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A bonus disc on the new expanded, remixed and remastered box set of 1966’s Revolver offers an even more transformative experience: a jaw-dropping sequence of Yellow Submarine work tapes traces the song’s evolution from a fragile, sad wisp sung by John Lennon to its later iteration as a Ringo Starr-directed psych-pop goof. That the band steered Yellow Submarine from morose folk trifle to boisterous stoner singalong seems improbable, but the tapes don’t lie: through a combination of focused acoustic woodshedding and whimsical studio risks, the band arrived at the more familiar, upbeat Yellow Submarine. Norman, Philip (1996) . Shout!: The Beatles in Their Generation. New York, NY: Fireside. ISBN 0-684-83067-1.
Held at Wembley's Empire Pool, in north-west London, this was the last concert that the Beatles played before a paying audience in the United Kingdom. It’s not entirely true. 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.
Philo, Simon (2015). British Invasion: The Crosscurrents of Musical Influence. Lanham, MD: Rowman & Littlefield. ISBN 978-0-8108-8626-1.
The Beatles' Classic 1973 'Red' and 'Blue' Collections Remastered by Apple Corps Ltd. and EMI Music for Worldwide Release in October". emimusic.com. 10 August 2010. Archived from the original on 6 June 2011 . Retrieved 16 August 2010. Fine, Jason, ed. (22 September 2020). "The 500 Greatest Albums of All Time: 11. The Beatles, Revolver". rollingstone.com . Retrieved 24 September 2020.