Is 'Revolver' The Beatles best album?

Perhaps the most intriguing characteristic of the Beatles entire body of work is how rapidly they grew as artists in a relatively short amount of time. From when they began recording in 1962 through early 1965, almost all their songs dealt with love. Boy and girl meet. Boy loves girl. Girl loves boy. Boy loses girl. Boy gets girl back. Boy wishes he had a different girl. All the songs were simple variations of the same theme.

By early 1965, subtle influences began changing the band. Lyrically, John Lennon, George Harrison, and to a lesser extent Paul McCartney, each began following Bob Dylan's lead and started exploring deeper subject matter. Songs that followed like "Norwegian Wood (This Bird Has Flown)," "Nowhere Man," and "In My Life" still dealt with relationships. However, their lyrics now probed the subject matter in ways that more accurately reflected the complexity of those relationships. Simple love songs were now gone for good. Those three songs appeared on their late 1965 album Rubber Soul, which acted as the vessel that delivered the Beatles into the most creative phase of their career.

In 1966, the Beatles remained the unquestioned leaders of rock and roll. With their album Revolver, they decided to use that power to break the conventional boundaries of the current musical scene. As the subject matter of the album's songs reveals, band members sometime had different ideas about what it meant to break boundaries.

For Lennon, his excursion to new places led him into citizenship in Alice's Wonderland. Surrealism saturated his songs in such a complete way that the songs retain their original freshness and vitality more than 40 years later. Whether it was his boredom with making albums or his tendency to sometimes incorporate drugs into the creative process, Lennon's work on this album repeatedly travels into the cosmos in ways that are often bewildering. To the casual listener, a common response to these songs might be, "What the heck is this?"

Nowhere is this more obvious than on "Tomorrow Never Knows." With lyrics taken almost directly from the book The Psychedelic Experience, the song's musical arrangement mostly features guitars that were recorded and then played backward, accompanied by thumping that sounds like tribal drum beats. The result sounds like waves of electronic sound pounding a beach, while accompanied by Lennon's vocals that resemble a spiritual chant.

"I'm Only Sleeping" is an ode to dreaming the day away in bed, and "Dr. Robert" is a tribute of sorts to various Dr. Feelgoods who fulfilled the special needs of cultural icons. Though neither song is drenched in psychedelics like "Tomorrow Never Knows," they both represent a clear departure from Lennon's early songwriting. In both songs, it is like the listener can pull back his skull and peer deeply into his subconscious and ego. "And Your Bird Can Sing" is less successful than the other songs, but the surrealistic lyrics are a direct nod to the work of Dylan in the mid-1960s.

For McCartney, breaking boundaries did not necessarily include experimental studio wizardry. At that time, rock and roll still maintained second class status in the musical establishment's eyes. The establishment often maintained an attitude of unbridled condescension toward rock and roll. Cleverly, McCartney began integrating elements of the 'old world' and showed they could be used in a rock and roll context.

The previous year, McCartney began this musical migration when his song "Yesterday" included only him on acoustic guitar and a stringed quartet. No other Beatle played on it, and in a sense, it was the first Beatles solo recording. The song is one of the most recorded and commercially successful songs of all time. However, the song's big breakthrough was that McCartney showed how to use a classical musical approach in a rock and roll context.

On Revolver, he did it again. On "Eleanor Rigby" he was again accompanied by a classical group, which spun a somber musical arrangement around lyrics bemoaning the growing isolation of people. The result is chilling. Forty years after the fact, this may seem like a minor achievement, but this type of musical fusion was highly unusual for that time.

Other songs of his on the album are less adventurous but no less successful. "Good Day Sunshine" embraces the pleasure of spending a beautiful day sitting under a tree with your woman. The title of "Got To Get You Into My Life" is pretty self explanatory, but the chewy horn section that propels the song is outstanding. "Here, There and Everywhere" may be the prettiest ballad McCartney has ever written.

Though George Harrison often stood in the shadows of his two more heralded band mates, he continued to mold the band's sound on this album. The previous year he introduced the sitar to his band members, and it was included on the song "Norwegian Wood." Primarily associated with Indian music, the instrument was largely unknown to American and European audiences when the Beatles used it. The instrument made another appearance on this album on Harrison’s "Love You To."

Harrison's "Taxman" became one of his most well-known songs in which he lamented the impact that England's severe tax code had on his bank account. Ah, the problems of wealth. "I Want To Tell You" is a steady and straightforward rocker that delves into relationship problems.

The only top 10 hit from the album was the Lennon/McCartney composition "Yellow Submarine" with Ringo Starr on lead vocals. The song would be the springboard for an animated film three years later. The song is pretty silly in some respects, but it has the charm of a nursery rhyme.

The Beatles body of work is eclectic, and its impact on the world can not be overstated. Whatever musical limitations each member had, the four of them made up for it by perfectly complementing each other. Plus, they had the good sense to break up before they had a chance to fail. The audience was spared seeing them decline over time like the Rolling Stones and the Who did. This was one of the few times when the sum of all the parts added up to a whole.

It was 38-years ago today...almost

When we are younger it seems like we have all the time in the world, but as we get older, we understand that time flies by.

I was reminded of how fast time moves a few days ago when I realized it was the 38th anniversary of when the Beatles officially disbanded.

Paul McCartney announced on April 10, 1970, that he was done with the group, and it was one of those moments that truly ended an era. Of course, McCartney's announcement was only a formality.

Those familiar with the band's history knows that John Lennon had told McCartney several months earlier that he wanted out of the group. In fact, McCartney worked the hardest to keep the band together.

It was only when he became fed up with the lack of interest of the other three that he shocked the world with his announcement.

Of course, the Beatles are still a bit of a lightning rod to some people. While there can be no denying they were musical revolutionaries, some point their fingers at the band as having been a corruptive influence on youth culture.

Their hairstyles caused countless young men to abandon their crew cuts and begin growing their hair long. While there is nothing wrong with that, their appearance on American shores in February 1964 seemed to snap the nation's youth out of a trance.

Remember, this was only about 10 weeks after President Kennedy's assassination, and the country was still coping with that loss. The country needed something to get excited about and the Beatles were just that for a lot of the youth.

Of course, some who criticized the group did have good points. The Beatles all used drugs and were correctly criticized for it. Because of their status as role models, their use influenced others to give drugs a try.

In fact, society in general got a lot more permissive during that time, and we are still seeing today some of the bitter fruits from that era.

However, I believe some of the criticism given to the band was too extreme.

Could the Beatles have been better role models? Of course. But the same could be said about every one of us. We are all lucky that our mistakes and indiscretions have never been on a world stage for all to see.

I tend to agree with George Harrison's assessment of the criticism the band received. In the documentary The Beatles Anthology, he said the world used the Beatles as an excuse to go crazy and then blamed them when they didn't like the result.

He's right. There is something about our human nature that doesn't like to take responsibility for our actions. We want to blame others for the decisions we make.

In the Beatles' case, they were the most famous representatives of their generation and became the natural targets of blame when the so-called bliss of the Summer of Love began creating a lot of casualties.

Harrison saw these casualties first hand. In 1967, he traveled to San Francisco, which was the self-proclaimed capital of the counterculture.

As he stated in that documentary, he had expected to find an enlightened place. However, he said he found a lot of drop-out kids who were over indulging in drugs.

He said what he found there was like visiting a "bowery."

Those don't sound like the words of somebody who was trying to lead the youth of America astray.

Those words sound like somebody who was trying to be a good role model.