Editing Revolver (Beatles album) (section)

=== Side one ===
==== "Taxman" ====
{{listen|pos=left|filename= The guitar solo from "Taxman" by the Beatles, April 1966.ogg|title=The guitar solo from "Taxman"|description= Womack characterises the solo as "like nothing else in the Beatles' corpus to date; for that matter, it hardly bears any resemblance to anything in the history of recorded music." He credits the track with "announc[ing] a sweeping shift in the essential nature" of the Beatles' sound.{{sfn|Womack|2007|p=136}}}}

Harrison wrote "[[Taxman]]" as a protest against the high marginal [[tax rate]]s paid by top earners like the Beatles, which, under [[Harold Wilson]]'s [[Labour Party (UK)|Labour]] government,{{sfn|MacDonald|2005|pp=14, 200}} amounted to 95 per cent of [[unearned income]] (i.e. interest on savings and investments) above the top threshold.{{sfn|Everett|1999|p=48}}{{refn|group=nb|According to MacDonald, this was the "price" the Beatles paid alongside their being appointed [[Member of the Most Excellent Order of the British Empire|MBE]]s in September 1965.{{sfn|MacDonald|2005|pp=200, 426}} Aside from the financial imposition, Harrison was alarmed that the money was being used to fund the manufacture of military weapons.{{sfn|Turner|2016|p=131}}}} The song's spoken count-in is out of tempo with the performance that follows,{{sfn|Womack|2007|p=135}} a device that Riley credits with establishing the "new studio aesthetic of ''Revolver''".{{sfn|Riley|2002|p=182}} Harrison's vocals on the track were treated with heavy compression and ADT.{{sfn|Everett|1999|p=48}} In addition to playing a [[Glissando|glissandi]]-inflected bass part reminiscent of Motown{{'s}} [[James Jamerson]], McCartney performed the song's guitar solo.{{sfn|Everett|1999|p=49}} The latter section was also edited onto the end of the original recording, ensuring that the track closed with the solo reprised over a fadeout.{{sfn|Everett|1999|p=48}}{{sfn|Lewisohn|2005|p=76}} Rodriguez recognises "Taxman" as the first Beatles song written about "topical concerns"; he also cites its "abrasive sneer" as a precursor to the 1970s [[punk rock]] movement.{{sfn|Rodriguez|2012|pp=xiii, 17}} Completed with input from Lennon,{{sfn|MacDonald|2005|p=200}} the lyrics refer by name to Wilson, who had just been re-elected as prime minister in the [[1966 United Kingdom general election|1966 general election]], and [[Edward Heath]], the [[Conservative Party (UK)|Conservative]] [[Leader of the Opposition (United Kingdom)|Leader of the Opposition]].{{sfn|Riley|2002|p=183}}

==== "Eleanor Rigby" ====
Womack describes McCartney's "[[Eleanor Rigby]]" as a "narrative about the perils of loneliness".{{sfn|Womack|2007|p=138}} The story involves the title character, who is an ageing spinster, and a lonely priest named Father McKenzie who writes "sermon[s] that no one will hear".{{sfn|Womack|2007|p=138}} He presides over Rigby's funeral and acknowledges that despite his efforts, "no one was saved".{{sfn|Womack|2007|pp=137–39}} The first McCartney composition to depart from the themes of a standard love song,{{sfn|Turner|2016|p=63}} its lyrics were the product of a group effort, with Harrison, Starr, Lennon and the latter's friend [[Pete Shotton]] all contributing.{{sfn|Everett|1999|p=51}}{{refn|group=nb|Lennon later said he wrote 70 per cent of the lyrics,{{sfn|MacDonald|2005|p=204}} which McCartney refuted, saying that Lennon contributed "about half a line".{{sfn|Everett|1999|p=51}}}} While Lennon and Harrison supplied harmonies beside McCartney's lead vocal, no Beatle played on the recording;{{sfn|Hertsgaard|1996|p=182}} instead, Martin arranged the track for a [[string octet]],{{sfn|MacDonald|2005|p=203}} drawing inspiration from [[Bernard Herrmann]]'s 1960 film score for [[Alfred Hitchcock]]'s ''[[Psycho (1960 film)|Psycho]]''.{{sfn|Womack|2007|p=137}} In Riley's opinion, "the corruption of 'Taxman' and the utter finality of Eleanor's fate makes the world of ''Revolver'' more ominous than any other pair of opening songs could."{{sfn|Riley|2002|p=185}}

==== "I'm Only Sleeping" ====
{{listen|pos=right|filename= The backwards guitar solo from "I'm Only Sleeping" by the Beatles 1966.ogg|title= The backwards guitar solo from "I'm Only Sleeping" |description="I'm Only Sleeping" features a [[Backmasking|backwards]], Indian-style guitar solo that Harrison played in reverse order during the recording. Martin then reversed the tape and [[Dubbing (music)|dubbed]] it into the track, achieving what MacDonald describes as "smeared crescendi" and "womblike sucking noises".{{sfn|MacDonald|2005|p=202}}}}

Author [[Peter Doggett]] describes "[[I'm Only Sleeping]]" as "Half acid dream, half latent Lennon laziness personified."{{sfn|Miles|2001|p=238}} As with "Rain", the basic track was recorded at a faster tempo before being subjected to varispeeding.{{sfn|Rodriguez|2012|p=130}}{{sfn|Reising|LeBlanc|2009|pp=95, 96}} The latter treatment, along with ADT, was also applied to Lennon's vocal as he sought to replicate, in MacDonald's description, a "papery old man's voice".{{sfn|MacDonald|2005|p=202}} For the guitar solo, Harrison recorded two separate lines: the first with a clean sound, while on the second, he played his Gibson SG through a [[Fuzzbox (device)|fuzzbox]].{{sfn|Rodriguez|2012|p=131}} Beatles biographer Jonathan Gould views the solo as appearing to "suspend the laws of time and motion to simulate the half-coherence of the state between wakefulness and sleep".{{sfn|Gould|2007|p=353}} Musicologist [[Walter Everett (musicologist)|Walter Everett]] likens the song to a "particularly expressive text painting".{{sfn|Everett|1999|pp=50–51}}

==== "Love You To" ====
"[[Love You To]]" marked Harrison's first foray into [[Hindustani classical music]] as a composer, following his introduction of the sitar on "[[Norwegian Wood (This Bird Has Flown)|Norwegian Wood]]" in 1965.{{sfn|Lavezzoli|2006|pp=171, 174–75}} He recorded the track with only minimal contributions from Starr and McCartney, and no input from Lennon; Indian musicians from the [[Asian Music Circle]] provided instrumentation such as tabla, tambura and sitar.{{sfn|Everett|1999|p=40}} Author Peter Lavezzoli recognises the song as "the first conscious attempt in pop to emulate a non-Western form of music in structure and instrumentation".{{sfn|Lavezzoli|2006|p=175}} Aside from playing sitar on the track,{{sfn|Womack|2014|pp=583–84}} Harrison's contributions included [[fuzztone]]-effected electric guitar.{{sfn|Everett|1999|p=40}} Everett identifies the song's change of [[Meter (music)|metre]] as unprecedented in the Beatles' work and a characteristic that would go on to feature prominently on ''Sgt. Pepper''.{{sfn|Everett|1999|pp=40–41, 66}} Partly influenced by Harrison's use of LSD,{{sfn|Rodriguez|2012|p=66}}{{sfn|Hertsgaard|1996|p=184}} the lyrics address the singer's desire for "immediate sexual gratification", according to Womack, and serve as a "rallying call to accept our inner hedonism and release our worldly inhibitions".{{sfn|Womack|2007|p=140}}

==== "Here, There and Everywhere" ====
"[[Here, There and Everywhere]]" is a ballad that McCartney wrote towards the end of the ''Revolver'' sessions.{{sfn|Everett|1999|pp=59–60}} His inspiration for the song was the Beach Boys' ''Pet Sounds'' track "[[God Only Knows]]",{{sfn|Womack|2007|p=140}} which, in turn, [[Brian Wilson]] had been inspired to write after repeatedly listening to ''Rubber Soul''.<ref>{{cite web|url=https://www.rollingstone.com/music/news/brian-wilson-holds-out-hope-for-new-beach-boys-music-20120919 |first=Steve|last=Baltin|title=Brian Wilson Holds Out Hope for New Beach Boys Music|publisher=[[Rolling Stone|rollingstone.com]]|date=9 September 2012|access-date=24 June 2017}}</ref><ref>{{cite news|url=http://www.denverpost.com/2015/07/02/how-brian-wilson-heard-rubber-soul-got-baked-and-wrote-god-only-knows/ |author=Denver Post staff|title=How Brian Wilson heard 'Rubber Soul,' got baked and wrote 'God Only Knows'|newspaper=[[The Denver Post]]|date=2 July 2015|access-date=24 June 2017}}</ref> McCartney's double-tracked vocal{{sfn|Riley|2002|p=186}} was treated with varispeeding, resulting in a higher pitch at playback.{{sfn|Womack|2007|p=140}} The song's opening lines are sung in free time before its 4/4 [[time signature]] is established;{{sfn|Womack|2007|p=140}} according to Everett, "nowhere else does a Beatles introduction so well prepare a listener for the most striking and expressive tonal events that lie ahead."{{sfn|Everett|1999|p=60}} Womack characterises the song as a romantic ballad "about living in the here and now" and "fully experiencing the conscious moment".{{sfn|Womack|2007|p=140}} He notes that, with the preceding track, "Love You To", the album expresses "corresponding examinations of the human experience of physical and romantic love".{{sfn|Womack|2007|p=140}}{{refn|group=nb|In Riley's opinion, the track "domesticates" the "eroticisms" of "Love You To", drawing comparison with the concise writing of [[Rodgers and Hart]].{{sfn|Riley|2002|p=186}}}}

==== "Yellow Submarine" ====
{{quote box
| quote = The songs got more interesting, so with that the effects got more interesting. I think the drugs were kicking in a little more heavily on this album&nbsp;... [Al]though we {{em|did}} take certain substances, we never did it to a great extent at the session. We were really hard workers.{{sfn|The Beatles|2000|p=212}}
| source = – [[Ringo Starr]], 2000
| width = 25%
| align = right
| style = padding:8px;
}}

McCartney and Lennon wrote "[[Yellow Submarine (song)|Yellow Submarine]]" as a children's song and for Starr's vocal spot on the album.{{sfn|Winn|2009|p=22}}{{sfn|Womack|2007|pp=140–41}} The lyrics were written with assistance from Scottish singer [[Donovan]]{{sfn|Everett|1999|p=56}} and tell of life on a sea voyage accompanied by friends.{{sfn|Gould|2007|pp=355–56}} Gould considers the song's childlike qualities to be "deceptive" and that, once in the studio, it became "a sophisticated sonic pastiche".{{sfn|Gould|2007|p=355}}

On 1 June, the Beatles and some of their friends enhanced the festive nautical atmosphere by adding sounds such as chains, bells, whistles, tubs of water and [[clinking glasses]],{{sfn|Turner|2016|p=188}} all sourced from Studio 2's trap room.{{sfn|Everett|1999|p=57}}{{refn|group=nb|Aside from the band, and Martin and Emerick, the participants included [[Brian Jones]] of [[the Rolling Stones]], [[Pattie Boyd]] (Harrison's wife), [[Marianne Faithfull]] and Beatles aides [[Mal Evans]] and [[Neil Aspinall]].{{sfn|MacDonald|2005|p=206}}{{sfn|Lewisohn|2005|p=81}}}} To fill the portion after the lyrics refer to a [[brass band]] playing,{{sfn|Womack|2014|p=1027}} Martin and Emerick used a recording from EMI's library, splicing up the taped copy and rearranging the melody.{{sfn|Rodriguez|2012|p=142}} Lennon shouted part of the mid-song ship's orders in an [[echo chamber]].{{sfn|Rodriguez|2012|p=140}} In the final verse, he repeats Starr's vocal lines in a manner that Gould likens to "an old vaudevillian with the crowd in the palm of his hand".{{sfn|Gould|2007|p=356}} Riley recognises the song as mixing the comedy of ''[[The Goon Show]]'' with the satire of [[Spike Jones]].{{sfn|Riley|2002|p=188}} Donovan later said that "Yellow Submarine" represented the Beatles' predicament as prisoners of their international fame, to which they reacted by singing an uplifting, communal song.{{sfn|Turner|2016|p=295}}

==== "She Said She Said" ====
The light atmosphere of "Yellow Submarine" is broken by what Riley terms "the outwardly harnessed, but inwardly raging guitar" that introduces Lennon's "[[She Said She Said]]".{{sfn|Riley|2002|p=188}} The song marks the second time that a Beatles arrangement used a shifting metre, after "Love You To", as the foundation of 4/4 briefly switches to 3/4.{{sfn|Everett|1999|p=66}} Harrison recalled that he helped Lennon finish the composition, which involved joining three separate fragments of song.{{sfn|The Beatles|2000|p=97}} Having walked out of the session, McCartney may or may not have contributed bass guitar to the recording. In addition to lead guitar and harmony vocals, Harrison possibly performed the bass guitar part.<ref name="Howlett/Revolver">{{cite AV media notes|last=Howlett|first=Kevin|title=Revolver: Special Edition|title-link=Revolver: Special Edition|year=2022|others=[[The Beatles]]|type=book|publisher=Apple Records}}</ref>{{sfn|MacDonald|2005|pp=211–12}}{{refn|group=nb|Like Rodriguez,{{sfn|Rodriguez|2012|p=149}} music journalist [[Mikal Gilmore]] contends that the argument that preceded McCartney's exit from the studio was LSD-related, since his lack of experience with the drug led Lennon to dismiss his suggestions for the song's arrangement.<ref name="GilmoreAcidTest" />}} The lyric was inspired in part by a conversation that Lennon and Harrison had with actor [[Peter Fonda]] in Los Angeles in August 1965,{{sfn|Rodriguez|2012|pp=91, 92}} while all three, along with Starr and members of [[the Byrds]], were under the influence of LSD.{{sfn|Tillery|2011|p=52}} During the conversation, Fonda commented, "I know what it's like to be dead", because as a child he had [[Clinical death|technically died]] during an operation.{{sfn|Everett|1999|p=62}}