Musings of the Past

When The Beatles’ Revolver Turned 50

The other day, fellow blogger Max from PowerPop blog featured I Want to Tell You, a George Harrison tune from Revolver, rightfully noting the great opening riff and calling it very unrated. This reminded me of a post I originally published in August 2016 about the then-50th anniversary of what is widely considered one of the best albums by The Beatles.

I was about six weeks into my blogging journey. The blog was very bare-bones at the time with no embedded images or video clips in the posts. While my writing was also still evolving, I felt the content of this early post deserved to be republished. Unlike previous Musings of the Past installments, which essentially were straight reposts, I decided to enhance the Revolver post with both multi-media and some additional text at the end. I also slightly amended the headline. Here we go.

When The Beatles’ Revolver Turned 50

It was 50 years ago yesterday (Aug 5): The Beatles released Revolver in the UK, an album that is considered a leap from predecessor Rubber Soul, introducing more experimentation and innovative recording techniques.

On Aug 5, 1966, The Beatles released Revolver, their seventh studio album in the UK. Just the other day, a good friend of mine told me many experts consider it the best album of the Fab Four. Yesterday, I noticed a number of related articles from music sources like Rolling Stone and others commemorating the occasion. So I decided to take a closer look on this mold-breaking album.

On RevolverThe Beatles started experimenting with various new recording techniques, including tape loops, backwards recordings and varispeeding. The most significant innovation was Artificial Double Tracking (ADT), which was invented by Ken Townsend, a recording engineer at Abbey Road Studios. The technique essentially combines an original audio signal with a delayed copy of that signal. Previously, the effect could only be accomplished by natural doubling of a voice or instrument, a technique called double-tracking.

The invention of ADT mainly was spurred by a request from John Lennon who during the Revolver sessions asked for a less tedious alternative to double-tracking. ADT was soon adopted throughout the recording industry.

Revolver was also remarkable for other reasons. The title, by the way, had nothing to do with guns but was derived from the verb revolve. One of the album’s highlights is the string arrangement on Eleanor Rigby, which was written by George Martin. Otherwise, the tune was primarily penned by Paul McCartney. Blending classical and pop music broke conventions. It would take another four years before another British band, Electric Light Orchestra, would take this concept to the stratosphere.

Revolver also saw George Harrison take on a bigger role in song-writing and shaping the band’s sound: TaxmanLove You To and I Want to Tell You were all written by him. Love You To featured Indian classical instruments, which George had introduced on Rubber Soul with his use of the sitar on Norwegian Wood. On Revolver, he also introduced the tambura, another instrument used in Indian music, on John’s Tomorrow Never Knows. Another interesting tidbit I read: The guitar solo on Taxman was played by Paul after George had made multiple unsuccessful attempts.

Apart from the above, Revolver included other gems like Here, There and EverywhereGood Day Sunshine and Got to Get You into My Life. The sessions to the album also yielded the non-album single Paperback Writer with Rain as the b-side.

In the U.S., Revolver was released on August 8, 1966. The release coincided with The Beatles’ third and final concert tour in the U.S. and Toronto. Except for Paperback Writer, the band did not perform any of the songs from the Revolver sessions.

Revolver won the 1966 Grammy for Best Album Cover, Graphic Arts. The cover artwork was designed by Klaus Voormann, who had known The Beatles since 1960 when he met them during their time in Hamburg. While Revolver was well received in the UK, the initial reception in the U.S. was less enthusiastic due to John’s controversial statement that The Beatles had become bigger than Jesus. Eventually, the album was certified 5 times platinum in the U.S. and platinum in the UK.

– End –

The original post, first published on August 6, 2016, ended here. Following is some additional content about two songs that are among my favorites on Revolver.

First up: Taxman. According to Songfacts, George was a fan of the 1960s American television series Batman. The music for Taxman was inspired by the Batman Theme, written and first recorded by conductor/trumpeter Neal Hefti. It was subsequently covered in early 1966 by The Marketts, an American surf rock group. “‘Taxman’ was when I first realized that even though we had started earning money, we were actually giving most of it away in taxes,” Harrison said. Subsequently, he changed his stance about money, telling BBC Radio in 1969, “No matter how much money you’ve got, you can’t be happy anyway. So you have to find your happiness with the problems you have and you have to not worry too much about them.”

Let’s wrap up with John Lennon tune And Your Bird Can Sing. From Songfacts: “Bird” is British slang for “Girl.” One theory is that this song is a scolding by John Lennon of his buddy Mick Jagger of the Rolling Stones, who loved to brag about his bird – Marianne Faithfull – who was great, green (jealous/young) and could sing. John made it clear that Mick and the Stones wear great but could never ever match up to John and the other Beatles...The signature dual-harmony electric lead guitar parts were played live (without overdubbing) by Harrison and McCartney. Lennon played the rhythm in the “D major” position with the capo on the second fret (to account for the song being in the key of E)...John Lennon said this was a throwaway song with random words of psychedelia added in designed to sound like it meant something. He considered it one of his worst songs. Not bad for a “junk tune”!

Last but not least here is a Spotify link to Revolver:

Sources: Wikipedia; The Beatles Bible; Songfacts; YouTube; Spotify

Tangerine Trees and Marmalade Skies

A trip back to ’60s psychedelic music

While it’s quite possible that more than three weeks of social distancing are starting to have an impact, I can say without hesitation that my interest in psychedelic music predates COVID-19 – I would say by at least three decades. But it wasn’t exactly love at first sight.

I guess a good way to start would be to define what I’m writing about. According to Wikipedia, psychedelic music (sometimes called psychedelia) is a wide range of popular music styles and genres influenced by 1960s psychedelia, a subculture of people who used psychedelic drugs such as LSD, psilocybin mushrooms, mescaline and DMT to experience visual and auditory hallucinations, synesthesia and altered states of consciousness. Psychedelic music may also aim to enhance the experience of using these drugs.

To be clear, I don’t want to judge people using drugs but personally don’t take any and never had any particular interest to explore stuff. With the exception of alcohol, which I occasionally like to enjoy, I guess the furthest I ever took it was to try cigarettes during my early teenage years. Around the same time, I also smoked a cigar, cleverly thinking that just like with a cigarette, you’re supposed to inhale. As you can see, I was definitely young and stupid. And, yes, I did feel a bit funny afterwards! 🙂

Psychedelic Music Collage 2

Psychedelic music has some characteristic features. Again, Wikipedia does a nice job explaining them: Exotic instrumentation, with a particular fondness for the sitar and tabla are common. Songs often have more disjunctive song structures, key and time signature changes, modal melodies and drones than contemporary pop music. Surreal, whimsical, esoterically or literary-inspired, lyrics are often used. There is often a strong emphasis on extended instrumental segments or jams. There is a strong keyboard presence, in the 1960s especially, using electronic organs, harpsichords, or the Mellotron, an early tape-driven ‘sampler’ keyboard.

Elaborate studio effects are often used, such as backwards tapes, panning the music from one side to another of the stereo track, using the “swooshing” sound of electronic phasing, long delay loops and extreme reverb. In the 1960s there was a use of electronic instruments such as early synthesizers and the theremin. Later forms of electronic psychedelia also employed repetitive computer-generated beats.

Before getting to some examples, I should add that psychedelic music developed in the mid-’60s among folk and rock bands in the U.S. and the U.K. It included various subgenres, such as psychedelic folk, psychedelic rock, acid rock and psychedelic pop. The original psychedelic era, which is the focus of this post, ended in the late ’60s, though there have been successors like progressive rock and heavy metal and revivals, e.g., psychedelic funk, psychedelic hip hop and electronic music genres like acid house and trance music.

Apparently, the first use of the term psychedelic rock can be attributed to The 13th Floor Elevators, an American rock band formed in Austin, Texas in December 1965. Here’s their debut single You’re Gonna Miss Me. Written by guitarist and founding member Roky Erickson, the tune reached no. 55 on the Billboard Hot 100 and became their only charting song.

Eight Miles High by The Byrds is one of my favorite tunes from the psychedelic era. Written by co-founding members Roger McGuinn (lead guitar, vocals), Gene Clark (tambourine, vocals) and David Crosby (rhythm guitar, vocals), the song first appeared as a single in March 1966 and was also included on the band’s third studio album Fifth Dimension released in July of the same year. That jingle-jangle guitar sound and the brilliant harmony singing simply do it for me every time!

In May 1966, The Rolling Stones released Paint It Black. Credited to Mick Jagger and Keith Richards, the song was also included on the U.S. edition of Aftermath, the band’s fourth British and sixth U.S. studio album. Not only did Paint It Black top the charts in the UK, U.S., The Netherlands, Australia and Canada, but it also had the distinction to become the first no. 1 hit to feature a sitar.

One of the hotspots for psychedelic music in the U.S. during the second half of the ’60s was San Francisco. Among the key bands based in the city by the bay were Jefferson Airplane. Here’s White Rabbit, a tune written by lead vocalist Grace Slick. Initially, it was recorded for the band’s sophomore album Surrealistic Pillow from February 1967. It also came out separately as a single in June that year.

After ten paragraphs into the post, it’s about time I get to the band that probably is one of the first that comes to mind when thinking about psychedelic rock: Pink Floyd, especially during their early phase with Syd Barrett. Here’s a tune I’ve always dug: Arnold Layne, their debut single from March 1967, written by Barrett. According to the credits, this video was directed by Derek Nice and filmed on the beach in East Wittering, West Sussex, England in late February 1967.

March 1967 also saw the release of Purple Haze, the second single by the Jimi Hendrix Experience, and one of my favorite Jimi Hendrix tunes. The track features blues and Eastern modalities, along with novel recording techniques and sound effects like the Octavia pedal that doubled the frequency of the sound it was fed. The song also marked the first time Hendrix worked with sound engineer Eddie Kramer who would play a key role in his future recordings. Purple Haze climbed all the way to no. 3 in the UK; in the U.S., it only reached no. 65 on the Billboard Hot 100.

Two months later, in May 1967, The Beatles released their eighth studio album Sgt. Pepper’s Lonely Hearts Club Band. It included the psychedelic gem Lucy In the Sky with Diamonds, the tune that inspired the headline of the post:

Picture yourself in a boat on a river
With tangerine trees and marmalade skies
Somebody calls you, you answer quite slowly
A girl with kaleidoscope eyes

While credited to John Lennon and Paul McCartney as usual, the song was primarily written by Lennon.

After the break-up of The Animals, lead vocalist Eric Burdon formed Eric Burdon & The Animals in December 1966. The band subsequently relocated to San Francisco. In May 1968, they released their second album The Twain Shall Meet. Among the record’s tunes is the anti-war song Sky Pilot. Credited to Burdon and each of the other members of the band Vic Briggs (guitar), John Weider (guitar, violin), Barry Jenkins (drums) and Danny McCulloch (bass), the tune also appeared separately as a single. Due to its length, the track had to be split across the A and B sides. Remarkably, Sky Pilot reached no. 14 on the Billboard Hot 100, and no. 7 in Canada and Australia. Chart success in the UK was more moderate, where it peaked at no. 40.

In June 1968, Iron Butterfly released their sophomore album In-A-Gadda-Da-Vida. The 17-minute title track, which occupied all of the record’s B-side, was written by the band’s keyboarder and vocalist Doug Ingle. Separately, a shortened version appeared as a single and became the band’s biggest hit reaching no. 30 in the U.S. In-A-Gadda-Da-Vida not only is psychedelic rock, but is also considered to be an early example of heavy metal. Here’s the single edit.

The last tune I’d like to highlight is Shotgun by Vanilla Fudge. It was included on their fourth studio album Near the Beginning from February 1969. “Near the End” perhaps would have been a more appropriate title, since by that time, the original psychedelic era was entering the twilight zone. Written by Autry DeWalt, the tune was first recorded by Junior Walker & the All Stars in 1965.

Sources: Wikipedia; YouTube