REVOLVER

The first bullet is placed into this specially made Beatles chamber. Blam! We get Taxman. This is a short and rather plodding introduction track to this so revered album. The main repetitive rhythm never changes or progresses, and the main melodies heave more to be desired. With that, we get a "classic" Eleanor Rigby. I never did quite find the added violin to be of much expansive use, and almost felt shtick. They never seem to push for progression in song structure. Rather, they do more experimentation within the confines of sound and instrumentation.

I'm Only Sleeping is more of that nice catchy Beatles pop. It has easily discernible hooks. Psychedelia is a pronounced addition, and levels off the pop "attack". Bang bang. Love To You features more experimentation with sounds, adding Eastern touches that never really amazed me. But when the song picks up it turns into an album highlight.

These people will not be remembered as technical masters. They are rather mediocre in technicality. But, they could craft some fine hooks. Here, There, and Everywhere has more strong harmonies. Then you have one of their most well known songs, and one I can't really stand. The main theme is interesting enough, but those lyrics get to me. This is hardly poetic. I am of course speaking of Yellow Submarine. The main beat is nice, and it sounds pleasing enough, but I always feel something is missing.

She Said She Said has more of that processed fine melody and harmony, that fails to impress me very much. The added horns of the album are pleasant, but they could have done more with it. the songs are quite short, which keeps any one idea from becoming too familiar. There is also quite a bit of diversity. Still, songs like Good Day, Sunshine don't strike me, emotionally. None of these songs affect me very much on that level.

And Your Bird Can Sing features them "rocking out" Truly, the guitar doesn't get the spotlight, and I commend them for that. this is one of the better tracks, as the vocal harmonies are quite good. For No One begins with an unassuming vocal delivery. A nice vocal delivery, but it isn't fantastic. Compared to the other songs on the album, I feel this one is a bit bare, and it shows.

Doctor Robert is also a bit stale to me. I like the main rock premise, but it doesn't add up to much more than a simple rock tune. The lyrics aren't so good, and the singing could have been better, here. I Want To Tell You has perhaps the best overall use of guitar in the album, and the percussion utilized make for something a bit more interesting. There aren't that many different musical ideas present, for a 14 song album. None of the songs seem to evolve in any way, and it is rather bit a face value situation. Some of the small breaks you might find add more depth.

Got To Get You Into My Life is another vocally driven pop song. The sheen is good, and the production is stellar, but I still get this muddy overtone while listening. Perhaps it is the overall simplistic nature of the music, in general. Most of these don't stray too far from more fleshed out basic rock/pop songs.

A Sitar and skillful drum section opens the final song. I also consider this the best moment of the whole album. The seemed cacophony is a bit of a surprise compared to the record's previous work. Everyone seems to take spotlight, and it is the most progressing and complex song out of the 14. It is also the most unique and interesting.

In all, they don't ever stray too far from pop, even if they do use a good bit of sonic exploration here and there. Some of the songs are downright plain. They are fantastic at their art of vocal harmonizing, but this can't make the album an essential masterpiece, alone.

Best Moment - Tomorrow Never Knows

Worst Moment - For No One

*** Revolving stars

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