The Kinks’ Ray Davies Reviews the Beatles’ 1966 Album Revolver; Calls It “A Load of Rubbish”
The Beatles' album Revolver received high acclaim from rock critics, although it was not universally loved upon its release. In a 1966 article for Disc and Music Echo magazine, Ray Davies of The Kinks wrote a critical review of the album, offering brief commentary on each song. In stark contrast to the present-day praise from Rolling Stone and Allmusic, Davies appeared to only appreciate a few tracks, particularly those with a more traditional upbeat sound. He called “I’m Only Sleeping,” “a most beautiful song” and “the best track on the album.” He also quite liked “Good Day Sunshine,” writing “this is back to the real old Beatles. I just don’t like the electronic stuff. The Beatles were supposed to be like the boy next door only better.” And “Here There and Everywhere” Davies calls the “third best track on the album.”
"Taxman" : "It sounds like a cross between the Who and Batman. It's a bit limited, but the Beatles get over this by the sexy double-tracking. It's surprising how sexy double-tracking makes a voice sound."
"Eleanor Rigby" : "I bought a Haydn LP the other day and this sounds just like it. It's all sort of quartet stuff and it sounds like they're out to please music teachers in primary schools. I can imagine John saying: 'I'm going to write this for my old schoolmistress'. Still it's very commercial."
"I'm Only Sleeping": "It's a most beautiful song, much prettier than 'Eleanor Rigby'. A jolly old thing, really, and definitely the best track on the album.
"Love You Too": "George wrote this--he must have quite a big influence on the group now. This sort of song I was doing two years ago--now I'm doing what the Beatles were doing two years ago. It's not a bad song--it's well performed which is always true of a Beatles track."
"Here There and Everywhere": "This proves that the Beatles have got good memories, because there are a lot of busy chords in it. It's nice--like one instrument with the voice and guitar merging. Third best track on the album."
"Yellow Submarine": "This is a load of rubbish, really. I take the mickey out of myself on the piano and play stuff like this. I think they know it's not that good."
"She Said She Said" : "This song is in to restore confidence in the old Beatles sound. That's all."
"Good Day Sunshine": "This'll be a giant. It doesn't force itself on you, but it stands out like 'I'm Only Sleeping'. This is back to the real old Beatles. I just don't think the fans like the newer electronic stuff. The Beatles are supposed to be like the boy next door only better."
"And Your Bird Can Sing": "Don't like this. The song's too predictable. It's not a Beatles song at all."
"For No One": "This will get covered, but it won't be a hit. It's really better than 'Eleanor Rigby' and the French horn is a nice effect."
"Dr. Robert": "It's good--there's a 12-bar beat and bits in it that are clever. Not my sort of thing, though."
"I Want To Tell You": "This helps the LP through. It's not up to the Beatles standard."
"Got To Get You Into My Life": "Jazz backing--and it just goes to prove that Britain's jazz musicians can't swing. Paul's singing better jazz than the musicians are playing which makes nonsense of people saying jazz and pop are very different. Paul sounds like Little Richard. Really, it's the most vintage Beatles track on the LP."
"Tomorrow Never Knows" : "Listen to all those crazy sounds! It'll be popular in discotheques. I can imagine they had George Martin tied to a totem pole when they did this!"
"This is the first Beatles LP I've really listened to in it's entirety but I must say there are better songs on 'Rubber Soul'. Still, 'I'm Only Sleeping' is a standout, 'Good Day Sunshine is second best and I also like 'Here, There and Everywhere.' But I don't want to be harsh about the others. The balance and recording technique are as good as ever."
Of “Eleanor Rigby” he writes. “it sounds like they’re out to please music teachers in primary schools.” The best he can bring himself to say of the track is that “it’s very commercial.” “Yellow Submarine,” Davies writes, “is a load of rubbish, really.” And his take on the trippy “Tomorrow Never Knows” cuts the song’s ambitions down to size: “Listen to all those crazy sounds! It’ll be popular in discotheques. I can imagine they had George Martin tied to a totem pole when they did this.” Maybe the cranky Davies was motivated by professional jealousy; maybe he’s one of the most honest reviewers of the record—his take uncoloured by starstruckness. Who knows? He does admit that it’s “the first Beatles LP I’ve really listened to in its entirety.” Read Davies’ full review here.
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