|Songs Inspired by Revolver Album|
Ballroom, “Baby Please Don't Go” (1966) – featuring a droning, one-chord backing, and descending into a see of shuddering, howling tape loops and backwards vocals, Los Angeles production wunderkind Curt Boettcher turns this blues song into a harmony vocal version of “Tomorrow Never Knows”.
Bee Gees, “In My Own Time” (1967) – from their debut album, a straight imitation of “Taxman”/“Rain”, in a style that would now be called “power pop”.
Chemical Brothers & Noel Gallagher, “Setting Sons” - Dig Your Own Hole (1996) – an electronic invocation of Starr's drumming on “Tomorrow Never Knows”, and Noel Gallagher singing through something like a Leslie speaker. For a detailed analysis of the similarities between the two tracks see the essay “Tomorrow Never Knows: the contribution of George Martin and his production team to the Beatles' new sound” by Kari McDonald and Sarah Hudson Kaufman
in Every Sound There Is, ed. Russell Reising (Ashgate, 2002)
Chemical Brothers, “Let Forever Be” (1999) – another “Tomorrow Never nows” imitation, but with something of the rhythm of “Taxman”.
Cotton Mather, “40 Watt Solution”, “Last of the Mohicans” –
The Big Picture (2002) – the former is yet another imitation of
“Rain” and “Tomorrow Never Knows” by an American band often
criticised for wasting their talents on straight-up pastiche of their
Jam, “Start!”, Sound Affects (1980) – why didn’t the Beatles sue when Paul Weller borrowed the bass-line from “Taxman”? In a period when Weller was recording cover versions of “Rain” and “And Your Bird Can Sing” for fun, and using the rear cover of Revolver as some kind of sartorial manual, it’s no surprise that he felt the need to express his love for the album publicly in some way.
Kinks, “Dead End Street” (1966) – I wouldn't want to try to make Ray Davies admit it, but this track is inspired by “Eleanor Rigby” in mood, and in the mournful trumpet passages, though of course with a unique Kinks twist in the music hall bridge and chorus. Lee Mallory, “That's the Way it's Gonna Be” (1966) – more Revolverisms from Los Angeles producer Curt Boettcher. This time,
there are lyrics about rain, like “Rain”, and then a whole range of studio
tricks: varispeed, backwards tapes, and exotic instruments. This time,
however, it's a koto.
Monkees, “Salesman”, “Pleasant Valley Sunday”, “Daily Nightly” - Pisces, Aquarius, Capricorn and Jones Ltd. (1967) – it's surely no mistake that the former track, which happens to open this album, should be reminiscent of “Taxman” with its stinging rhythm guitar part. “Pleasant Valley Sunday”, which was also issued as a single, is an obvious attempt to imitate “Paperback Writer” in tempo, mood and, most noticeably, the twanging guitar riff. Finally, “Daily Nightly” is after “Tomorrow Never Knows”, with echoing, detached vocals,
“outerspace sounds” and backward tape all over it.
Pink Floyd, “Lucy Leave” (1966) – the group’s first demo tape in
late 1966 featured a re-recording of this 1965 Syd Barrett R&B tune
with a new guitar solo, this time very clearly Indian sounding, in an
obvious response to Revolver.
Rolling Stones, “My Obsession”, “Connection” - Between the Buttons (1967) – the drums on the former track, recorded in August 1966, are virtually identical to “Taxman”, and the vocal harmony climaxes throughout the song are reminiscent of “Rain”. On the latter track, the guitar which answers Jagger's vocal is surely an imitation of “And Your Bird Can Sing”.
Rolling Stones, “Child of the Moon” (b-side of “Jumpin' Jack Flash”) (1968) - a late effort from the Stones, a “Rain” pastiche recorded two years after the “Paperback Writer”/“Rain” single was released – evidence, if evidence be needed, that “Rain” was ahead of its time.
Rutles, “Joe Public” - Archaelogy (1996) – the first Rutles album, All You Need is Cash, jumped straight from perfect pastiches of Help! era Beatles to perfect pastiches of Sgt. Pepper era Beatles. This track fills in that gap.
Utopia (Todd Rundgren), “Life Goes On”, “Take it Home” – Deface the Music (1980) – a pastiche of “Eleanor Rigby”, with synthesised strings, and an attempt to imitate a Revolver or Rubber Soul era rock tune.
Who, “Disguises” (1966) – another “pocket Revolver”, with a “Taxman” / “Rain” inspired bass-line, swirling, pounding “Tomorrow Never Knows” backing, Eastern-tinged sneering vocal, and heavily compressed sound.
Zombies, “A Rose for Emily” - Odessey and Oracle (1967) – musically similar to “For No One”, with touches, both lyrical and musical, of “Eleanor Rigby”.