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'Every Sound There Is': The Beatles' Revolver and the Transformation of Rock and Roll book cover

1st Edition

'Every Sound There Is' The Beatles' Revolver and the Transformation of Rock and Roll

Edited By Russell Reising Copyright 2002
    286 Pages
    by Routledge

    286 Pages
    by Routledge

    286 Pages
    by Routledge
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    'Every Sound There Is': Revolver and the Transformation of Rock and Roll assesses and celebrates the Beatles' accomplishment in their 1966 masterpiece. The essays of Every Sound There Is examine Revolver from a large number of complementary starting points that help us to understand both the album's contemporary creation and reception and the ways in which it continues to shape the creation and reception of popular music in the twenty-first century. Responding to the incredible diversity of Revolver, this gathering of international scholars focuses on the Beatles' 1966 album as one of rock and roll history's threshold moments. Bringing to bear approaches from the disciplines of musicology, cultural studies, poetics, gender studies, these essays address matters as diverse as the influence of American R&B on Revolver as well as its influence on Pink Floyd, each Beatle‘s contributions to the album, the musicological significance of the Beatles' harmonies and chord progressions, its status and coherence as a work of art, the technological and marketing significance of Revolver's recording and distribution, and its influence on the development of rock music.

    Introduction: ‘Of the beginning’; ‘When I’m in the middle of a dream’: the contributors remember Revolver; I: ‘Where do they all come from’?; 1: Detroit and Memphis: the soul of Revolver; 2: I’m Eleanor Rigby: female identity and Revolver; 3: Sailing to the sun: Revolver ’s influence on Pink Floyd; II: ‘It is shining’; 4: Revolver as a pivotal art work: structure, harmony, and vocal harmonization; 5: Tonal family resemblance in Revolver; 6: A flood of flat-sevenths; III: ‘And our friends were all aboard’; 7: ‘Tomorrow never knows’: the contribution of George Martin and his production team to the Beatles’ new sound; 8: The Beatles for everyone: rearranging base and superstructure in the rock ballad; 9: Ringo round Revolver : rhythm, timbre, and tempo in rock drumming; 10: The Beatle who became a man: Revolver and George Harrison’s metamorphosis; 11: Premature turns: thematic disruption in the American version of Revolver; IV: ‘Here, there, and everywhere’; 12: ‘Love is all and love is everyone’: a discussion of four musical portraits; 13: The Beatles, Postmodernism, and ill-tempered musical form: cleaning my gun; or, the use of accidentals in Revolver; 14: ‘It is not dying': Revolver and the birth of psychedelic sound

    Biography

    Russell Reising

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