CD: Beatles - Revolver (stereo rm) Revolver (2009 Stereo Remaster) Revolver (2009 Mono Remaster) © 2009 Apple Corps Ltd./Capitol/EMI Records Ltd. © 1987 Capitol Records, Inc. Originally Released August 5, 1966 CD Edition Released April 15, 1987 (UK LP Track Listing) Remastered CD Edition Released September 9, 2009 AMG EXPERT REVIEW: (Box Sets) The Beatles always stood apart from their peers, a self-evident statement that sadly extended to the treatment of their catalog in the digital age. Where all their peers from the Byrds to the Who have had their catalogs remastered and reissued in deluxe editions, sometimes several times, the Beatles remained stuck in the early days of digital, their 14 albums plus Past Masters singles collection remaining untouched since 1987. Anniversaries came and went, but no remasters arrived until the release of the video game The Beatles Rockband pushed a long-overdue revamping of the band's entire catalog into the stores on 9-9-09. This reissue campaign corrects almost all the problems of the original 1987 CDs: the sound and artwork are improved, and all the original mono and stereo mixes finally see the light of day. Naturally, it's possible to quibble about some details of the presentation, particularly the decision to split the reissue into two separate box sets, one covering the stereo mixes and one the mono mixes, with only the stereo mixes available as individual discs (it's still possible to complain that the albums do not add era-specific singles or outtakes, but such expansions were never really in the cards), but both boxes still constitute the best Beatles by far. Crucially, it's also inarguably the best-sounding Beatles music ever released, robust and rich even on the earliest rock & roll. None of the albums have been remixed -- although Help! and Rubber Soul retain Martin's 1987 mixes, the original stereo mixes are bonuses on the mono set -- so this doesn't shock the way the Yellow Submarine soundtrack did with its reimagined stereo mixes. Nevertheless, these remasters surely do surprise with their clarity and depth, with each album feeling bigger and fuller than the previous CD incarnation, but not artificially so. It's not that these are pumped up on digital steroids; it's that the veil has been lifted, so everything seems full and fresh. Appropriately, there's more to savor from Help! onward, as the Beatles' productions grew ambitious, but Please Please Me, With the Beatles, and A Hard Day's Night all have a strong punch, while Beatles for Sale is warmer than the previous disc. (Stereo Box Set) As a package, the stereo box is slightly unwieldy -- it's a large, vertical set with two stacks of discs in slick cardboard sleeves piled on top of each other. No extra book is included with the set, but each disc has its own booklet with dry, straightforward liner notes detailing the recording process instead of analyzing the music. If anything about the set could be called disappointing, it's the mini- documentaries attached to each disc as Quicktime files and collected on a DVD bonus for the box. "Mini-documentary" may even be stretching what these are: they're three to five infomercials about the albums, not much more informative than the notes themselves. Nevertheless, these do offer annotation, something sorely lacking from the first CDs, and they do replicate the original notes -- in the case of Magical Mystery Tour, including the entire storybook; in the case of Pepper, all the 20th anniversary annotation is added -- finally bringing the Beatles to the same standard for reissues that every other major (and most minor) bands have had for years now. And the story, at least for the stereo box, is not the packaging -- it's the glorious sound that makes this such a treat. There's also no question that those who waited 22 years to hear a better version of the Beatles will not be disappointed (although they may still wonder why it took so long for the Fabs to be treated as they deserve). (Mono Box Set) The stereo set may be the official canon, but what Beatlemaniacs have really craved is the mono box. This limited-edition box is laden with new-to-CD mixes, including the genuine rarities of the previously unreleased mono mixes of the four new songs from Yellow Submarine, and its packaging is gorgeous, filled with mini-LP replicas with stiff cardboard sleeves of every album from Please Please Me to The Beatles, complete with replicated gatefolds and packaging inserts, all protected in resealable plastic sleeves. As pure physical product, this satisfies any collector itch, but this also is arguably the better-sounding of the two sets, providing ample evidence that the Beatles did spend more time on mono mixes during much of their career. For generations of listeners raised on stereo mixes, there are plenty of surprises here, from the faster versions of "She's Leaving Home" and "Don't Pass Me By" to the numerous little differences that pop up on Pepper, The White Album, and Revolver, all adding up to dramatically different experiences. Sometimes, the density of mono just has more force -- "Lady Madonna" rolls like a freight train, "I'm Down" hits to the gut -- and sometimes the colors just seem more vibrant; in either case, there's enough emotional difference to make this worthwhile for the dedicated, and depending on taste, it may even be preferable. But there's no question of one thing: of the two sets, as a package, the mono box is a thing to behold. And there's also no question that those who waited 22 years to hear a better version of the Beatles will not be disappointed (although they may still wonder why it took so long for the Fabs to be treated as they deserve). -- Stephen Thomas Erlewine AMG EXPERT REVIEW: Rubber Soul was a significant move forward for the Beatles, but it was eclipsed by its startlingly complex followup, Revolver. All the rules fell by the wayside with Revolver, as the Beatles began exploring new sonic territory, lyrical subjects and styles of composition. It wasn't just Lennon and McCartney, either -- Harrison, who was allowed to contribute a precedent-shattering three songs, was staking out his own dark, dissonant territory. He was given the honor of opening the album with "Taxman," and a tightly-wound, cynical rocker that proved his two fine contributions to Rubber Soul were no flukes. Echoes of "Taxman" can be heard in the jaunty yet dissonant pop-rocker "I Want to Tell You," and where "Norwegian Wood" brought in the sitar as tonal coloring, George plunges into Indian music with "Love You To," andhis first and best foray into the field. Such worldbeat explorations were undeniably a bold move for the band, but it was eclipsed by Lennon's trippy kaleidoscopes of sound. His most straightforward number was "Doctor Robert," andan ode to his dealer, and things just got stranger from there. "And Your Bird Can Sing" was a typically angry statement of individuality, but it was embellished by a maze of multi-tracked guitars. "Yellow Submarine," andthis album's Ringo centerpiece, was a charmingly hallucinogenic slice of childhood whimsy which was overshadowed by a triptych of bad trips. Built around spiraling guitars and a winding melody, "She Said She Said" was a amiably crazed journey with dark undertones. "I'm Only Sleeping" was slightly less ominous, since there was something appealing about its crawling, druggy folk-rock murk. Then there "Tomorrow Never Knows," anda pure nightmare. Singing portions of the Tibetan Book of the Dead into a suspended microphone over Ringo's thundering, menacing drumbeats and layers of overdubbed, phased guitars and tape loops, John sounds positively possessed -- if psychedelia was about creating a new mental state, "Tomorrow Never Knows" was the definitive psychedelic song. McCartney didn't try to compete with the drug-fueled Lennon. His experiments were formal, as he tried on every pop style from chamber-pop to soul. Within those, he used the Beatles' groundbreaking studio techniques as subtle sonic texturing -- witness the multi-tracking on "Good Day Sunshine" or the processed guitars on the punchy, horn-driven "Got to Get You Into My Life." When placed alongside Lennon and Harrison's outright experimentations, McCartney's songcraft becomes all the more impressive -- the stately, mournful "For No One" carries additional emotional weight, the sawing strings and sad tale of "Eleanor Rigby" are all the more eerie, the sweetness of "Here, There and Everywhere" sounds genuine, not cloying. The biggest miracle of Revolver may be that the Beatles covered so much new stylistic ground and executed it perfectly on one record, or it may be that all of it holds together perfectly. Either way, its daring sonic adventures and consistently stunning songcraft set the standard for what pop-rock could achieve. Even after Sgt. Pepper, Revolver stands as the ultimate modern pop album and it's as emulated today as it was upon its original release. - - Stephen Thomas Erlewine Amazon.com essential recording Revolver wouldn't remain the Beatles' most ambitious LP for long, but many fans--including this one--remember it as their best. An object lesson in fitting great songwriting into experimental production and genre play, this is also a record whose influence extends far beyond mere they-was-the-greatest cheerleading. Putting McCartney's more traditionally melodic "Here, There and Everywhere" and "For No One" alongside Lennon's direct-hit sneering ("Dr. Robert") and dreamscapes ("I'm Only Sleeping," "Tomorrow Never Knows") and Harrison's peaking wit ("Taxman") was as conceptually brilliant as anything Sgt. Pepper attempted, and more subtly fulfilling. A must. --Rickey Wright Amazon.com Product Description 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. Half.com Details Producer: George Martin Contributing artists: Brian Jones Album Notes The Beatles: George Harrison (vocals, guitar, sitar); Paul McCartney (vocals, guitar, piano, keyboards, bass); John Lennon (vocals, guitar); Ringo Starr (vocals, drums). Additional personnel includes: Alan Civil (French horn); Anil Bhagwat (tabla); Brian Jones (background vocals). This reissue of REVOLVER has been digitally re-mastered. It comes packaged with replicated original U.K. album art, an expanded booklet containing original and newly written liner notes, and rare photos. Limited quantities of the CD are embedded with a brief documentary film about the album. Audio Remasterers: Sam Okell; Sean Magee; Steve Rooke; Guy Massey; Paul Hicks. Liner Note Authors: Mike Heatley; Kevin Howlett. Recording information: Abbey Road Studios, London, UK. Arguably the first psychedelic rock album, REVOLVER was praised for its musical experimentation--the Indian sounds of "Love You To," the Motown-inspired "Got To Get You Into My Life," the backwards guitar in "I'm Only Sleeping." "Tomorrow Never Knows" was the most radical departure from previous Beatles' recordings for its skeletal bass/ drums propulsion enhanced only with tape loops (contributed by all four Beatles and added in the mix-down process), more backwards guitar, and an eerie John Lennon vocal. Still, the Beatles' experimentation grew out of their songwriting, which had matured beyond formula pop. "Tomorrow Never Knows" was inspired by the Tibetan Book of the Dead, Harrison's "Taxman" was a bitter diatribe, and McCartney's "Eleanor Rigby" was a bleak portrait of loneliness. Balanced with upbeat songs like "Good Day Sunshine" and "Yellow Submarine," REVOLVER proved The Beatles were not mere pop stars, but musical artists in search of new sounds and ideas. Industry Reviews Ranked #2 in NME's list of the 'Greatest Albums Of All Time.' Melody Maker (10/02/1993) Ranked #1 in Q's 100 Greatest British Albums - ...The most shocking Beatles record....combining an astonishing mix of styles with a weirdly consistent sense of purpose....[mapping] out the pop universe.. .perfectly... Q (06/01/2000) Ranked #10 in Rolling Stone's 50 Coolest Records - ...The Fabs tune into Dylan, the Stones, the Beach Boys, decide to top to top them all.. . Rolling Stone (04/11/2002) ROLLING STONE REVIEW "It was twenty years ago today/Sgt. Pepper taught the band to play." That line has been invoked an awful lot this year, as Capitol Records has turned the Greatest Album Ever into (Capitol says) "the most important and revealing compact disc release there ever can be." But as the newly digitized Sgt. Pepper's Lonely Hearts Club Band blares from CD players everywhere, it's worth recalling lines from a less hallowed source, Blue Oyster Cult: "Things ain't what they used to be/ And this ain't the Summer of Love." No, these are more sober and businesslike times, and the 1987 version of Pepper Fever is dramatically different from its 1967 precursor. Back then, the fever was a near-spontaneous, overwhelming reaction to a groundbreaking album that unerringly captured and sealed the moment for a worldwide youth community. Today, the fuss over Sgt. Pepper is, above all, the culmination of a carefully orchestrated, canny and lucrative marketing campaign. Capitol Records has smartly turned its 1987 series of Beatles reissues into an event. While ABKCO and Columbia dumped all the early Rolling Stones CDs onto the market at once, giving all but the die-hards far too much to choose from, Capitol has released the Beatles CDs in batches small enough to lure many fans into buying everything. The label also guaranteed a publicity blitz by making sure Sgt. Pepper would hit the stores on June 1st, the twentieth anniversary of its original release. It hasn't always been smooth sailing with Capitol's marketing scheme. Aficionados protested the release of the first four records in mono, though Beatles producer George Martin said that the first two were only available in fake stereo versions that would have been far worse. And more casual American fans may have been confused by the albums themselves, since the CDs correspond to their British rather than their far different American configurations. For nostalgia's sake, it might have been nice to have, say, The Beatles' Second Album or Yesterday and Today on CD -- but those albums didn't exist in Great Britain, and it's pointless to complain too loudly when the British LPs are longer and more intelligently compiled. (Still, the Beatles left many of their hit singles and standout tracks off the British albums, so you won't find "I Want to Hold Your Hand," "She Loves You," "We Can Work It Out," "Day Tripper" or several others on CD. Capitol says it is going to release CD compilations with all the missing songs, but then, some time ago, Capitol said it was going to standardize the Beatles' albums on both sides of the Atlantic, and that never happened.) Album confusion aside, the CDs have other problems. Up until Sgt. Pepper, their running time averages less than thirty-four minutes apiece, which means that two complete albums could easily fit on a single disc, à la Motown's twofers series. Combining Beatles albums would have cut Capitol's profits and, it could be argued, disrupted the integrity of the individual records. Still, Rubber Soul and Revolver on one disc would have been the CD bargain of a lifetime. Meanwhile, the naturally brighter CD sound is also shriller and sometimes more grating, mostly on the rock songs from Please Please Me and With the Beatles but to some degree on everything until Rubber Soul. The new technology adds some clarity, but it does far less for the Beatles than CDs have done for, say, Buddy Holly. Capitol clearly wanted Sgt. Pepper ready by June 1st; it's possible the label was prepared to shortchange A Hard Day's Night and Beatles for Sale to get there. Though the early CDs have variable sound and occasionally shoddy packaging that crams the original LPs' photos and liner notes into inelegant graphic hodgepodges, Sgt. Pepper gets the treatment that becomes a legend most: significantly improved sound, extensive liner notes, a twenty-eight-page booklet. After all, wasn't Sgt. Pepper the Beatles' big event? Well, yes and no. Two decades ago, it seemed unquestionably the biggest and greatest album anybody had ever made; today, it doesn't even sound like the Beatles' best record. Of course, it's hard to stand back and dispassionately assess the Beatles' music: the pop revolution the group started may be two decades past, but it still claims virtually everyone over twenty-five, making it nearly impossible to hear "I Saw Her Standing There" or "A Hard Day's Night" or "Eight Days a Week" -- or, hell, to even look at the cover of With the Beatles -- with anything approaching objectivity. In a way; it's startling that the music retains any freshness at all, twenty-odd years and countless elevator renditions later. But the key word may be effortless: the band worked hard -- on songs like "Tell Me Why" and "It Won't Be Long," as hard as anybody in rock & roll, but the playing sounds natural, easy, enormously potent but completely unforced. And while the early records are saddled with a few too many questionable cover versions (the Rolling Stones always had better taste in outside material), there's an unstoppable momentum. Try Please Please Me for the Beatles' unfettered joy at making music; With the Beatles for their growing toughness; A Hard Day's Night for the dazzling assurance of Lennon and McCartney's songs; Help! for the relatively quiet and understated way in which they consolidated their strengths. After that, the Beatles got "mature": less adrenaline, more subtlety. And Capitol got serious. Though the digital transfer doesn't make this astonishingly rich batch of songs any better, the remixed Rubber Soul CD shows more signs of tinkering than the earlier releases: balances are changed, background parts made louder, John's intake of breath in "Girl" becomes far more prominent. Just as the recording technology got more sophisticated with Rubber Soul and Revolver, those albums' CDs sound fuller and cleaner (though Revolver wasn't digitally remixed, unlike Help! and Rubber Soul). Then, Sgt. Pepper. As a collection of pop songs, it's no match for its two predecessors: "Girl" and "For No One" are timeless; "Lucy in the Sky with Diamonds" and "Being for the Benefit of Mr. Kite" are inescapably tied to their times. But as a cultural artifact, as a benchmark of its era, as an instant passage to the first Summer of Love, nothing else comes close. Few things are sadder than a once- revolutionary work whose bite has been eroded by time, but Sgt. Pepper survives because it's also a fun, playful, ambitious record, a mannered but terrific collection of songs with highlights as devastating as "A Day in the Life." It's also the kind of record that seems to have been designed for compact disc, full of sonic showcases like "Lovely Rita" and "Being for the Benefit of Mr. Kite." This album, clearly, was transferred to CD as carefully as some of the others should have been: though tape hiss shows up in a few places, on the whole Sgt. Pepper gains a clarity and vividness the vinyl version simply doesn't have. But if it whips up the same sort of hysteria the album prompted two decades ago, it'll mean that today's classic-rock, "music for the Big Chill generation" mentality is more dangerous and out of control than we ever imagined. The Beatles CDs are fun, expensive, occasionally revelatory -- and, for Capitol Records, highly profitable -- ways for us to hear some of the best rock ever recorded without the clicks, pops and scratches that most of our Beatles albums have accumulated through the years. But to turn them into more than that is a mistake. That was twenty years ago, after all, and this ain't the Summer of Love. (Posted: Jul 16, 1987) -- STEVE POND AMAZON.COM CUSTOMER REVIEW (Mono Box Set) A Cheapskate's (Relatively) Guide To The Mono and Stereo Re-Issues, 09. 10.2009 By James N. Perlman Introduction: The following is pretty much a full review of both the mono and stereo reissues largely written in real time as a series of e- mails to an old friend who once owned a legendary record store here in Chicago. The story of the reissues really comes down to the technical limitations of two-track, four-track, eight-track, etc. recordings and the relative complexity of the music of the Beatles. Listening occurred on what would be considered an audiophile system with Quad 988's as the speakers. Please Please Me: The sound on the mono is just amazing. You can hear the echo in the room as John sings Anna. The vocals just soar. Ringo was just so good, even at this early stage and so was Paul. They supported and framed the songs so perfectly. And just think, in twenty- one minutes, or so, Twist And Shout! Stereo can't hold a candle to this, if for no other reason than the left/right "stereo" found later in With The Beatles, Rubber Soul and Revolver. With The Beatles: As with Please Please Me, the mono sounds so, so, nice. As the stereo has that annoying left/right "stereo," no contest: mono hands down. A Hard Day's Night: Seems better and more enjoyable in stereo. I think the reason is that they now had four tracks so George Martin could do proper stereo mixes and still have a mostly fresh first generationish sound. Remember, there were only two track available for Please Please Me. However, when they got to Rubber Soul and Revolver, four tracks weren't enough, which required, in some instances, numerous dubs of the four tracks to another four track tape, merging the four tracks to one track, thereby opening up three new tracks. While this degraded the sound somewhat it also made it difficult to back-track and do the after-thought stereo mixes, which is why we have the atrocious "stereo" of Rubber Soul and Revolver. Consequently, the reason the monos of these albums rule has mostly to do with technical limitations. While the mixes on A Hard Day's Night are true stereo mixes, they carry George Martin's idiosyncratic, but really right, decision to put the vocals in the center, the rhythm section to the left and the other instruments to the right. I always have loved how Martin took care to isolate the brilliant work of Ringo and Paul so many times instead of just following the convention of placing the drums in the center. This is why one of Martin's memoirs is entitled: "All You Need Is Ears." The Beatles For Sale: Comments, preference and reasons for preference similar to A Hard Day's Night. Help: Well, thank God we have three different versions to compare to make life ever so easy. First, mono is the definitive mix, that's a plus. As a minus, while it sounds richer, it is also a bit muddy compared to the stereo mixes. As for the stereo mixes, the remaster of George Martin's '87 remix does show some limiting in this new incarnation. A bit a hard to dial in the right volume. Sounds fuller, but that's the limiting. Not sure I care for this version too much. As for the '65 stereo version, that comes on the same disc as the mono version, as this album is somewhat acoustic, the absence of the limiting that was done to the new stereo remix/remaster is a plus. The delicacy is there in I Need You. Overall, the "old" stereo is prettier than the "new" stereo. One can argue over whether the "new" stereo or the ""old" stereo is better, I come down on the side of the "old" stereo, I like pretty. But as you get both the mono and the "old" stereo on the single mono disc, the cheapskate in me screams if you had a pistol to your head and only had to purchase one version of Help, it would be the "mono" disc. Rubber Soul: Mono over stereo, if for no other reason than the left/rt channel mix that plagued Please, Please Me, With The Beatles and Revlover. Revolver: There is a section of Run For You Life where Ringo is just so muscular and explosive in the mono that is missing in stereo and this is before we get to the issue of the left/right "stereo" of the stereo mix. Plus, there is just this overall richness of sound to the mono that is missing in the stereo. That said, it is a bit cooler to hear Tomorrow Never Knows in stereo. But, overall, mono. Sgt. Pepper's Lonely Hearts Club Band: The things you have heard are correct about the mono mix, the clarity and control over the notes, instruments and vocals is all there. Overall, it just sounds better, fuller and richer than the stereo, plus it is what the boys intended. Oddly, the thing that was most breathtaking was She's Leaving Home; just a full, gorgeous, sound. In stereo, it just sounds relatively wrong; thin compared to the mono. That said, because Day In The Life is such a mind-f the stereo is the definitive version of this song. Magical Mystery Tour: While Pepper's sounded better in Mono, MMT sounds better in stereo. The Beatles (The White Album): Both versions have their merits, you need both. If you can only go for one, it's the stereo. Abbey Road: The defining moment of these reissues, and why it took four years, may be found on AR's I Want You (She's So Heavy). Because they couldn't take the tape hiss out without compromising the sound, they didn't. But when it came to John's final "she's so heavy" which was over saturated and clipped previously, they were able to take the clipping out, and for the first time, you can hear all of John's vocal. Second side now, Here Comes the Sun and now Because. Wonderful sound throughout. Can't wait for Ringo at the end. Let It Be: It is what it is. I prefer the Naked in vinyl. Mono Past Masters: Right now, listening to the The Inner Light, which I hate, but it sounds so, so, so good in mono that I may actually like it. And, look out, Paul's bass piano notes in Hey Jude are right there as is Ringo's tambourine. Can't wait for Revolution plus the mono songs from Yellow Submarine. The mono Past Masters would have been perfection if they had added a stereo Let It Be and The Ballad Of John and Yoko. After all, the "stereo" Past Masters is actually a mixture of stereo and mono. So kids, here's where we end. Your core, oddly enough, should be the mono box set. Augment this with the stereo Hard Day's Night, The Beatles For Sale, Sgt. Pepper's Lonely Hearts Club Band, Magical Mystery Tour, The Beatles, Abbey Road, Let It Be and stereo Past Masters. Addendum: As I live in Chicago, and have access to one of the country's remaining great stereo stores, that also boast three incredibly knowledgeable owners and an original Sgt. Peppers British Stereo pressing, following posting this review I went over there to compare the original vinyl with the two new CD reissues. We listened to the reference system, Naim Audio electronic and Quad speakers. There was total agreement on what we heard. First, Pepper's mono CD had better tonal balance than Peppers stereo CD. Pepper's stereo CD had better coloration than the mono, but this was defeated by the harshness of the sound (more on harshness shortly). Thus, overall, between the two CD's we preferred the mono CD. All that said, the stereo original British vinyl pressing crushed both. It had both tonal correctness and coloration. Now as to the harshness issue, please be mindful that I have listened to these discs on two audiophile systems. Something like harshness is likely to be more prevalent the higher up you get in the stereo food chain. Thus, someone who doesn't have an audiophile system may not experience the harshness at all, but it really is there. This may render some of the stereo CDs more listenable for these people than they were for me, at least when it comes to Pepper's. 9/12/09 THANKS TO ALL: The past few days, following the posting of my review, have been a lot of fun. So many people have taken the time to write me, quite a number saying the review was flat-out the best review of any sort they have read. Others shared memories and feelings about how important this music is to them. Amazingly, two old friends, one in Boston one in Paris, reconnected, after a number of years, as a result of the comments section following the review. All in all, it has been a very rewarding experience. I thank Amazon for providing this opportunity, and those of you present and future who have/will take(n) the time to play. 01. Taxman [0:02:38.64] 02. Eleanor Rigby [0:02:06.40] 03. I'm Only Sleeping [0:03:00.24] 04. Love You To [0:02:59.62] 05. Here, There And Everywhere [0:02:24.66] 06. Yellow Submarine [0:02:38.66] 07. She Said She Said [0:02:36.03] 08. Good Day Sunshine [0:02:09.22] 09. And Your Bird Can Sing [0:02:00.37] 10. For No One [0:01:59.61] 11. Doctor Robert [0:02:14.20] 12. I Want To Tell You [0:02:27.73] 13. Got To Get You Into My Life [0:02:29.18] 14. Tomorrow Never Knows [0:02:59.41] 15. Revolver [Documentary Movie] [0:24:43.38]