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The classic original Beatles studio albums have been re-mastered by a dedicated team of engineers at Abbey Road Studios in London over a four year period utilising state of the art recording technology alongside vintage studio equipment, carefully maintaining the authenticity and integrity of the original analogue recordings. The result of this painstaking process is the highest fidelity the Beatles catalogue has seen since its original release.

Within each CD's new packaging, booklets include detailed historical notes along with informative recording notes. For a limited period, each CD will also be embedded with a brief documentary film about the album. The newly produced mini-documentaries on the making of each album, directed by Bob Smeaton, are included as QuickTime files on each album. The documentaries contain archival footage, rare photographs and never-before-heard studio chat from The Beatles, offering a unique and very personal insight into the studio atmosphere.

Beatles Photos

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The Beatles Mono Box Set [LIMITED EDITION]

The Beatles Stereo Box Set

The Beatles [USB] [LIMITED EDITION]

User Reviews about Revolver (Remastered)

Already 900 reviews and I do not expect mine to offer anything new. But I wanted to get the album all the credit it deserves after a few recent negative criticisms.

REVOLVER was released 44 years ago. Hmm...44 years before 1966 was 1922 and music changed in quantum leaps in that period much more than it has done since. Yes, we have rap, grunge and punk and it is true that lyrically, no topic is off limits but basically the formula is still the same.

More than anyone, The Beatles broke down so many barriers with an attitude that nothing is impossible when recording. Slowing down tracks, multi-vocals, use of strings and brass in rock, Indian instruments, taped effects, backward vocals and instrumentation, they pushed their produccer, George Martin and the engineers to do it all and Wow, did they deliver!

REVOLVER did show all The Beatles in a unique way.

John- forever experimenting and allowing drugs to influence his music
Paul- very melodic and a wonderful storyteller
George- insecure, biting and seemingly not too happy
Ringo- the fun, easy-going member.

Every song is under three minutes, yet The Beatles had an amazing sense of economy. ELEANOR RIGBY seems longer than 2:04 minutes. Same with TAXMAN, SHE SAID SHE SAID, GOT TO GET YOU...., I'M ONLY SLEEPING and many others.

In fact most of the songs, especially the first four were very revolutionary. Not a love song among them. Instead there is a savage diatribe about the taxman, a sad story about a lonely spinster, a dreamy psychedelic acid trip and an Indian sounding song about Life and Jaded Love.

Throw in the brassy soul feel of GOT TO GET YOU INTO MY LIFE, another psychedlic excursion in SHE SAID SHE SAID, the hopelessness of FOR NO ONE, the sheer beauty of HERE THERE AND EVERYWHERE and the very weird but very magnificent TOMORROW NEVER KNOWS and you have a recipe for what is considered the greatest pop-rock album of all time

I would have preferred if The Beatles rejected GOOD DAY SUNSHINE and AND YOUR BIRD CAN SING. In their place: PAPERBACK WRITER and RAIN would have made the album truly perfect.

For me, REVOLVER has aged much better then SGT PEPPER. Overall, the songs are of a much higher quality. Even though SGT PEPPER has always been considered their greatest album, it is mainly Paul and it is not as nicely balanced as REVOLVER.

Interesting that REVOLVER was released in early August 1966 and The Beatles stopped touring in late August 1966. Now they had time to pursue other interests outside of The Beatles after four years together.

I always feel that this period was the beginning of the break-up; when all individual members started going their seperate ways, realizing that there was Life outside of The Beatles, although acting as musicians and backing vocalists for each other on future albums.

REVOLVER was the culmination of what The Beatles had to offer as a group. Paul was very willing to help John on TOMORROW NEVER KNOWS and provides the essential monotone C note in the bass to make the song so memorable. John and George add beautiful low-key harmonies to Paul's HERE THERE AND EVERYWHERE. Ringo's persistent and truly memorable drumming on TOMORROW NEVER KNOWS; also on DR. ROBERT, TAXMAN and SHE SAID SHE SAID. John and Paul seem to relish taking part in Ringo's performance of YELLOW SUBMARINE. And on George's TAXMAN. Paul even provides the lead guitar solo.

As pop/rock classics go, REVOLVER is practically unbeatable. Fourteen songs at a little over thirty minutes, it encapsulates the 2-3 minute song perfectly showing what could be achieved in a very short time given the perfect blend of songwriters, singers, musicians, producers and engineers.

Oh...the title to this review? Lyrically, they are the first and last phrases sung on the album -- Let me tell you how it will be - to the end of the beginning

With its backward tape loops, sound effects, leslie scramblers and all sorts of gimmickry George Martin was helping them create, Revolver is a benchmark for studio innovation rivaled only by what Brian Wilson was doing with the Beach Boys in the same period. But in it you also hear the seeds of the problems of the Beatles' music in their last years: airless, castrated production, so overdubbed and overproduced there's barely a hint of spontanaeity to any of it, the aural equivalent of Frankenstein's monster. Too impatient to see where their organic skills could take them (though groups like The Band and Creedence showed there was plenty of room for growth in that area), the Beatles, assisted by drug-addled torpor, became slaves of the production board. When they briefly emerged to attempt live playing for the Let It Be album, they were so shaken by the sad state of their abilities they quickly vanished back into the multi-layered artifice of Abbey Road.
And despite some emotional Lennon songs like Sleeping and She Said, you also hear McCartney the supermarket muzak entertainer beginning to take over with Good Day Sunshine, Got To Get You, and the coloring-book Dylan take, Yellow Submarine. -- Innovative, but the sound of a band losing its soul to the studio

The Beatles' Revolver is very good, nobody questions that. What people who like going against popular thought(like me) would say is that since it came roughly in the middle of the Beatles'success, it's weaker because it's neither as straight-forward and catchy as their early albums, nor as classic or epic overall as their later masterworks Sgt. Pepper, Abbey Road, and dare I say Let It Be(going double-album with the White Album left too many weak tracks, IMO).

Don't get me wrong, it's still a very good album of classic pop-rock, otherwise, I wouldn't be giving it a four-star rating(mean to do 3.5, but I'm unclear how to do that) But certain of the experimental tracks such as "Eleanor Rigby" "Love You To"(sitar playing a generic rhythym) and "Tommorrow Never Knows" don't really sound impressive when compared to what many artists have accomplished since then.

Still, many songs are carried by their catchiness as much as anything such as "I'm Only Sleeping"(nice, bouncy bass) "Here, There, and Everywhere."(a typical uplifting Paul melody which is done in a very slow, un-rock manner,) and "For No One"(really sad and depressing lyrics, along with a small horn section.

But the highlight of this album is easily "Got to Get You Into My Life" The horns precede further usage in Sgt. Pepper. The up-and-down rhythm and Paul's excitable vocals in the chorus makes this track stand out the strongest in my mind. While there's technically not a weak track on here, "Doctor Robert" is certainly a throwaway when compared to most of the compositions McCartney and Lennon concocted.

So is it worth an investment? If you like the Beatles and like 60s pop(as they called it) then sure. Others should hold off and consider whether '67 has more quality records(like those of the Doors and Jimi Hendrix Experience) that are worth buying and just get their favorites from iTunes instead(like "Paperback Writer", not on this album, but worth your time, for sure) -- Excellent compared to pop-rock these days, but later albums are much better

In a house overlooking the lake, on about 500 mikes of genuine acid. It's a great album, stoned or straight. -- I listened to this for 12 hours once...