is the version of Lennon's Tomorrow Never Knows, if you have never heard it before its faster and lighter than the finished version almost "poppy" by comparison and not nearly as "doom laden" as he must have wanted it to sound and hence he made EMI recut the whole side , such was the power of a Beatle eh.

EXCELLENT+ (NICE CLEAN LABELS with NO writing rips tears repairs user stickers or removal marks a bit of light spindle wear and very light storage and handling wear.)

CLEAN with NO writing or stickers. The laminate is clean and shiny with just light rubbing wear, there is a thin 2 inch strip of the surface missing along the opening where a piece of protective tape has been removed.

INNER SLEEVE: EXCELLENT+ (Clean and unmarked with NO writing body rips tears repairs NO edge splits or taping. The inner bag has minimal wear and is firmly attached to the body of the sleeve)

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.