Editing Revolver (Beatles album) (section)

== Recording history ==
[[File:Beatles and George Martin in studio 1966.JPG|thumb|left|[[George Harrison|Harrison]], [[Paul McCartney|McCartney]] and [[John Lennon|Lennon]] with [[George Martin]] at EMI Studios in 1966]]
The Beatles had hoped to work in a more modern facility than [[EMI]]'s London studios at [[Abbey Road Studios|Abbey Road]]{{sfn|Rodriguez|2012|p=103}} and were impressed with the sound on records created at [[Stax Records#Stax studio|Stax Studio]] in Memphis.{{sfn|Turner|2016|p=127}} In March 1966, Epstein investigated the possibility of their recording the new album at Stax,{{sfn|Savage|2015|p=253}} where, according to a letter written by Harrison two months later, the group intended to work with producer [[Jim Stewart (record producer)|Jim Stewart]].<ref name="Harrison letter">{{cite web|url=https://www.rollingstone.com/music/news/read-previously-unknown-george-harrison-letter-from-1966-20150525|title=Read Previously Unknown George Harrison Letter From 1966|last=Greene|first=Andy|publisher=[[Rolling Stone|rollingstone.com]]|date=25 May 2015|access-date=24 June 2017|archive-url=https://web.archive.org/web/20170822234726/http://www.rollingstone.com/music/news/read-previously-unknown-george-harrison-letter-from-1966-20150525|archive-date=22 August 2017|url-status=live}}</ref> The idea was abandoned after locals began descending on the Stax building, as were alternative plans to use either [[Atlantic Studios]] in New York or [[Motown]]'s Hitsville USA facility in Detroit.{{sfn|Rodriguez|2012|pp=103–04}}{{refn|group=nb|Rather than security concerns, Harrison's letter cites financial considerations as the obstacle.<ref name="Harrison letter" />{{sfn|Turner|2016|pp=128–29}} [[Steve Cropper]], then a member of the Stax house band and studio staff, believed that he would be producing the sessions, based on his conversations with Epstein.{{sfn|Turner|2016|pp=127–28}}}}

Recording for the album instead began at EMI Studio 3 in London on 6 April, with [[George Martin]] again serving as producer.{{sfn|Miles|2001|p=228}} The first track attempted was Lennon's "[[Tomorrow Never Knows]]",{{sfn|Hertsgaard|1996|pp=177–78}} the arrangement for which changed considerably between the initial take that day and the subsequent remake.<ref>Liner notes by Mark Lewisohn (1996). ''[[Anthology 2]]'' CD booklet. [[Apple Records]]. pp. 18–19.</ref> This first version of "Tomorrow Never Knows", along with several other outtakes from the album sessions,{{sfn|Badman|2001|p=553}} was included on the 1996 compilation ''[[Anthology 2]]''.{{sfn|Rodriguez|2012|p=107}} Also recorded during the ''Revolver'' sessions were "[[Paperback Writer]]" and "[[Rain (Beatles song)|Rain]]", which were issued as the A- and B-side of a non-album single in late May.{{sfn|MacDonald|2005|pp=195, 196}}

[[File:Londons Carnaby Street, 1966.jpg|thumb|right|upright=1.04|''Swinging London'', [[Carnaby Street]], {{circa|1966}}. The album's creation coincided with international recognition of London's role as a cultural capital. According to [[Philip Norman (author)|Philip Norman]], ''Revolver'' captured the confidence of summer 1966: "It was hot pavements, open windows, [[King's Road]] bistros and England soccer stripes. It was the British accent, once again all-conquering."{{sfn|Norman|1996|p=270}}]]
The band had worked on ten songs, including both sides of the upcoming single, by 1 May, when they interrupted the sessions to perform at the ''[[NME]]''{{'s}} annual [[NME Awards|Poll-Winners Concert]].{{sfn|Rodriguez|2012|pp=4, 6–7}}{{refn|group=nb|Held at [[Wembley]]'s [[Wembley Arena|Empire Pool]], in north-west London, this was the last concert that the Beatles played before a paying audience in the United Kingdom.{{sfn|Miles|2001|p=230}}}} At a time when ''[[Time (magazine)|Time]]'' magazine dubbed London "the [[Swinging London|Swinging City]]", belatedly recognising its ascendance as the era's cultural capital,{{sfn|Gould|2007|pp=226, 336}}{{sfn|Norman|1996|pp=268–69}} the Beatles drew inspiration from attending concerts by visiting artists, as well as film premieres, plays and other cultural events.{{sfn|Ingham|2006|p=36}} From February through June, these musical acts included [[Stevie Wonder]], [[Roy Orbison]], [[the Lovin' Spoonful]], [[the Mamas & the Papas]],{{sfn|Turner|2016|pp=204–06}} [[Bob Dylan]] (with whom they socialised extensively), [[Luciano Berio]] and [[Ravi Shankar]].{{sfn|Miles|2001|pp=226–32}}{{refn|group=nb|Among these meetings, Lennon participated in the filming of [[D.A. Pennebaker]]'s documentary about Dylan's 1966 tour, ''[[Eat the Document]]'',<ref>Gill, Andy. "Car Sick Blues". In: {{harvnb|''Mojo Special Limited Edition''|2002|p=49}}.</ref> on 27 May,{{sfn|Miles|2001|p=231}} while Shankar agreed to become Harrison's sitar teacher on 1 June.{{sfn|Lavezzoli|2006|p=176}}}} During mid-May, Lennon and McCartney attended a private listening party for [[the Beach Boys]]' ''[[Pet Sounds]]'' album,{{sfn|Rodriguez|2012|pp=77–78}} and McCartney met Italian director [[Michelangelo Antonioni]], who filmed ''[[Blowup]]'' in London, inspired by the contemporary fashion scene.{{sfn|Turner|2016|pp=174–75}}

On 16 May,{{sfn|Lewisohn|2005|p=78}} Epstein responded to a request from [[Capitol Records]], EMI's North American counterpart, to supply three new songs for an upcoming US release, titled ''[[Yesterday and Today]]''.{{sfn|Rodriguez|2012|p=25}} Issued on 20 June, this album combined tracks that Capitol had omitted from the Beatles' previous US releases with songs that the band had originally issued on non-album singles.{{sfn|Lewisohn|2005|p=78}} From the six completed recordings for ''Revolver'', Martin selected three Lennon-written songs, since the sessions had favoured his compositions thus far.{{sfn|Rodriguez|2012|p=25}} Keen to limit the interruption to recording that multiple television appearances would create,{{sfn|Winn|2009|pp=19–20}}{{sfn|Sounes|2010|p=146}} the Beatles spent two days making promotional films for the "Paperback Writer" single.{{sfn|Miles|2001|p=231}}{{sfn|Rodriguez|2012|p=159}} The first set of clips was filmed at EMI Studio 1 on 19 May{{sfn|Lewisohn|2005|p=79}} by [[Michael Lindsay-Hogg]], director of the popular TV show ''[[Ready Steady Go!]]''{{sfn|Turner|2016|p=182}} The following day, the group shot further clips for the two songs in the grounds of [[Chiswick House]], in west London.{{sfn|Miles|2001|p=231}} In the face of fans' complaints of an aloofness in their new work, however, the band conceded to making a live appearance on ''[[Top of the Pops]]'' on 16 June.{{sfn|Savage|2015|pp=317–18}}

The camaraderie among the four Beatles was at its highest throughout this period.{{sfn|Rodriguez|2012|p=77}}<ref name="Sheffield/RS 50th" /> A disagreement between McCartney and his bandmates nevertheless resulted in McCartney walking out of the studio during the final session, for Lennon's "[[She Said She Said]]", on 21 June, two days before the band were due to fly to West Germany for the [[The Beatles' 1966 tour of Germany, Japan and the Philippines|first leg of their world tour]].{{sfn|Rodriguez|2012|pp=146–49}}{{sfn|Everett|1999|pp=64–65}} The Beatles spent over 220 hours recording ''Revolver'' – a figure that excludes [[Audio mixing|mixing]] sessions, and compares with less than 80 hours for ''Rubber Soul''.{{sfn|Turner|2016|p=404}} Final mixing of the album took place on 22 June.{{sfn|Lewisohn|2005|p=84}} The Beatles celebrated the project's completion by attending the opening of [[Sibylla's]],{{sfn|Miles|2001|p=234}} a nightclub in which Harrison had a financial stake.{{sfn|Turner|2016|p=214}}