THE BEATLES-REVOLVER-PARLOPHONE YELLOW & BLACK MONO-PMC.7009 1966-EXTRA DOT
£
35
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Description
. THE BEATLES-REVOLVER TYPE SINGLE LP-MONO LABEL/PRESSING INFO
PARLOPHONE-"CORRECTED" PRESS YELLOW & BLACK WITH MATRIX NUMBERS:XEX 605-2 & XEX 606-2 WITH "EXTRA DOT" ON THE SIDE 1 LABEL BETWEEN THE "IN U.K."
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 ON FRONT INSERTS/EXTRAS PLAIN WHITE INNER GRADING/CONDITION DISC(s)EXCELLENT (CLEAN record with just VERY LIGHT playwear there is some light handling marking but nothing of any consequence and the whole album plays really well throughout with a great uncluttered MONO reproduction.
LABELSEXCELLENT+ (CLEAN LABELS with NO writing rips or tears repairs stickers or remains VERY LIGHT spindleusage, and VERY LIGHT playwear/handling wear)
SLEEVEFront board.Inner gatefold EX+ NICE AND CLEAN with NO writing rips tears user stickers or remains.Laminate is bright and shiny with very light rubbing wear no pressure marking there are a few creases bur nothing major,and a bit of light ageing down the bottom of the opening Rear board EX Rear black board is clean with light ageing no writing or other user adornments has a light ringmark on the upper left arc. Flipbacks EX Flipbacks are complete with a bit of light ageing and some creasing at the bottom right corner Spine EX+ Spine is complete and uncrushed with light ageing a few small laminate cracks and clear lettering Top & bottom edge EX+ Top and bottom edges have only light storage wear with no laminate loss Opening EX+ The opening has LIGHT wear and LIGHT usage Corners EX+ Corners have light wear with a bit of rounding on the bottom two. INNER /EXTRAS
INNER SLEEVE: EXCELLENT+
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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