The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus
Side Two: Mint Minus Minus
- An outstanding British pressing with Double Plus (A++) sound on both sides
- Here is the space, energy, presence, clarity and massive bottom end you had no idea were even possible on Revolver - what a record!
- 14 amazing tracks including "Taxman," "Eleanor Rigby," "Here, There and Everywhere," "Yellow Submarine," "Good Day Sunshine," "Got To Get You Into My Life," and "Tomorrow Never Knows" (!)
- 5 stars: "Even after Sgt. Pepper, Revolver stands as the ultimate modern pop album and it's still as emulated as it was upon its original release."
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Want to be blown away by Beatles sound you never imagined you would ever have the chance to experience for yourself? Drop the needle on "Taxman" on this very side one -- that's your ticket to ride, baby! We were knocked out by it and we guarantee you will be too.
This vintage Parlophone pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to "see" the performers, and feeling as if you are listening live or sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.
What The Best Sides Of Revolver Have To Offer Is Not Hard To Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1966
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
This Is How Good It Can Get
This superb pressing has all the qualities we look for on Revolver: vocal presence, Tubey Magic, huge weight to the bottom end, and, most importantly of all, ENERGY. It’s also exceptionally smooth, sweet and above all analog-sounding -- the upper-midrange grit and grain that compromise most pressings are nowhere to be found here.
It's as BIG and SOLID as a rock record can sound. The best copies have practically zero coloration. They let us think we are sitting in the control room enjoying the playback with Geoff and George.
Unlike so many copies of the album, the band here is enthusiastic and rockin' like crazy. This copy brings the music to LIFE in a way that few others can. That's our definition of Hot Stamper sound in a nutshell.
Listen to how grungy and smooth the guitars are on And Your Bird Can Sing -- they are close to perfection.
The trumpet on For No One has rarely sounded as good as it does here -- you can really hear air and spit being pushed through the horn. That's not phony detail, that's what a real horn sounds like if you are close to it.
What We're Listening For On Revolver
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren't "back there" somewhere, lost in the mix. They're front and center where any recording engineer worth his salt -- Geoff Emerick in this case, working on his first album with the boys as Chief Engineer -- would have put them.
- The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass -- which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.
A Must Own Rock Record
This Demo Disc Quality recording should be part of any serious Rock Collection. Others that belong in that category can be found here.
- Eleanor Rigby
- I'm Only Sleeping
- Love You To
- Here, There and Everywhere
- Yellow Submarine
- She Said She Said
- Good Day Sunshine
- And Your Bird Can Sing
- For No One
- Dr. Robert
- I Want To Tell You
- Got To Get You Into My Life
- Tomorrow Never Knows
AMG 5 Star Review
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 staked out his own dark territory with the tightly wound, cynical rocker "Taxman"; the jaunty yet dissonant "I Want to Tell You"; and "Love You To," George's first and best foray into Indian music. Such explorations were bold, yet they were eclipsed by Lennon's trippy kaleidoscopes of sound.
His most straightforward number was "Doctor Robert," an ode to his dealer, and things just got stranger from there as he buried "And Your Bird Can Sing" in a maze of multi-tracked guitars, gave Ringo a charmingly hallucinogenic slice of childhood whimsy in "Yellow Submarine," and then capped it off with a triptych of bad trips: the spiraling "She Said She Said"; the crawling, druggy "I'm Only Sleeping"; and "Tomorrow Never Knows," a pure nightmare where John sang 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.
McCartney's experiments were formal, as he tried on every pop style from chamber pop to soul, and when placed alongside Lennon's and Harrison's outright experimentations, McCartney's songcraft becomes all the more impressive. 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 still as emulated as it was upon its original release.