Since September 2010, this blog has recorded the journey of this music junkie as I attempt to listen to all the music in my CD collection. CDs revisited in their entirety from start to finish - no skipping tracks, no shuffle. Compact Discs only - no vinyl, no tapes, no files.
Cover versions of Beatles tunes are a penny a dozen and jazz covers of Beatles tunes are a dime a dozen, but I really enjoy what's going on with this disc. A testament not only to Pizzarelli's playing and singing, but also to Don Sebesky's arranging skills.
I'm surprised this album didn't chart higher. There weren't a lot of CDs with original jazz compositions being sold at that time, so a Beatles covers album should have fit right in to the milieu. See for yourself:
A lot of various artists compilations (4, 6, 7, 10, 12, 16, 18, & 22), reissues/repackaging (8, 11), tribute albums (1, 3, 14, 19, 21, 25), and standards albums (9, 15). That leaves just seven albums with mostly newly written music (2, 5, 13, 17, 20, 23, & 24). But I digress.
Tracks: You get both the tracks you'd expect (Here Comes The Sun, And I Love Her) alongside those you might not (I've Just Seen A Face, Things We Said Today). An instrumental thrown in for good measure (Eleanor Rigby). Almost all the tracks are enjoyable, the only skippable tracks are Get Back and the schmaltzy Long And Winding Road.
Historical? Yes. But not up to Beatles standards and more than a little creepy. To quote Dr. Ian Malcolm from Jurassic Park, the guys "were so preoccupied with whether or not they could, they didn’t stop to think if they should." It isn't terrible by any means, but in my opinion, not a fitting end to the group's recorded legacy. Out with a whimper, not a bang.
Regardless of what I think, the single won a Grammy award in the Best Rock Performance category. It was also nominated in the category of Record of the Year, eventually losing to Not Like Us by Kendrick Lamar.
Motown artists covering The Beatles sounds like a fantastic idea, but this thing is hit or miss. However, Stevie Wonder's version of We Can Work It Out is one of the best Beatles covers of all time and is worth the price of admission. Liner notes by Paul Nixon.
Peak on the US Billboard Top 200 chart: Did not chart
Tracks: Let's rank 'em:
Stevie Wonder - We Can Work It Out (#13 pop, #3 R&B) from the 1970 album, Signed Sealed & Delivered
Stevie Wonder - We Can Work It Out
Stevie Wonder - We Can Work It Out (yes, it's that good)
Syreeta - She's Leaving Home from the 1972 album, Syreeta (with help from, yes, Stevie Wonder)
Marvin Gaye - Yesterday from the 1970 album, That's The Way Love Is
Four Tops - The Fool On The Hill from the 1969 album, Four Tops Now!
Four Tops - Michelle from the 1966 album, On Top
Martha Reeves & The Vandellas - Something from the 1970 album, Natural Resources
Jr Walker - My Love from the 1976 album, Whopper Stopper Show Stopper
Edwin Starr - My Sweet Lord from the 1971 album, Involved
Smokey Robinson & The Miracles - And I Love Her from the 1970 album, What Love Has...Joined Together
The Supremes - A Hard Day's Night from the 1964 album, A Bit Of Liverpool
Diana Ross - The Long And Winding Road from the 1970 album, Everything Is Everything
The Supremes - You Can't Do That from the 1964 album, A Bit Of Liverpool
Gladys Knight & The Pips - Let It Be from the 1971 album, If I Were Your Woman
The Supremes - Come Together from the 1970 album, New Ways But Love Stays
Diana Ross - Imagine from the 1973 album, Touch Me In The Morning
The Temptations - Hey Jude from the 1969 album, Puzzle People
Four Tops - Eleanor Rigby from the 1969 album, Four Tops Now!
The music ain't much to get excited about, but the movie is kinda fun if you're in the right mood. As for this album, I'm in agreement with the anonymous CashBox reviewer who called the album "a must for Beatles collectors" and that's me for sure. Just check out the lovely LEGO submarine on my shelf over there:
But, yeah, this album - along with Love - is definitely in the running for "least-essential" Beatles album.
Tracks: They weren't hits, but I've always liked All Together Now and Hey Bulldog. I can't gather the same enthusiasm for Only A Northern Song and It's All Too Much (sorry, George). The seven tracks written and orchestrated by George Martin makes one realize what a talented all-around musician he was. Still, they're only good for a very occasional listen.
The 2009 remaster is an Enhanced CD that includes a very brief "mini-documentary."
Personal Memory Associated with this CD: Maybe I watched the movie when it aired on Sunday, October 29, 1972 on CBS? I seem to recall some sort of family conflict that kept me from watching (possibly my sister wanted to watch Wonderful World Of Disney or there was some sort of Halloween thing). I revisited the movie recently via the local library's 2012 Blu-Ray release. On their website, the library uses this somewhat accurate description of the movie:
Yellow Submarine is an animated meandering journey filled with puns and dry British humor, where psychedelic music videos take precedent over any linear story. What little there is of a plot, however, concerns a vibrantly colored place called Pepperland that resembles the album cover for Sgt. Peppers Lonely Hearts Club Band come to life. The swirling animation is a mixture of pop-culture images and modern artistic styles brought loosely together with a naïve antiwar message and some clever political commentary. The Blue Meanies take over Pepperland, draining it of all its color and music, firing anti-music missiles, bonking people with green apples, and turning the inhabitants to stone by way of the pointed finger of a giant white glove. As the only survivor, the Lord Admiral escapes in the yellow submarine and goes to London to enlist the help of the Beatles (voiced by actors). The charming and innocent boys travel through strange worlds and meet bizarre characters, including the tagalong Nowhere Man. Several blissed-filled musical sequences and drug references later, the Beatles drive out the Blue Meanies and restore Pepperland to tranquility armed with only music, love, and witty remarks.
- Andrea LeVasseur, Rovi (now TiVo)
I also remember having a 45 single as a toddler that had Yellow Submarine on one side and All Together Now on the other and since I can't find any proof that such a 45 ever existed, I guess my capacity for exact recollection after more than half a century is somewhat diminished.
Finally, when I was taking French classes in high school, we would occasionally sing Yellow Submarine: ♫"On vit tous dans un sous-marin jaune..."♫
I didn't really need this thing as I already own Anthology I, but I simply couldn't pass it up when I saw it in the used bin. Or so I thought. Had I checked the track listing before purchasing, I would have seen that I did not already own tracks 2-4 on this disc. And while I'm usually only interested in hearing alternate takes once or twice, I was intrigued by the remixed Christmas tune when I first heard it.
But first, the "new" Beatles single, Free As A Bird. Here's what I've written previously about the song promoted as the "first new Beatles song in 25 years:"
Free As A Bird turns out to be a really good song (even though there's something about Jeff Lynne's production that just isn't quite right); I put value any song by these guys, no matter how it is pieced together.
ABC televised The Beatles Anthology specials here in the US in six parts between November and December 1995. I watched all of it, of course, being most excited about the premiere of the song and video for Free As A Bird. The video cleverly depicts, from the point of view of a bird in flight, many references to The Beatles' songs.
I still like it after all these years, but I still prefer their earlier output. Despite not getting the greatest reviews (the biggest complaint was that it simply plodded along), the single was awarded the Grammy Award for Best Pop Performance by a Duo or Group with Vocal.
As for the Christmas single, there's not much to it, but it does illustrate that these guys could put a hook anywhere, even into throwaway pieces like this. Like the Anthology series, I'm glad I picked it up but I won't be adding this track to any of my Christmas playlists.
Note: the CD I listened to was the 2009 remaster which uses the US track listing.
I recently spent 53 minutes with the 2012 Blu-Ray version of the 1967 "film" and was left wondering what the hell I watched. LSD must be a heckuva drug, huh? I even watched a few minutes of the "making of" special feature which consists of interviews with involved persons trying to talk themselves into believing it was a good project. Paul, the obvious force behind the effort, does his best to deflect responsibility. Ain't nobody buying what you're selling, folks. Let's move on to the music, because the songs deliver where the show does not.
Of the 11 tracks on the album, 7 appear on the "blue" compilation from 1973, so I suppose I purchased this CD for three reasons: 1) the four other tunes, 2) to feed the completist within me, and 3) I had a gift card burning a hole in my pocket (if I don't spend those things immediately upon receipt, I forget about them completely). It's a great collection of singles that doesn't hold up as an album but the singles are so good it doesn't matter. Plus it's The Beatles so there ya go.
As an aside, I was listening to The Beatles Channel on SiriusXM this week - as one does - and thought to myself, "Why don't I ever get tired of these tunes?" And they show no sign of letting up: when my youngest son (then in his early 20s) got a turntable for as a Christmas gift, he either already had a vinyl copy of Revolver ready to go or it was one of his first purchases.
As mentioned in the hype sticker picture above, the disc included a mini-documentary. To watch, I had to install the discontinued Quicktime framework. The mini-doc clocks in at 3½ minutes and, much like the film itself, is hardly worth your time. Also included in the packaging is a booklet with lots of photos, historical notes, some (but not all) song lyrics, and the original color story illustrations in the comic strip style from cartoonist Bob Gibson.
Press of the time:
High Fidelity: "arrangements have become increasingly sophisticated both in terms of instrumentation and in the masterful blending of electronically produced or altered sounds."
Billboard: "The Beatles have a non-psychedelic disk here."
Record Mirror: "another example of a subject in which the Beatles have been able to exercise their vivid imaginations."
CashBox: "Colorful arrangements, haunting melodies, buoyant rock and fanciful lyrics"
11 tracks, 36½ minutes. I enjoy most all of them and am singing along as I write these words. George's Blue Jay Way doesn't do much for me and I'd describe Flying as a psychedelic take on 12-bar blues with no solos. Your Mother Should Know is classic McCartney while Baby You're A Rich Man is rockin' stomper which peaked at #34 on the Billboard Hot 100.
Personal Memory Associated with this CD: In the summer of 1979, I purchased the aforementioned "blue" compilation at the local K-Mart and was introduced to many of these tunes. Possibly the most influential album purchase of my young life up to that point although I'm sure I didn't get the drug references of Magical Mystery Tour or understand the bizarre studio innovation of I Am The Walrus.
When I was a senior in high school, the band director put together a halftime show with a magic theme. Entertainment included band members performing magic tricks while the band marched behind them (your humble blogger pulled plastic flowers out of his sleeve). An arrangement of Magical Mystery Tour opened the show, followed by other tunes such as the standard That Old Black Magic and a Top 40 tune of the time, You Can Do Magic, by America. Pure cheese.
Having easily earned a permanent spot on the short list of my all-time favorite albums, Revolver was one of the first LPs I replaced with a CD back in the late '80s. I took a pass on the purchase of the 2009 remaster but simply couldn't resist picking up the 29 track, double disc "Special Edition Deluxe" set in order to hear the new stereo mix by Giles Martin. I was very impressed with what Giles did with Abbey Road a few years back, so I had high hopes with this purchase.
If you're looking for my earlier thoughts on the album plus the usual ads, CD longbox picture, album reviews, chart data, etc., please check out my 2013 post here: The CD Project: Revolver. This post will primarily deal with the new mixes, bonus tracks, and packaging.
I listened once through using my Klipsch speakers then again on headphones (recommended) and lawdy this stereo mix sounds fan-effin'-tastic. Have mercy! My wife and neighbors should probably go ahead and thank me because these tunes may be all they hear for the next week or more.
The individual parts are cleaner, separated, much easier to delineate. Back in 1966, the album was recorded on 1" 4-track tape and first mixed to mono; the stereo mix was an afterthought, which is one reason why many fans prefer those earlier mono versions:
So this new mix not only benefits from technological advances, but also from a deliberate, concerted effort to produce the best stereo mix available. Now these cuts can "blast straight into you" in lively, rich stereo. It's a revelation to these ears even though they've heard these songs hundreds of times over the past decades. I mean it as a compliment when I say that I don't notice anything in particular about the demixes/remixes here, just that these familiar songs now sound even better.
If you grew up with the mono mix and prefer that sound, then by all means keep listening to it. It's not going anywhere. But if, like me, you grew up spinning an inferior stereo mix (first on vinyl then the original 1987 CD release), get thee to a music store post haste and buy this edition of Revolver in one or more of the many different packages available.
The 40 page booklet that came with the 2 CD set includes a foreword from Sir Paul McCartney ("All in all, not a bad album."), introductory comments from Giles Martin, an essay by Beatles historian/former BBC radio producer Kevin Howlett, a track-by-track breakdown, and lots of photos. Good stuff and all welcome in this house.
Tracks: While all tracks benefit from the remixes to varying degrees, my favorite new mixes are I'm Only Sleeping, Here There And Everywhere, She Said She Said, Good Day Sunshine, For No One, Got To Get You Into My Life, and Tomorrow Never Knows.
Bonus tracks: The second disc starts off with new mixes of Paperback Writer, a mid-1966 non-album #1 single, and its b-side Rain. A fitting inclusion in this set and both sound spectacular, just like the first disc. The remaining 13 tracks are Revolver recording session studio outtakes labeled as "Sessions Highlights." Much like the archived takes on the Anthology CD series from the mid-'90s, these are interesting to hear only once or twice. Likewise, I enjoy reading Hemingway, but I don't see much need in reading his unedited first drafts. Still, I'm glad I got the 2 disc set, if only for Paperback Writer and Rain.
Fingers crossed that Rubber Soul is next on Giles's to-do list.
Personal Memory Associated with this CD: None, but I was brought into this world amidst the same global creative energy that gave us this masterpiece so I'm going to claim some lifelong positive vibes based on that (seemingly?) random coincidence. In fact, according to the Beatles Bible and confirmed in the liner notes, the Beatles were at the Abbey Road studios working on Good Day Sunshine on the day of my birth. And in the issues dated two days after my birthday, the aforementioned Paperback Writer debuted in the Billboard Hot 100 at #28, #50 in CashBox, and #40 in Record World. Sounds like a splendid week.
On August 21 of last year, I saw a promotion for this mega-reissue on social media and felt compelled to comment, "That package is gonna cost $90 and damn right I’m gonna buy it." And I was close! I paid $86.97, gave it to myself for a Christmas gift, and waited until the holiday bustle calmed a bit before listening - the real unwrapping is today.
For more on the packaging:
Peaks on the US Billboard Top 200 chart:
Original release: #1 (11 weeks between Nov 1, 1969 - Jan 24, 1970)
Before listening to these discs, I'm going to have a look at this beautiful hardbound book. Gimme a sec. [...time passes..] That thing is fantastic. Almost worth the excessive anniversary edition price simply for the photos (most by Linda McCartney) but the thing also includes a track-by-track breakdown. It isn't a read-once-and-put-away coffee table book.
CD 1 Gonna grab some headphones and spin the 2019 mix. Freakin' masterpiece. It sounds fantastic - so clear. Those Beach Boy-esque harmony vocals! I'm hearing all the parts, some I've never noticed before (e.g. Billy Preston's wonderfully subtle organ work on Something). Metacritic has this edition rated at 99 and that seems a bit low to me. A fantastic collection of songs that never sounded better and once it finished, I needed a cigarette and I don't even smoke. Whew. I gotta take a break before moving on to the bonus stuff...
[...runs errands...]
CD 2 (Abbey Road Sessions) 12 tracks, 43:47
If you liked the Beatles Anthology CD series from 1995-96, you'll probably like this disc because it's got the same feel - alternate takes, demos, studio chatter. The demos are a cut above your usual demo tracks because the band and material are a cut above your usual stuff. Highlights include Paul's demo for Goodbye (recorded/released by Mary Hopkin in 1969) and the slightly out of tune studio demo of Something which shows the simplistic brilliance of the writing.
[...lunch break...]
CD 3 (Abbey Road Sessions) 11 tracks, 41:44
More of the same. Highlights on this disc include Paul's studio demo of Come And Get It (a different mix than used on Anthology 3 in 1996) and the trial and edit mix of the side two medley (aka "The Long One" from July 30, 1969) with slightly different sequencing.
I don't know what any of that means and since I don't have a 5.1 system, I'm guessing it doesn't matter. But I'll give it the old college try using my usual, utilitarian Blu-Ray movie watching set up: a Microsoft Xbox One S and a Bose CineMate 15 home theater system.
I didn't mind listening to the album again but, as one would expect, the mix sounded funny because of the lack of proper equipment.
1) I'm glad I took my time with these discs, and 2) I'm glad I used headphones. Will probably listen to the 2019 mix again tomorrow if not later tonight.
Finally, if you like this album, treat yourself to the 2019 mix even if it's the single CD version. Overall, I'm glad I ponied up for this edition, as I've really enjoy reading the book and then reading it again while listening.
Personal Memory Associated with this CD: Abbey Road was one of the first CDs I purchased in the late '80s. Unfortunately and embarrassingly, I was introduced to much of this music through the 1978 movie, Sgt Pepper's Lonely Hearts Club Band (my sister owned the 2 LP soundtrack album). I watched that movie last fall and it is so campy as to be mildly enjoyable.
When I visited London in 2010, I made the trek to Abbey Road Studios and walked across the famous crosswalk (below). The road is actually quite busy (see live webcam from the studios here), but I guess the locals have grown accustomed to knuckleheaded tourists trying to recreate the album cover.
A week ago, I wrote on this blog I would keep hunting titles in the The Blue Series. So after posting, I headed to eBay (Hi, my name is Mark and I'm an eBay addict) where this compilation of Beatles covers caught my eye, I ordered it, USPS did its thing, and here we are. I know what you're thinking: "Mark, haven't you already covered this album 8 years ago under the title Blue Note Plays The Beatles?" First, let me commend you on your outstanding memory, secondly, while the two albums contain a few common tracks, they are clearly different releases.
This compilation was released in the UK under the name "Love Me Blue" which is a clear winner of a title.
Peak on the US Billboard Top 200 chart: Did not chart
Tracks:
Can't Buy Me Love - Stanley Turrentine (recorded 1964, released later on the 1980 album Mr. Natural) This song actually works as a swing cover. Lee Morgan and McCoy Tyner steal the show. ✔
Eleanor Rigby - Stanley Jordan (released on the 1985 album Magic Touch) While Jordan's technical prowess can't be disputed, this noodling cover loses all the intensity of the original and, thus, misses the entire point of the tune. ✘
I Want to Hold Your Hand - Grant Green (released on the 1966 album of the same name) The only thing that keeps this from being a cheesy lounge arrangement is the outstanding musicianship. Green's tone is amazing and Larry Young's work on the drawbar organ is a delight. ✔
Yesterday - Lee Morgan (released on the 1967 album Delightfulee) The unusual instrumentation and bossa beat don't really suit this song. The ending is criminal. ✘
From Me to You - Bobby McFerrin (released on the 1986 album Spontaneous Inventions) Just McFerrin singing a capella in concert. That's my preferred McFerrin sound. Don't understand the fade out on a concert recording, though. ✔
Hey Jude - Stanley Turrentine (released on the 1968 album Always Something There) Arranger Thad Jones simply to added a little funk groove plus French horns and strings to this and said combination shouldn't work, but it somehow does. The only downside is that they never get to the "naaaaah-nah-nah-nahnahnah-nah" coda. ✔
In My Life - Gil Goldstein (released on the 1989 album City Of Dreams) Simply gorgeous. Worth the price of the disc. ✔
Get Back - The Three Sounds (recorded 1970, previously unissued) I initially didn't care for this one, but by a minute into the thing, I was grooving along. ✔
Lonnie Smith - Eleanor Rigby (released on the 1969 album Turning Point) see notes on the Stanley Jordan cover above. This one doesn't trill me. ✘
Hey Jude - The Jazz Crusaders (released on the 1969 album Powerhouse) Joe Sample tries his best to save this one, but doesn't quite make it. Shame. ✘
First off, I think we can all agree that a live album from a concert setting best known for screaming girls isn't a good idea, regardless of the greatness of the band. But Capitol decided to do it anyway because they had tapes, there's always demand for a new Beatles album, and something needs to fund record execs' yearly bonuses. To be honest, I believe I heard the vinyl LP only once, but remember the original album cover fondly:
Even though the graphic on the original LP is far too small for the space, it's the original artwork and should have been used on the CD. However, this CD release wasn't so much about the music, but the release of a new documentary, The Beatles: Eight Days A Week - The Touring Years. And if the CD artwork with the movie title given top billing above the band name didn't give that away, they put an ad for the DVD/Blu-Ray release in with the liner booklet as well as a sticker on the cover telling you as much:
So if this is no longer a stand-alone release, but a "companion album" to a film, let me briefly mention said film. There's no truth in advertising here, the film covers more than the group's touring years and the film's tag line,"The band you know. The story you don't." is misleading. You know the story; nothing new here. It's oddly sequenced, Americentric, and I'm trying to figure out what Ron Howard was trying to do at the end. That said, it isn't a bad way to spend a couple of hours. The restored visual concert footage is remarkable, there's a few nice personal stories from fans, and you can't go wrong with the music. I'm glad I watched it, but I probably won't watch it again.
The album proves how remarkable The Beatles were as musicians. They probably couldn't even hear each other yet pull off these remarkable live performances. But there's not much difference between the live versions and the studio versions (again, a testament to their talents), so I prefer to hear the studio versions without all the background screaming. There's one exception to that rule: the live version of Things We Said Today has an energy that is missing from the studio version. When the song heads to the chorus and the tonality changes from minor to major, the band kicks everything up a notch and it is spectacular. The liner notes mention the same, so it's good to know I'm not the only one who hears it. Other than that, David Fricke's new liner notes read like a print ad for the film. However, the original 1977 liner notes from George Martin are also included so bonus points for that.
I don't have the income needed to be a Beatles completist, but I'm glad I spent the $11.88 on this one. BTW, the original list price on the 1977 album was $7.98 which is $32.39 in 2017 dollars. Yikes!
Peak on the US Billboard Top 200 chart: #2 in 1977, #7 in 2016
Tracks: See above.
Personal Memory Associated with this CD: Watching the movie reminded me that I had the above poster on my dorm wall, alongside Madonna.
Note: the CD I listened to was the 2009 stereo remaster.
If I never see the movie again, I'm okay with that, but this sorta-soundtrack album is classic early Beatles, full of Lennon-McCartney short, poppy originals. And when I say short, I mean 13 tracks in 31 minutes. In the end, the brevity doesn't matter when the songwriting is this catchy. The opening chord is legendary and immediately identifiable, then it just gets better from there. The lads were in their early 20s when this was produced which is mind-blowing to me. I work with young adults in their early 20s every day so I'm fully aware of their normal priorities. In any case, this group was not only focused, but talented and influential: the unique chord progressions were beginning to appear and Harrison's 12 string work on this album set the stage for the folk-rock sound of the decade, to give but two examples. The first great Beatles album to be sure, but there were better things to come.
US Billboard 200: #1 (14 consecutive weeks, July 25 - Oct 24, 1964)
Billboard Pop CD: #1
Tracks: It is so hard to pick out favorites because I find myself singing along to every single song on the disc (warning: if you're ever in the car with me, I usually sing the harmony lines as if they were the melody and don't give a care). It's obvious to me that I'm too familiar with these songs to play favorites but I will go as far to say that I prefer side one to side two, but just so.
This "Enhanced CD" comes with a lackluster 4 minute "mini-documentary" on the making of the film. Haven't seen it? You're not missing much.
Personal Memory Associated with this CD: Can't pick one out today. When an album was released before your birth and you never recall a time when you didn't know all the songs, it's too tall an order to fill.
Note: this release was originally purchased as an LP, later replaced by a CD.
Commonly known as The White Album. I could go on and on about how this album is hit-or-miss; the hits are some of the best songs the band ever wrote while the misses are some of the worse. I could put in my two cents on whether or not this should have been condensed to one album. I could add my opinion on whether this is the work of a band or just a compilation of solo songs. But Sir Paul McCartney says, "It's great, it sold, it's the bloody Beatles' White Album, shut up." Shutting up, sir.
Personal Memory Associated with this CD: A very early CD purchase (late 1989 or early 1990), it was the first double CD I purchased and also the first CDs I had where the plastic insets weren't black (they're white, of course).
My 5th and 6th grade years, I had a music teacher that loved the Beatles and taught us to sing Rocky Raccoon and Bungalow Bill so I knew those songs before I'd ever heard the Beatles' original versions.
Note: this release was originally purchased as an LP, later replaced by a CD.
1987
Quite simply, my favorite Beatles album. Of course, I wrote those same words earlier on this blog for Abbey Road. Easily the best 35 minutes I'll spend today. It doesn't sound this way to modern ears, but the whole thing was a bizarre studio experiment in multi-tracking, phasers, tape loops, and other tricks to create what we now think of as the characteristic kaleidoscopic Beatles sound. If production tricks were the foci of the album, it probably would have failed, but the songwriting is so good the songs were actually enhanced by the tricks.
I could gush over this collection of songs for days, but that's already been done:
Listed as #1 in the book Virgin All Time Top 1,000 Albums (2000)
VH1 named it the greatest album of all time (2001)
The readers of Rolling Stone ranked the album the greatest of all time (2002)
Listed in the book 1001 Albums You Must Hear Before You Die (2005)
The album was chosen by Time Magazine as one of the 100 best albums of all time (2006)
Even the Pope loves it! Revolver was named as the best pop album of all time by the official newspaper of the Holy See, L'Osservatore Romano (2010)
Voted 11th on Rolling Stone magazine's list of the "500 Greatest Albums of All Time" (2020)
Entertainment Weekly recently named Revolver the greatest album of all time (2013)
US Billboard 200: #1 (6 weeks, Sept 10 - Oct 15, 1966)
Billboard Pop CD: #3
CashBox: #1
CashBox CD: #1
Record World: #1
Tracks: Since I did it for Rubber Soul, I will try to rank my top 5 tracks for this album even though all 14 are winners:
5. For No One
4. Eleanor Rigby
3. Good Day Sunshine
2. Tomorrow Never Knows
1. Got To Get You Into My Life
Personal Memory Associated with this CD: Even though I had the 1962-1966 & 1967-1970 compilations, Revolver was the first 'regular' Beatles album I ever purchased, mainly because of my love for Got To Get You Into My Life. It was the truncated 11 track US release, but that was good enough at the time.
Paul sang Got To Get You Into My Life when I saw him in 2005. And I had a happy grin on my face for days.
