THE BEATLES-REVOLVER-PARLOPHONE YELLOW & BLACK MONO PMC.7009 1966 EX+
£
36
$
48
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Description
THE BEATLES-REVOLVER TYPE SINGLE LP-MONO LABEL/PRESSING INFO PARLOPHONE 1ST "CORRECTED" PRESS WITH YELLOW & BLACK LABELS AND MATRIX NUMBERS:XEX 605-2 & XEX 606-2 CATALOGUE NUMBER PMC 7009 YEAR OF RELEASE 1966 COUNTRY OF RELEASE U.K. SLEEVE TYPE SINGLE-GARROD & LOFTHOUSE Patents pending LAMINATED FLIPBACK with small solid mono front top right. INSERTS/EXTRAS NONE GRADING/CONDITION DISC(s)
EXCELLENT+ (NICE CLEAN copy with just VERY LIGHT playwear and VERY LIGHT handling marks,the whole album plays well throughout)
LABELSEXCELLENT+( CLEAN LABELS with NO stickers,rips or tears,and just a bit of LIGHT spindleusage)
SLEEVEFront board and Inner Gatefold EX+ CLEAN with NO writing rips tears user stickers or remains.The laminate is bright and shiny and not dulled by heavy wear with no ringwear or even pressure marking,with some light cracking along the spine side. Rear board EX CLEAN rear black card with no ringwear and very light ageing,does have small ink name inside one of the downstrokes of the 1st R of revolver. Flipbacks EX COMPLETE and stuck fast with a bit of light wear along the bottom flipback where the finishing process hasnt completed the lamination and the bare card has been exposed to the world. Spine EX COMPLETE uncrushed and clean and clear lettering and some light laminate cracking. Edges EX+ Both top and bottom edges have just light storage wear with no laminate loss Opening EX+ Has VERY LIGHT wear and LIGHT usage. Corners EX+ All 4 corner have light wear only INNER /EXTRAS
N/A
DETAILSAll 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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