New Stereo Mix of The Beatles’ Revolver in 180g 4LP/1EP Vinyl Box Set Reveals Many New Sonic Details, Plus 2LPs of Unreleased Outtakes to Sweeten the Pot. You Say You Want the Original Mono? You Get OG Mono Too. What’s Not to Love?

If you are considering buying the new 180g 4LP/1EP Super Deluxe Edition vinyl box set celebrating The Beatles’ landmark August 1966 album Revolver that’s set for release on October 28, then you’ve come to the right place. This set features a striking new stereo remix helmed by producer Giles Martin and is a fantastic addition to The Beatles catalog, providing a tremendous insight into the music as well as into its making.

I will get into the good stuff right from the jump, since I know a lot of you want to know how I (and we here at AP in general!) feel about this new stereo mix. To borrow a phrase from Adrian Belew of King Crimson, I like it!

But, you ask, is it perfect? Well, Revolver as an album is already perfect unto itself [Agreed!—MM], and that designation of perfection will always be bestowed upon the original mono mix as constructed by The Beatles with original producer George Martin in 1966. However, the box set’s new stereo mix is a close second, for those of you who enjoy two-channel listening (Beatles or otherwise). It is a strong improvement over the earlier stereo mixes, revealing many new sonic details which were previously not possible.

This new stereo mix is quite remarkable in many ways, especially when you take a step back and think about what they’ve accomplished here. Remember that this album was recorded on 4-track tape, so there were inevitably bounces or sub-mixes of tracks made along the way to extend their creativity — and the number of tracks they had to work with — in order to develop the rich, layered textures of this arguably first “next generation” Beatles record. The Beatles were determined to make a very different recording than they had in the past, and the Fab Four certainly accomplished it with Revolver. Many fans consider this album to be a better and more important release than their generally acknowledged masterpiece, June 1967’s Sgt. Pepper’s Lonely Hearts Club Band. (What say you? Share your Comments after the review.)


The new Revolver stereo mix on vinyl certainly pays homage to the original mono — which, of course, was priority one for the band in 1966, as many of you probably already know. Because the 2022 production team were able to break out all the instruments using, according to the official press release, “cutting edge de-mixing technology developed by the award-winning sound team led by Emile de la Rey at Peter Jackson’s WingNut Films Productions Ltd.,” the detailing is quite remarkable at times.

[MM adds: If you want to read more about the minutiae behind the mixing and de-mixing process for the Revolver box set vinyl directly from Giles Martin, go here to read Mike Mettler’s in-depth wax-centric interview.]

The biggest thing I was worried about from the use of this new technology was in regards to any anomalies and artifacts left behind on the music, and I’m happy there are not any obvious ones to report. It’s quite remarkable how they were able to isolate the tracks as finely tuned as they have. This new technology seems to be even more refined than the process used by The Beach Boys some years back to make a true stereo version of “Good Vibrations” (which only existed in mono back in 1966). Here, the production team have pulled out not only information about the instruments on Revolver, but also, seemingly, the flavor of the room in which they were recorded in Abbey Road/EMI.


One of my immediate takeaways from immersing myself in this Super Deluxe Edition Revolver set is the essential role Ringo Starr played in elevating The Beatles’ music to its next level. It’s hard to overestimate his impact and creativity here. But when you start listening to the early versions of these songs in their embryonic states — via the two full LPs of outtakes dubbed Sessions — you hear the evolution of the rhythms and beats he brought to the table. Eventually, you start to realize Ringo helped shape the sound of The Beatles and Revolver as much as his fellow Fab Four bandmembers Paul McCartney, John Lennon, and George Harrison did — maybe even more. It takes a great drummer to make a great rock and roll band, after all.

And I’m not just talking about core Revolver tracks like “Tomorrow Never Knows” — which is a landmark in its own right — but also amazing songs like “She Said She Said,” where the lift of his drumming is just magnificent. Listen closely to the outtake versions of that song on Side 2 of the first Sessions LP, as Ringo navigates Lennon’s unconventional song construction. These are transitions happening that are almost prog-worthy and seamless in their time changes.

Because of the new stereo mix, Revolver rocks perhaps even more madly than before. “And Your Bird Can Sing" is just a jaw-dropper, and the opening track “Taxman” launches the album into the stratosphere from the get-go. Check out the smack of Ringo’s snare hits on “Dr. Robert” and how he sometimes doubles up his kick drum beats, propelling the song forward.

All this sort of detailing is much more apparent on the new stereo remix. But it’s not all about rock ’n’ roll here — Revolver is also about diverse, new sounds. Songs like “Eleanor Rigby” and “Yellow Submarine” are arguably the finest productions on the album in many ways, so it’s no surprise those were chosen to be paired up for the very first single issued from the album back in August 1966.

Wait until you hear the isolated stereo backing track for “Eleanor Rigby” on the Sessions discs — experiencing that string quartet isolated and in stereo is absolutely spinetingling and mesmerizing. In the original stereo mix, the quartet was locked in the middle with vocals on either channel, so it’s just wonderful hearing this spread out more naturally. “Here, There And Everywhere” sounds incredibly gorgeous, and the minuet-esque “For No One” feels richer than any version I’ve ever heard.

One of the big benefits of this new remix may also be a bit of a nit to pick for some of you especially hardcore Beatles fanatics. As with many of the past Beatles remixes, the vocals are definitely up a little bit hotter in the mix. Personally, I don’t find this a problem — remember, the goal here is not to replace the original mixes — which you can access and play anytime, mind you — but to present a new perspective on this music with newfound clarity. There have only been one or two instances where I would have preferred certain vocals pushed back a little bit, mix-wise, but in general, I’m not complaining. Having this stereo mix will help ensure Revolver will survive into future music-listening platforms where more upfront vocals and clearer music are essential.

It is hard to overstate how amazing it is in the way the producers have been able to isolate these tracks in such a high-fidelity manner. My biggest fear going into hearing this Revolver set was there might be some sort of harsh, crunchy digital edge to the production. Thankfully, there’s none of that on this vinyl edition. Fact is, I was very, very pleased — and relieved! — after putting on the new stereo mix to find the whole presentation much, much warmer, and far more inviting as an end-to-end listen.

The vinyl version of the new stereo mix rocks plenty hard when I turn up the volume on my amplifier. Let’s go back to the old stereo mix which was crafted by original Beatles producer George Martin in 1966. Given the limitations of what they could do at the time, it is perfectly fine, and no doubt has its charms. For any of you who listen on headphones or simply prefer hearing a somewhat more balanced soundstage, it leaves something to be desired. Particularly, on most tracks, Ringo’s drums are relegated to one speaker with guitars and effects similarly hard-panned to one channel or the other. In contrast, the new stereo mix strives to deliver a bit more of that balanced feel, akin to the original mono mix. In most cases, they bring the rhythm section front and center, with Paul and Ringo locked in together — just as they should be, as the premier rock & roll rhythm section they are.

Because of the nature of the bouncing process to make so-called “reduction mixes” along the way, instrumental detailing was no doubt lost or buried in the process — for all its glories, one of the downsides of analog recording is you lose information with each generation of copying. Many times, that lost sonic data (if you will) was crucial to delivering a sense of realism — and that sense of place in so far as studio ambiance is concerned. This is, in part, one reason many analog jazz recordings cut basically live-to-tape in the 1950s and early-1960s sound so great.

On the new Revolver stereo mix, some of that presence is restored in many subtle ways — and I say some, because I don’t know how much more there might have actually been available, but something sounds bigger and different, that’s for sure! Listen closely to the breaks on Lennon’s “I’m Only Sleeping,” where McCartney plays that little solo bass riff. In the past, that key moment just sort of thumped by quietly, but now you can almost feel the space of the Abbey Road/EMI studio locale and the seeming resonance of Macca’s bass amplifier.

Likewise, listen for the resonance on Ringo’s kick drum on “Yellow Submarine,” and that signature ping on his snare drum, which is even more commanding than ever. Then, zero in on the roaring amplifier tones surrounding those snarling electric guitars on “She Said She Said,” and focus on the fine detailing on McCartney’s bass all throughout. Listen for the woody resonance of the acoustic Indian instruments on Harrison’s “Love You To,” and the precise detail of those drones. Enjoy the decay on Ringo’s cymbal crashes on “Taxman,” and that splash cymbal on “Good Day Sunshine.”

I could go through every core Revolver track to give you a full stereo play-by-play, but I would hate to preclude your own individual joy of discovery when you get to listen to the new stereo mix yourself. Yes, this box has an SRP of $200, and we hear and feel many of your respective wallets groaning at the mere thought, but this box set can be found for less here, there, and everywhere — and then, you also have the Sessions LPs and more to dive into, don’t forget. (Though if you wanted to stereo LP only, that is an option as well — but why not have it all?)


Sessions & Outtakes
So, the other big news about this new Revolver box set is the inclusion of two LPs’ worth of studio outtakes. This is a big deal, as most of this music has never been released, though seven Revolver-era tracks did appear in the Anthology series back in the 1990s, so there is some potential overlap. And, as far as I can tell, these Sessions have not been leaked out into the Beatles bootleg underground, per se.

To my ear, all of this material is enlightening, exciting, and — at times — even exhilarating! Once again, Ringo takes center stage, revealing his incredible process in crafting the drum parts for not only “Tomorrow Never Knows,” but also “And Your Bird Can Sing” and “She Said She Said.” On the latter, we get to hear his playing very clearly in the outtakes, so be sure to listen for how Ringo constructs his beat changes to account for Lennon’s unconventional song structure leading into the bridge section (i.e., the “when I was a boy” sequence). Take note of those neat, mostly four-beat tambourine hits that help propel “And Your Bird Can Sing” and arguably lift the song, making it a clear standout track. We get to hear an early version of the song played straight without that lift, and the tune nearly lies flat without it.

We also get a bonus 45rpm EP with a fine new stereo remix of “Paperback Writer” and “Rain,” with the flipside featuring the original mono mixes. What is most exciting is hearing how they initially recorded “Rain” really fast. Yes, to get that oddly lethargic implied stoned swagger that made “Rain” so hypnotic, the Fabs actually recorded it really fast, in an almost proto-punk power-pop manner — hey hey hey, The Beatles go “Gabba Gabba Hey!” [Well, the Ramones were named after a Beatles-related Macca alias, after all—MM] And then, the tapes were slowed down for overdubs of vocals and such. That is in part why Ringo’s drums sound so huge here.

Mono v. Mono
I’m sure there are some of you who are wondering how the new mono transfer of Revolver stacks up to prior versions — and before you ask, no, I’m not here to compare mono vs. stereo in this review. If you don’t have a copy of Revolver in mono, this version will certainly be useful, but it doesn’t quite have the warmth of the all-analog-mastered version included in September 2009’s The Beatles In Mono vinyl box set. If you do have that vaunted vinyl edition, or perhaps are one of the lucky ones to have an original UK mono pressing, then this inclusion may be extraneous for you. But seeing how this particular mono mix is not being released separately from the box set as the stereo mix is — at least not yet, anyway — you’ll have to weigh the merits as such for your own listening proclivities.

Pressings to Play
Generally, the pressings in the Revolver box set are top-notch, having been made in the Czech Republic. Mine were well-centered and quiet, pressed on thick, dark 180g vinyl. They also sport period-accurate Parlophone labels for the stereo and mono studio releases. The two discs of Sessions outtakes feature reproductions of what I assume is a genuine test pressing label. I admit this is a total Beatlefan geek-out dream kind of thing because I think it is so bleepin’ cool! (What do you think? The Comments section below awaits your thoughts.)


All the discs come in nice, audiophile-grade plastic-lined inner sleeves. That said, the only problem I had in reviewing this set resolved itself in fairly short order. To wit: there was quite a bit of white paper-packaging dust on the inner sleeves to the mono and stereo albums included in the Revolver Super Deluxe Edition set. It was not as bad as the problem I had with original pressings of McCartney’s October 2013 solo album NEW — which, frankly, made the discs unlistenable — but it was significant enough for me to call attention to it for you to keep an eye out for in your own box, when you get it. Fortunately, the dust came off easily, and the records played fine without incident. Curiously, the two Sessions discs had none of that dust, which leads me to think they may have been made by different team in the production chain.

In the category of admittedly spoilt Beatle-fanatic whining, I do need to point out the individual covers for the stereo and mono Revolver albums are perfectly fine, and the records themselves include those aforementioned period-accurate Parlophone labels. However, those of us who were totally knocked out by the precise detailing of The Beatles In Mono box (with its reproduction of the very different folded-over tab-type construction of the original UK Beatles records) might have to reset one’s expectations a bit, as these are more standard, modern constructs. It’s not a big deal per se, but it might have been a nice extra if the Apple powers that be had done these up more fully like those original UK editions.


The Revolver box set of course showcases the Grammy-winning original album artwork created by The Beatles’ longtime friend, German bassist, artist — and, for some of the solo-era Beatles, future musical collaborator — Klaus Voormann. But we also get to see the alternate cover art by longtime photographer/collaborator Robert Friedman, who had done many of their album cover photos including the iconic one for With The Beatles (a.k.a. Meet The Beatles in the U.S.). More literal in concept, the alternate Revolver cover design gracing the Sessions LP gatefold cover features a groovy swirling collage of images of all four Beatles. It is very cool in its own way, but I can kind of see why they opted to not go with it.

Instead, Klaus Voorman’s hand-drawn art and collage — which includes The Beatles’ real eyes of psychedelic “experience” piercing through to the knowing viewer — capture more of the irreverent, forward-looking mood of where The Beatles actually were in 1966, and where the then-burgeoning underground music scene was heading via West Coast and London psychedelia movements alike.

I could probably write an equal-length analysis of all the details you’re likely to learn from perusing the well-researched 100-page hardcover book—and I must admit even I discovered some things I didn’t know before myself. Fact is, it is sure to be a repository for Fabs knowledge-seekers and fresh Beatles trivia buffs for years to come.

Said 100-page book also features a loving forward from Sir Paul McCartney, a fine introduction by remix producer Giles Martin, a thoughtful essay by The Roots’ drummer Questlove, and detailed track-by-track notes by Beatles historian, author, and radio producer Kevin Howlett. Chockful of rare and previously unpublished photos, handwritten lyrics, original reel tape-storage boxes, and recording notes as well as 1966 print ads, the book also includes extracts from Voormann’s graphic novel, birth of an icon, REVOLVER.

My only wish to make this fine box set even finer would have been for the Apple corps to have given us even more! Most hardcore Beatles fans like us would have loved another album or two of outtakes and rehearsals, of course. But, hey, the music itself herein is great, and, clearly, a lot of love and care went into its creation — and it all sounds pretty terrific too on vinyl. I’m happy about this new Super Deluxe Revolver 4LP/1EP box set, hands down — and I think you will be too!

(Mark Smotroff is an avid vinyl collector who has also worked in marketing communications for decades. He has reviewed music for, among others, and you can see more of his impressive C.V. at LinkedIn. A literal lifelong Beatles fan, Mark confirms one of his three earliest life memories from his childhood is of watching The Beatles debut on The Ed Sullivan Show with his family in 1964.)

Music Direct Buy It Now


(Apple Corps Ltd./Capitol/UMe)

LP One. Revolver (new stereo mix)
Side 1
1. Taxman
2. Eleanor Rigby
3. I’m Only Sleeping
4. Love You To
5. Here, There And Everywhere
6. Yellow Submarine
7. She Said She Said

Side 2
1. Good Day Sunshine
2. And Your Bird Can Sing
3. For No One
4. Doctor Robert
5. I Want To Tell You
6. Got To Get You Into My Life
7. Tomorrow Never Knows

LP Two. Sessions One
Side 1
1. Tomorrow Never Knows (Take 1)
2. Tomorrow Never Knows (mono mix RM 11)
3. Got To Get You Into My Life (First version) – Take 5
4. Got To Get You Into My Life (Second version) – Unnumbered mix - mono
5. Got To Get You Into My Life (Second version) – Take 8
6. Love You To (Take 1) - mono
7. Love You To (Unnumbered rehearsal) – mono

Side 2
1. Love You To (Take 7)
2. Paperback Writer (Takes 1 and 2) – Backing track – mono
3. Rain (Take 5 – Actual speed)
4. Rain (Take 5 – Slowed down for master tape)
5. Doctor Robert (Take 7)
6. And Your Bird Can Sing (First version) – Take 2
7. And Your Bird Can Sing (First version) – Take 2 (giggling)

LP Three. Sessions Two
Side 1
1. And Your Bird Can Sing (Second version) – Take 5
2. Taxman (Take 11)
3. I’m Only Sleeping (Rehearsal fragment) - mono
4. I’m Only Sleeping (Take 2) - mono
5. I’m Only Sleeping (Take 5) - mono
6. I’m Only Sleeping (mono mix RM1)
7. Eleanor Rigby (Speech before Take 2)
8. Eleanor Rigby (Take 2)

Side 2
1. For No One (Take 10) – Backing track
2. Yellow Submarine (Songwriting work tape – Part 1) - mono
3. Yellow Submarine (Songwriting work tape – Part 2) – mono
4. Yellow Submarine (Take 4 before sound effects)
5. Yellow Submarine (Highlighted sound effects)
6. I Want To Tell You (Speech and Take 4)
7. Here, There And Everywhere (Take 6)
8. She Said She Said (John’s demo) - mono
9. She Said She Said (Take 15) – Backing track rehearsal

LP Four. Revolver (original mono master)
Side 1
1. Taxman
2. Eleanor Rigby
3. I’m Only Sleeping
4. Love You To
5. Here, There And Everywhere
6. Yellow Submarine
7. She Said She Said

Side 2
1. Good Day Sunshine
2. And Your Bird Can Sing
3. For No One
4. Doctor Robert
5. I Want To Tell You
6. Got To Get You Into My Life
7. Tomorrow Never Knows

Revolver EP (7-inch)
Side 1
1. Paperback Writer (New stereo mix)
2. Rain (New stereo mix)

Side 2
1. Paperback Writer (Original mono mix remastered)
2. Rain (Original mono mix remastered)


jeffrosen's picture

I am waiting to buy since the price seems inflated, even in the US. Previous boxsets from Universal or Capitol used Rainbo pressing and suffered through poor pressings- particularly the solo John Lennon titles. I am hoping this is unlimited and price will drop as we get into December.

Rashers's picture

that the mono record here was derived from the metalwork in the Mono box and that it is all analog. If so it should be fairly indistinguishable from the earlier version - pressing issues aside.

fruff1976's picture

I also thought the mono was supposed to be AAA. Does anyone actually know?

Robin Landseadel's picture

Just wanted to note that there already was a proper stereo mix of Eleanor Rigby on the Yellow Submarine "Songtrack", with the strings spread out in a proper stereo spread.

rl1856's picture

Stand alone Stereo LP will cost $29.99. We are asked to pay $170 for a case, book and 2nd lp of out takes..... Author referenced availability of the box for less than SRP; which vendors are advertising this box for less than SRP ?

As for provenance- expect Digital, and be pleasantly surprised if any portion is AAA.

Doctor Fine's picture

Revolver came out for three bucks in 65. It was a fun recording with an interesting stereo mix and it sounded great. Now some kid screwed around with the position of the instruments in stereo and I am supposed to care the SQ is a little cleaner? And perhaps fork over two hundred bucks? Ridiculous. Where is some new Cut Worms music? Maybe only as good as the Beatles but at least Cut Worms is new and has just as much to say. Why live in the past? And then screw up the past? Ridiculous. Color me gone.

Tom L's picture

Somebody is grumpy today.

Tom L's picture

"Some kid" Giles Martin is 53.

Doctor Fine's picture

Revolver was fun I bought it new in 1965 for 3 bucks so it was a good deal back then.
Now some kid has managed to take all the fun out of the recording.
He mixed it like it was destined for mid-70s AOR radio.
All the vocals, bass drums in the dead center.
How incredibly BORING and STUPID.
The original mix took chances with the setup-putting George far right on Taxman for instance.
It increases the dramatic effect when George blasts away with his guitar far right.
Changing it to sort of MONO is stupid and ruins the effect.
I will never buy another new recording.
The originals were better at this point I am tired of bad dumb choices made during re-mix of what were great mixes.
Perhaps a better strategy would be to hire some young kids to play all the Beatle parts over again and re-sing it too.
Then you would have a really clean recording.
It wouldn't be the actual Beatles-but who cares-right?
It would be clean and modern sounding-whoopee!

RG's picture

This album was mixed in mono. Sounds like you are talking the Dave Dexter/capitol records fake stereo version. And by the way, that wasn’t George Harrison “on the right, blasting away on guitar, it was Paul McCartney as every Beatles fan has know since the 1960s. And now, you know too. You’re welcome.

bvanpelt's picture

I couldn't quite figure it out, but you, Doctor Fine, have hit upon the exact thing I felt after listening to this album. I have no idea what Giles was aiming for, but this is just lifeless.

RG's picture

Okay, boy and girls. Pick up your number two pencils and tell us all who played lead guitar on “Taxman”. As a bonus, say the secret word and win a prize. You may start…now!

timorous's picture

The phrase "If you change the way you look at things, the things you look at change" comes to mind. There's really nothing intrinsically wrong with presenting something familiar in a new way.

Besides, it's not as though the Beatle police are going to come around to your place, and confiscate all your existing copies of Revolver, and force you to accept this new-fangled rendering. One can still choose to take a pass on this new mix, and enjoy the 1966 copy they have.

Giles Martin (George Martin's son) is fully aware of all aspects of the performance and history of the recording. Nothing has been added.

Also, the wicked guitar solo on Taxman was actually played by Paul, according to Geoff Emerick, and he ought to know...

Tom L's picture

People can like or dislike the new mix of Revolver or anything else, I don't care. Everyone has an opinion.
It just seems really weird that this Doctor Fine keeps referring to Giles Martin as "some kid". He's a respected, expert record producer (also a songwriter, composer and multi-instrumentalist) with two Grammys and he's FIFTY-THREE years old. George Martin was 37 when he began working with the Beatles. You would need to be a demented centenarian to consider Giles "some kid".

RG's picture

So the new rule is we shouldn’t”live in the past”, whatever that means. So no Beatles, no Chuck Berry, no Beethoven, no middle ages chants, no classical Indian music? What about art? Should avoid Picasso, Van Gogh, the French cave paintings, Warhol, Jackson pollack? How about literature? Some of that’s in the past. Should we throw Shakespeare overboard? Hey you, no reading Hemingway? And you over there with that catcher in the rye, don’t you know that’s old and in the way?

I hope AP publishes my post. Last time, it looks like I was censored.

Tom L's picture

In fact, your post showed up twice.
I also really don't know what you're talking about. Did someone here suggest that the past doesn't matter? Did I miss something? On the contrary, we spend a lot of our time here talking about old jazz and rock recordings that we still love.

RG's picture

Yes, somehow I posted that twice. My bad. But neither of my posts from the day before were published. In any event, reader “DoctorFine” posted the following:

“… Where is some new Cut Worms music? Maybe only as good as the Beatles but at least Cut Worms is new and has just as much to say. Why live in the past? And then screw up the past? Ridiculous. Color me gone”.

It’s not a suggestion, his bias is for “new” vs. something from “the past”. Oh, the horror. Imagine listening to something from 60 years ago! I expect he isn’t listening to Thelonius Monk or Hank Williams or Mozart ‘cause, you know, that’s from the past. He prefers cutworms because, you know, they’re new. I don’t care either way. It’s his loss, not mine.

Slammintone's picture

Nobody bought this album at any price in ‘65. Secondly, Ringo did not play a splash cymbal anywhere on Revolver.