'Every Sound There Is'

Abstract

Contents: Introduction: 'Of the beginning', Russell Reising 'When I'm in the middle of a dream': The contributors Remember Revolver: Part 1 - 'Where do they all come from?': Revolver's influences: Detroit and Memphis: the soul of Revolver, Walter Everett I'm Eleanor Rigby: female identity and Revolver, Jacqueline Warwick Sailing to the sun: Revolver's influence on Pink Floyd, Shaugn O'Donnell Part II - 'It is shining': Revolver's Musicality: Revolver as a pivotal art work: structure, harmony and vocal harmonization, Steven Valdez Tonal family resemblance in Revolver, Naphtali Wagner A flood of flat-sevenths, Ger Tillekens Part III - 'And our friends were all aboard': Revolver's players: 'Tomorrow never knows': the contribution of George Martin and his production team to the Beatles' new sound, Kari Macdonald and Sarah Hudson Kaufman The Beatles for everyone: rearranging base and superstructure in the rock ballad, Cy Schleifer Ringo round Revolver: rhythm, timbre and tempo in rock drumming, Steven Baur The Beatle who became a man: Revolver and George Harrison's metamorphosis, Matthew Bannister Premature turns: thematic disruptions in the American version of Revolver, Jim LeBlanc Part IV: 'Here, there and everywhere': Revolver's themes: 'Love is all and love is everyone': a discussion of four musical portraits, Sheila Whitely The Beatles, postmodernism and ill-tempered musical form: cleaning my gun or, the use of accidentals in Revolver, Ronald Schleifer 'It is not dying': Revolver and the birth of psychedelic sound, Russell Reising Works cited: 'Every reference there is' Index: 'It is knowing'.