![]() ![]() ![]() Not only were The Beatles able to bridge their interest in the relatively uncommercial worlds of psychedelia, experimental, and Indian classical music with Motown (“Got to Get You Into My Life”) and what we now think of as classically Beatlesque pop (“Good Day Sunshine”), but they also gave us a template for the pop album as the kaleidoscopically varied studio construction we think of it as today. Part of what makes Revolver appealing is that it’s as much “Yellow Submarine” and the domestic sweetness of “Here, There and Everywhere” as it is “She Said She Said” and “Tomorrow Never Knows.” But Dylan’s point was well-taken: For a band that put out “I Want to Hold Your Hand” less than three years earlier, the relative complexity of Revolver-in both sound and subject matter-not only challenged The Beatles’ image as the pop band the whole family could agree on (as opposed to, say, The Rolling Stones), but it also put pop on a course toward unfamiliar horizons. (In Dylan’s case, it was Blonde on Blonde.) On hearing the tape loops and death poetry of “Tomorrow Never Knows,” Dylan allegedly said to McCartney, “Oh, I get it. ![]() One of the great, possibly true stories about 1966’s Revolver concerns an exchange between Paul McCartney and Bob Dylan at London’s Mayfair Hotel about what they were currently working on. ![]()
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