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Subtitle: Ashgate Popular and Folk Music Series
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'.
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