Tentatively entitled Beatles on Safari, the album which thankfully would become known as Revolver comes very high in polls announcing The Best Pop/Rock Album of all time, and deservedly so, for frankly, it is better than anything that went before, and most certainly anything that came after. And yes, that includes Pepper where the first cracks of the Beatles' demise are evident. Revolver is the finest group recording of the Beatles. Their eponymous offering two years later runs mighty close, but the songs that made up the White Album were mainly solo offerings aided and abetted by the help of whoever else happened to be in the next studio.

This is the Beatles at their creative height. They had conquered the world, they were about to ditch touring once and for all and concentrate their efforts in the studio, instead of rushing through two 25 minute sets of two and three year old songs poorly played and hardly audible anyway.

Revolver finds all four Beatles - for the last time - pulling in the right direction. McCartney echoes the melodies of Bach, his lyrics for once don't let hime down (For No-One) and his bass playing, mainly thanks to his new Rickenbacker is inspired and melodic. Lennon is high on acid (She Said She Said) or asleep (I'm Only Sleeping) or simply out there somewhere else (Tomorrow Never Knows). George's playing is tight and gritty, the metalic guitar sounds of She Said.., the grossly overlooked And Your Bird Can Sing, the sweet lines in Here There and Everywhere, yet he was prepared to step aside and let Macca take over on George's own vitriolic Taxman, where Macca's fine Epiphone Casino lead sounds shapr enough to cut you. Incidentally, that same solo appears three times on Revolver: twice on Taxman and later, played backwards on Tomorrow Never Knows.

George was also maturing as a songwriter, showing more variation than both Lennon and McCartney at this point. Witness the material anger of Taxman (Ha! Ha! Mr Heath!); the Indian drone of Love You To (why does everyone spell this title incorrectly?) and the strange I Want To Tell You, featuring that metallic guitar sound once again. Add to that his find lead break on Macca's motown inspired Got To Get You Into My Life and it's a good day in the office from George.

Ringo performs superbly on Revolver. His drumming on Tomorrow Never Knows is spot on (great sounds as well. The Beatles were truly searching for new soudns at this point). Likewise on Got To Get You Into My Life, Taxman and I Want To Tell You. His BEST contribution bashing the skins was recorded at this time but didn't appear on the album. Ringo rates his drumming on Rain (a b-side of all things!) as his finest ever. He's probably right although it's a shame that the recording techniques evident on Abbey Road were'nt yet available where for once, the bass drum is punchy and in the dead centre of the mix. Still in 1966, the bass drum is hardly audible in comparison.

Revolver is the work of four men who knew exactly what they both wanted as individuals but more importantly, how to contribute to their collegues' desires. The Beatles sound great, play superbly and the album has that overall feel that connects each song together. In other words, you can tell the songs were recorded at the same time, for the same album. Note also, the influence of Indian music on this album. The drone of Love You To (where the song remains in one key [C#m in this case]), appears also - to a lesser extent admittedly - on Macca's Got To Get You (in G)and on Lennon's Tomorrow Never Knows (in C major). Also, the guitar solos, whether performed by George or Paul, have an Indian feel to them trying to emulate the sounds of the sitar.

For me, Revolver is simply where you aim if you are a musician. You want a good tight sound, good lyrics, melodies and cracking songs. Yes, you want Lennon's up and at it with Macca's moments of reflection. You want some kind of uniformity in your sound yet want to experiment with new sounds all the time. You want good singing and fine craftmanship with your instruments.

Two points before I sign off. a) For No-One is Macca's finest contribion to the Beatles and is lyrically staggering. The way it ends, with a question mark leads me to point b) Note how many songs end in a key different to the key the song started in!

The Beatles were venturing up every avenue in the studio. Soon, they'd make a bit of a U-turn before the wheels fell off. It was all downhill from hereon because frankly there was nowhere else for them to rise to!

Overshadowed by the massive adulation afforded to "Sgt. Pepper" - which for at least two decades after was considered the Beatles, and even rock music's finest hour - time has shown "Revolver" not only to be a better but much more pivotal work.

Why? Well caught, in early 1966, between a global audience who simply wanted more of their peerlessly tuneful "pop" songs, and a musical mind-set that was a million miles away from where they'd been only a year or so before, the Beatles pulled off the extraordinary feat of pushing rock music's boundaries out to the edge while showing that musical innovation could still be integrated into a satisfying melodic framework. The result? Well at its most extreme "Revolver" has "Tomorrow Never Knows" & "Love to You" (two of the mid-60's best avant-garde tracks) colliding head-on with "Here There and Everywhere" "Eleanor Rigby" & "For No One" (three of the most beautiful MOR ballads ever made) with each sitting, quite comfortably, within what has to be the broadest musical canvas ever committed to disc.

But it's what goes on between these extremes that makes "Revolver" such a brilliant album. In "Taxman", "I'm Only Sleeping", "She Said She Said", "And Your Bird Can Sing", "Doctor Robert" & "I Want to Tell You" the Beatles took the explorations that others (most notably the Yardbirds and the Byrds) had started and then applied their outstanding song-writing skills to them to show just how good this new music could be. And, because it was so good, they catapulted it straight into "the mainstream", laying down a reference point which others were bound to follow. What happened over the following year of huge musical change, culminating in "Sgt. Pepper's" anthemic but far less challenging celebration of it, owed a huge debt to "Revolver" - not only the Beatles best album but the catalyst for a scale shift in rock music.

If you haven't done so recently, play it and be amazed... and if you still don't own it, get it straight away.

*** THE 9/9/09 REMASTER VERSION ***

Did you know that the Beatles don't actually play an instrument on "Eleanor Rigby" (it's a six string ensemble with Paul's vocals)? Did you know that George Martin plays the piano on "Good Day Sunshine"? Did you know that George Harrison doesn't play Sitar on "Love You To" (it was a session man) but does on "Tomorrow Never Knows? Did you know that the stereo catalogue number for the original British LP of "Revolver" is Parlophone PCS 7009?

Well you do now... Why do I mention this - because you're not going to learn any of these things from the woefully weak booklet that accompanies this CD...

Let's get this straight from the start - the SOUND ON THIS 2009 REMASTER OF "REVOLVER" IS MAGNIFICENT - it really is - and for many people that will be enough. But for fans that have waited 22 years for EMI to get this right, the description of this CD reissue as being endowed with 'deluxe packaging' is frankly laughable.

I mean only EMI could forget to include the album's original catalogue number! Or how about supplying the lyrics (too much like hard work boys) - or an interview with the Producer George Martin, the engineer Geoff Emerick? Or how about picturing the differing worldwide picture sleeves that accompanied the singles that came off the album (no show either). Or even how about adhering to the original issue of the LP for God's sake! With a playing time of 34:47 minutes and plenty of room, where's the MONO mix as it was originally released? The laughable "historical notes" last 2 whole pages - the recording notes a page and a half - the rest is pointless pictures of the boys that give absolutely no sense of event or any knowledge of the album and its monumental impact. The three-way card digipak is pretty, but it has a matt cover and the second you get it out of the shrink-wrap it starts to mark and pick up grease. Infuriatingly, the BEATLES in MONO box set has the REPRO BRITISH LP SLEEVE in all its laminated hard-card flip-back rear-sleeve glory - a far sturdier and prettier effort - but it's £200 to acquire such a privilege!

I know it's a bit of a cliché to whine on about packaging, but can you imagine what Ace Records of the UK, Bear Family of Germany, Rhino of the USA or Raven of Australia (proper reissue labels) would have done to a catalogue of this importance and stature? They would have shown this extraordinary band and one of its greatest recorded achievements the respect and affection it deserves - instead you get the distinct feeling of a corporate organisation just doing what it can get away with (there's no download variant of it available as yet either). Four years prepping this! Four years doing what? Picking their noses!

But let's get back to the music.

"Revolver" (their 7th album) was originally released 5 August 1966 in the UK on both Parlophone PMC 7009 Mono and PCS 7009 Stereo. The American issue followed 3 days later on Capitol T-2576 Mono and ST-2576 Stereo. The UK issue had 14 tracks, the US had 11 - the three missing from the American issue were "And Your Bird Can Sing", I'm Only Sleeping" and "Dr. Robert" which had appeared on the June 1966 US album "Yesterday And Today". This issue follows the UK release with the full compliment of 14. The CD label also reflects the black and yellow lettering of the original British LP, as does the rear cover artwork, which advertises the use of an "Emitex" record cleaning cloth! The enhanced CD track called "Mini Documentary" (broadcast last weekend on the BBC preceding the worldwide release of their catalogue) is largely black & white in-studio shots featuring the voices of the Fabs and George Martin discussing songs and techniques on the album - it's directed by BOB SMEATON and is nice, but disappears way too fast (and we've already seen it). There's a link to the official website, but naught else of any real worth... So the supposed bonus track turns out to be two and half minutes of video footage we've already seen and something EMI has blatantly used as a sales device!

Sound - hearing this 2009 remaster is a SONIC BLAST from start to finish. Both GUY MASSEY and STEVE ROOKE have remastered the first generation stereo master tapes and to say they've done a good job is like saying the Great Wall of China is an ok building project - their work here is fabulous - it really is. The sound quality is glorious throughout - clear, warm, detailed - every single track a revelation. My only complaint would be that some songs are very loud - "Got To Get You Into My Life" and "Here, and There & Everywhere" in particular, but George Martin produced them that way. The hiss level is barely audible on any of the songs, but what is subtly audible now is the new instrument flourishes you can hear almost everywhere. The brilliant Harrison guitar playing on the New York Drug Pusher song "Dr. Robert" is at last to the fore, the lone horn work of ALAN CIVIL on "For No One" is suddenly so pretty, while Ringo's superlative drumming on "Tomorrow Never Knows" is now absolutely huge to a point where the clarity and sheer whack of the remaster brought me to tears. If you love this record, you're in for a treat.

So there you have it - a 10-out-of-10 on the sound, but could have done so much better on the rest. But my God - what a band - and what a recorded legacy they left behind. Float downstream indeed folks...

Recommended - despite me wanting to physically threaten the pencil pushers at EMI...

There is so much to marvel at on this 1966 album that is it is difficult to know where to start. I think if one thing stands out it is the sheer melodic brilliance of Paul McCartney whose songwriting is at an absolute peak throughout. 'Here There And Everywhere' is just about his most affecting ballad, even perhaps topping 'Yesterday' from the previous year. The melody is made in Heaven and I don't use that word lightly. 'For No One' is a masterpiece with its descending chord sequence and beguiling melody. And this is from a man with no classical music training! And if that wasn't enough we have 'Eleanor Rigby'. No wonder Lennon was effusive in his praise of his partner on this album. The standard of these three songs is so high it's not even funny. McCartney would reach these heights in later years but when you've reached this level it is hard to equal. Here on this album his touch is one of sheer genius. The other two McCartney songs are hardly lightweights either: 'Good Day Sunshine' brims with optimism and colour, in the same way that Harrison's 'Here Comes The Sun' was to do 3 years later. And 'Got To Get You Into My Life' is a soulful classic with its distinctive horn refrains and thought-provoking and uplifting lyrics.

And that's just Paul's contribution.

Meanwhile Lennon is exploring other avenues such as the world of dreams in 'I'm Only Sleeping' and 'Tomorrow Never Knows' and when one hears these songs presented alongside Paul's melodic masterpieces, one can truly wonder if this is the same band. Here John and Paul perfectly compliment eachother and although the styles are different, it makes for a captivating listen. On this album, The Beatles were at the peak of their powers and believe it or not were still touring the world singing 'She Loves You' at this point. No wonder they quit touring. They saw it first on 'Rubber Soul' from 1965, that there was another world to discover in the studio, away from the screams and adulation. Where they could reach artistic heights only dreamt of previously. There is still some evidence of the rock and roll days from Lennon on the blistering 'And Your Bird Can Sing' and 'Doctor Robert' both featuring some great electric guitar and harmonies to boot. 'She Said She Said' may not be much of a song but the delivery is electric. And Loud.

And then we come to The Quiet One. George Harrison. 'Taxman' is one hell of an opener and timeless in its message and about the most pulsating thing Hari Georgeson has committed to vinyl. Even Roy Carr and Tony Tyler were impressed. The other two George tracks are weaker for sure but fit the format perfectly.

And somwhere buried in here is 'Yellow Submarine' which many people have slighted over the years. OK so it's a children's song which sounds a bit lost amidst it heavier brothers here. But in its way it is timeless. And after all it led to the film of the same name which must stand as one of the greatest animated films for kids. Ever. Ask any Blue Meanie if you're not convinced of this.

And Ringo. Well he learnt to play chess on Sgt Pepper. Here he is more than once called upon to produce the goods, particularly on 'She Said She Said' and 'Tomorrow Never Knows'. And on the single 'Paperback Writer/Rain' single released at the same time but not featured on the album. On these tracks his drumming is massive. No wonder this is the accepted pinnacle of The Beatles' entire career. Up against some pretty stiff competition for sure but song for song I struggle to see how any band could topple this album. Not even The Beatles. One word to sum it up? So many spring to mind but I will settle for one. Staggering :-)

In 1966, the Beach Boys released their masterpiece, 'Pet Sounds', after being inspired by the Beatles' 'Rubber Soul' which had been released the previous year. It presented a creative challenge to the Beatles, and the world waited to see whether they could respond with an album worthy of restoring their primacy in the compelling artistic competition between the two bands. With 'Revolver', they did that and more.

Here we have the most important exponents of popular music captured at the peak of their powers. Containing the finest moments of Lennon ('Tomorrow Never Knows'), McCartney ('Eleanor Rigby') and Harrison ('Taxman'), 'Revolver' is not merely the best album by the Beatles, but quite possibly the best album by anyone.

More seamlessly than any of the Beatles' albums, 'Revolver' combines entertainment with innovation. Even its poppiest tracks, such as 'And Your Bird Can Sing' and 'Doctor Robert', feature pioneering qualities - the most notable of which are the aggressively guitar-driven melodies. Indeed, for the prominence of the lead guitar, this is the most Harrisonian of all their albums. Even more original is McCartney's 'Eleanor Rigby' - in my opinion the greatest of all the Beatles' songs. That a normal human being like you or I could produce something so special with a violin, a voice and 120 seconds of recording tape is extraordinary.

The motherlode of imagination, however, is Lennon's 'Tomorrow Never Knows' which, despite being the first track to be recorded in the 'Revolver' sessions, provides the album's finale. Built on a recurring drum loop and backed by psychedelic sound effects, Lennon's vocal soars (reaching a glorious zenith with "love is all and love is everyone") despite being engineered to sound remote and detached. 'Tomorrow Never Knows' achieves the impossible in being both psychedelic and perfectly coherent and convincing. And this, remember, was pretty much their first attempt at psychedlia.

'Revolver' represents the genesis of modern rock. It is integral to the history and development of popular music, and should be passed down from generation to generation as solemnly as a family heirloom. Maybe if the Beatles hadn't recorded it, someone else would have eventually come along and made something of similar quality and importance. We, however, cannot know and must therefore revere this plastic disc as Christians revere the Bible.