In the studio
The Beatles' previous album, Rubber Soul, had seen them exploring R&B and folk stylings. Revolver took this further, bringing in influences such as Motown, classical Indian music and children's songs, in addition to orchestral instrumentation and elements of musique concrète.
Revolver was accepted well. I don't see too much different between Rubber Soul and Revolver. To me, they could be Volume One and Volume Two.
There were four main sonic innovations on Revolver. The first of these was the use of artificial double tracking, or ADT. This was invented by EMI engineer Ken Townsend in April 1966, and involved linking two tape machines to create a doubled vocal track. Due to minute differences in playback, the two recordings would separate slightly, giving the effect of two voices when combined.
John Lennon – never the most technically-minded of musicians – once asked George Martin to explain how ADT worked.
I knew he'd never understand it, so I said 'Now listen, it's very simple. We take the original image and we split it through a double vibrocated sploshing flange with double negative feedback...' He said 'You're pulling my leg. Aren't you?' I replied 'Well, let's flange it again and see'. From that moment on, whenever he wanted ADT he would ask for his voice to be flanged, or call out for 'Ken's flanger.'
The Complete Beatles Recording Sessions, Mark Lewisohn
A by-product of ADT was the ability to speed up and slow down recordings via a dedicated oscillator. The Beatles found that varispeeding a recording changed the texture of sound, which they put to extensive use during the Revolver sessions.
The second key innovation was the use of backwards recording. This had actually been first used in a non-Revolver song, Rain, the b-side of Paperback Writer. The backwards vocals which ended Rain were recorded on 14 April 1966.
Revolver very rapidly became the album where the Beatles would say 'OK, that sounds great, now let's play it backwards or speeded up or slowed down'. They tried everything backwards, just to see what things sounded like.
The Complete Beatles Recording Sessions, Mark Lewisohn
Two songs on Revolver featured backwards recordings: I'm Only Sleeping and Tomorrow Never Knows. While the latter predominantly used tape loops, I'm Only Sleeping saw The Beatles spend six hours creating the two simultaneous backwards lead guitar parts. These were recorded on 5 May 1966.
Of all the songs on Revolver, none was more innovative than the album's closing song, Tomorrow Never Knows. The song was a giant leap forward for The Beatles, with its thunderous drum sound, lyrics adapted from Timothy Leary and Richard Alpert's adaptation of the Tibetan Book of the Dead, use of tape loops and Leslie speakers.
The tape loops were overlaid onto the backing track. Six loops were used on Tomorrow Never Knows: a seagull noise, actually a distorted recording of Paul McCartney laughing; an orchestra playing a B flat chord; notes played on a Mellotron's flute setting; a second Mellotron on its violin setting; and a distorted sitar which is most clearly heard in the instrumental break following the lines "It is being, it is being". A guitar solo by McCartney, reversed and slowed down a tone, was also used in the instrumental break.
The final remarkable innovation in Tomorrow Never Knows was John Lennon's voice. For the first half of the song he manually double-tracked his vocals. For the song's second half, meanwhile, the Abbey Road engineers ran Lennon's voice through a revolving Leslie speaker, more commonly found inside Hammond organs. It can be heard from the line 'Love is all and love is everyone' onwards.
Lennon had an idea of how he wanted the song to sound, but it was down to George Martin and the studio engineers to realise the vision. Chief among the EMI Studios staff was Geoff Emerick, the young engineer who played a crucial role in developing The Beatles' sound between 1966 and 1968.
For Tomorrow Never Knows he said to me he wanted his voice to sound like the Dalai Lama chanting from a hilltop, and I said, 'It's a bit expensive, going to Tibet. Can we make do with it here?' I knew perfectly well that ordinary echo or reverb wouldn't work, because it would just put a very distant voice on. We needed to have something a bit weird and metallic...
A Leslie speaker is a rotating speaker, a Hammond console, and the speed at which it rotates can be varied according to a knob on the control. By putting his voice through that and then recoding it again, you got a kind of intermittent vibrato effect, which is what we hear on Tomorrow Never Knows. I don't think anyone had done that before. It was quite a revolutionary track for Revolver.
Revolver was named after the motion of a vinyl record as it was played, although there is an obvious double meaning which pleased the group.
It's just a name for an LP, and there's no meaning to it. Why does everyone want a reason every time you move? It means Revolver. It's all the things that Revolver means, because that's what it means to us. Revolver and all the things we could think of to go with it.
The Beatles had some trouble settling on a name; their original title was Abracadabra, though this was later discarded.
Revolver did not mean a gun, but something that revolves, like a record. Johnny Dean, editor of Beatles Monthly, was with them on the night of 24 June 1966 in a Munich hotel room when they named the latter. At first they had all four wanted to call it Abracadabra, but someone had already used it. Pendulums and Fat Man and Bobby were other ideas. Ringo suggested having a joke with the Rolling Stones by calling it After Geography since the Stones had just done Aftermath! John proposed Beatles on Safari and Paul came up with Magic Circle. John changed this to Four Sides of the Circle and Four Sides of the Eternal Triangle, which somehow led them to Revolver.
Many Years From Now