In the Garage with the Revolver

Or, a breakdown

This is the last spiel about a record turning 55, I swear. It’s my boys and it’s maybe their greatest album (the case has been made) and it’s one I’ve come to really love as an adult and I had to.

Song I’ve loved from the start: “I’m Only Sleeping”

Song I returned to after doing some growing up and discovered just what I’d been missing: “Doctor Robert”

Song that in my darker moments makes me want to quit doing anything creative because it can’t possibly measure up: “Here, There, and Everywhere”

Song that I’m not that into but the bridge is cool: “And Your Bird Can Sing”

Song with the best riff: “I Want to Tell You”

Song that might have been the point at which the McCartney-ness began to go off the rails: “Good Day Sunshine”

Song that proved they were not gonna be cute and cuddly anymore: “Tomorrow Never Knows”

Song with a horn interlude which no one can hear over all the talk about “Penny Lane”: “For No One”

Song that I suspect is a portal to another dimension in the right circumstances: “Love You To”

Song that was fast growing on me anyway and then the demo made me Explode(TM): “She Said She Said”

Song that you can tell which artists have the best taste because they choose to cover it: “Got to Get You Into My Life”

Song that people forget is actually on this album: “Yellow Submarine”

Song that I find myself singing not infrequently: “Taxman”

Song that is perfect: “Eleanor Rigby”

Overall review: Sonically intimidating, melodies miles ahead of (almost) anybody else, sexy in unexpected ways. Gotta respect.

Image: 5 August 1966 on EMI

Published by Cecilia Gigliotti

Cecilia Gigliotti is a freelance writer/editor/musician/podcaster based in Berlin with a beloved ukulele named Uke Skywalker. Her free time goes toward dancing, reading books new and old, drawing cartoons, trying to finish her Netflix queue, and devoting too much thought to the foibles of her artist-heroes. Connect with her on Twitter (@CeciliaGelato) and Instagram (@c_m_giglio).

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