Cover image for Every sound there is : the Beatles' Revolver and the transformation of rock and roll
Every sound there is : the Beatles' Revolver and the transformation of rock and roll
Reising, Russell.
Publication Information:
Aldershot Hants, England ; Brookfield, Vt. : Ashgate, [2002]

Physical Description:
vi, 278 pages : illustrations ; 25 cm.
Corporate Subject:
Added Author:

Format :


Call Number
Material Type
Home Location
Item Holds
ML421.B4 E94 2002 Adult Non-Fiction Central Closed Stacks-Non circulating
ML421.B4 E94 2002 Adult Non-Fiction Non-Fiction Area

On Order



Ranked number one in Q magazine's June 2000 survey of the '100 Greatest British Albums Ever ', Revolver is widely regarded as The Beatles most innovative and daring album. The essays in this book assess the band's accomplishment in their 1966 masterpiece from a variety of perspectives, from their use of harmonies and accidentals, to the technological and marketing significance of the album's recording and distribution, and its influence on the development of rock music.

Reviews 1

Choice Review

Reising (English, Univ. of Toledo) has pulled together 14 essays exploring the musical complexities and contributions of the Beatles' seminal Revolver album (1966). Walter Everett, author of the outstanding two-volume The Beatles as Musicians (CH, Nov'99; 2001), opens with a fascinating discussion of the influence on the Beatles of the music coming out of Motown and Sax records; he includes a list of R&B artists and their songs covered by the Beatles, and an even longer list of "R&B hits from the Beatles' final R&B covers to the final recording of Revolver." The majority of the contributions are of a rather technical nature, focusing on the song "Eleanor Rigby," Revolver's influence on Pink Floyd, "tonal family resemblance in Revolver," Ringo Starr's drumming techniques, and George Harris's developing role as songwriter. The concluding chapter by Reising, "Revolver and the Birth of Psychedelic Sound," has a complex narrative discussion of the album's drug references and connections. Some of the chapters have notes, and the editor provides a helpful bibliography. Recommended for specialized music libraries serving readers at the upper-division undergraduate level and above. R. D. Cohen Indiana University Northwest

Table of Contents

Russell ReisingWalter EverettJacqueline WarwickShaugn O'DonnellStephen ValdezNaphtali WagnerGer TillekensKari McDonald and Sarah Hudson KaufmanCy SchleiferSteven BaurMatthew BannisterJim LeBlancSheila WhiteleyRonald SchleiferRussell Reising
Introduction: 'Of the beginning'p. 1
'When I'm in the middle of a dream': The contributors remember Revolverp. 15
Part I 'Where do they all come from'?: Revolver's influences
1 Detroit and Memphis: the soul of Revolverp. 25
2 I'm Eleanor Rigby: female identity and Revolverp. 58
3 Sailing to the sun: Revolver's influence on Pink Floydp. 69
Part II 'It is shining': Revolver's musicality
4 Revolver as a pivotal art work: structure, harmony, and vocal harmonizationp. 89
5 Tonal family resemblance in Revolverp. 109
6 A flood of flat-seventhsp. 121
Part III 'And our friends were all aboard': Revolver's players
7 'Tomorrow never knows': the contribution of George Martin and his production team to the Beatles' new soundp. 139
8 The Beatles for everyone: rearranging base and superstructure in the rock balladp. 158
9 Ringo round Revolver: rhythm, timbre, and tempo in rock drummingp. 171
10 The Beatle who became a man: Revolver and George Harrison's metamorphosisp. 183
11 Premature turns: thematic disruption in the American version of Revolverp. 194
Part IV 'Here, there, and everywhere': Revolver's themes
12 'Love is all and love is everyone': a discussion of four musical portraitsp. 209
13 The Beatles, Postmodernism, and ill-tempered musical form: cleaning my gun; or, the use of accidentals in Revolverp. 222
14 'It is not dying': Revolver and the birth of psychedelic soundp. 234
Works cited: 'Every reference there is'p. 255
Index: 'It is knowing'p. 265