With this album, the group resolutely turned its back on the tender years, those of "She Loves You", "Michelle" and other "And I Love Her", to initiate the turn of maturity. As George Harrison, "Revolver" is between Lennon and McCartney. He announced the end of the leadership of the first and the beginning of the domination of the second group. Indeed, McCartney was content to date of the role of the brilliant deputy leader, shouldering the determinants efforts maestro Lennon, including "A Hard Day's Night" and "Rubber Soul" that bear the indelible imprint of the brilliant Beatle.
On one album to another, however, Macca was taking more and more influence on the quartet. he signs here for the first time as many titles as his colleague, five, and even more, with "Yellow Submarine," that only the simplicity of Ringo comes to pass.
It must not be thought as long as Lennon plays second fiddle, quite the contrary. Never the author of "Help! "Was not allowed much freedom, or risk, depending on your point of view, with an exploration unqualified psychedelia. When he is not playing with the same structure of a song, by ruptures of time as impromptu strangely melodic in "She Said, She Said", he juggles with dreamlike atmospheres, as only he knows how, with 'mesmerizing "I'm Only Sleeping".
John then launches into an unlikely mix of genres with "Dr. Robert" Country Western rhythmic alternating with surreal transitions evoking the artificial paradise triggered by LSD. "And Your Bird Can Sing" remains the easiest of his compositions on this disc, but still a good little rock well-crafted and typically British in terms of rhythm as the melody.
It would be sacrilege to mention "Tomorrow Never Knows", his rhythmic and haunting monotone, his past bands in reverse, in tune with extracts from the Tibetan Book of the Dead, sung deliciously haunting way by John.
More formal, parts of Paul remains an unsurpassed lyrical richness, by far the most accomplished of his career so far. "Eleanor Rigby" crystallizes the forefront of McCartney in the sense this word had at the time, which meant the integration of classical instruments in a pop context. This piece, almost symphonic, fits in continuity between "Yesterday" and other pieces of Sgt Pepper's, such as "She's Leaving Home".
If "Good Day Sunshine" Roger did a little quality time with his good humor candid, "Here, There and Everywhere" certainly stands out as one of the best songs of McCartney of all time. It was also the favorite of John and George Martin, Paul among the directory. "For No One" bittersweet ride on a dead love, is a model of its kind, while the brass rarely sounded as wisely as the electrifying "Got To Get You Into My Life."
Between John, psychedelic, and Paul, the avant-garde, George, the quiet, stood out with three compositions, whose tangy "Taxman," which Lennon also contributed. "I Want To Tell You" is the most representative piece of lead guitarist while "Love You To" reflects his growing interest in India.
Ultimately, "Revolver" embodies a balance between the three top composers, between avant-garde and psychedelia, and between the melodic richness and boldness of the musical treatment. If some see the draft of this record "Sgt Pepper's", others, like the author of these lines, there celebrate the true summit of the Beatles, at a time when they were still working together as a group, not as musicians on the song to the agenda.