{"id":14442,"date":"2010-05-04T09:00:00","date_gmt":"2010-05-04T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/?p=14442"},"modified":"2026-09-26T23:58:58","modified_gmt":"2026-09-26T21:58:58","slug":"revolver-the-beatles","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/albumes\/revolver-the-beatles\/","title":{"rendered":"Revolver – Abbey Road, George Martin, el salto"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

El salto Abbey Road con George Martin<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

El 5 de agosto de 1966 Parlophone public\u00f3 Revolver<\/em>, el \u00e1lbum de los Beatles grabado en Abbey Road con George Martin despu\u00e9s de que la banda dejara de fingir que cada canci\u00f3n necesitaba un arreglo de escenario. Las sesiones van de abril a junio. La portada collage en blanco y negro de Klaus Voormann hace que el paquete parezca un documento de estudio, no un promo sonriente. El orden UK abre con Taxman<\/em> de Harrison; la edici\u00f3n Capitol US a\u00fan reordenaba temas ese a\u00f1o, una costumbre que la banda pronto abandonar\u00eda.<\/p>\n

La ingenier\u00eda de Geoff Emerick marca el sonido: micros m\u00e1s cerca en la bater\u00eda de Ringo, ADT en las voces, varispeed y cinta al rev\u00e9s cuando lo pide la canci\u00f3n. Eleanor Rigby<\/em> pone a McCartney sobre un octeto de cuerdas escrito por Martin, sin banda en la mezcla final. I’m Only Sleeping<\/em> flota sobre guitarra al rev\u00e9s. Love You To<\/em> y Tomorrow Never Knows<\/em> empujan el color indio y los loops de cinta al frente; el segundo cierra el \u00e1lbum en un drone de bucles y una voz de Lennon pasada por un Leslie. Entre esos polos est\u00e1n Got to Get You into My Life<\/em>, Here, There and Everywhere<\/em> y Yellow Submarine<\/em>, a\u00fan con forma de radio pero ya no escritos para salas que gritan.<\/p>\n

La campa\u00f1a de singles emparej\u00f3 Eleanor Rigby<\/em> con Yellow Submarine<\/em>. La reacci\u00f3n en listas fue inmediata a ambos lados del Atl\u00e1ntico. La cr\u00edtica oy\u00f3 un salto m\u00e1s all\u00e1 de Rubber Soul<\/em>: temas m\u00e1s cortos, texturas m\u00e1s raras, tres autores a plena potencia. Harrison firma tres temas. Lennon y McCartney intercambian roles sin necesitar una portada concepto para explicar el salto.<\/p>\n

She Said She Said<\/em> de Lennon sali\u00f3 de una conversaci\u00f3n con \u00e1cido con Peter Fonda; el patr\u00f3n irregular de bater\u00eda y las guitarras apiladas mantienen la paranoia musical m\u00e1s que hablada. For No One<\/em> de McCartney usa un solo de trompa de Alan Civil dentro de una letra de ruptura sin red de estribillo. Incluso los temas m\u00e1s ligeros llevan decisiones de estudio: los metales de Got to Get You into My Life<\/em> son admiraci\u00f3n Motown traducida a partituras de Abbey Road, no un arreglo de banda en vivo.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

\n

De repente est\u00e1bamos oyendo sonidos que antes no pod\u00edamos conseguir.<\/p>\n<\/blockquote>\n

(George Martin sobre las sesiones de Revolver)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00bb15845″ img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790422859{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

Las giras terminaron semanas despu\u00e9s del lanzamiento. El concierto de Candlestick Park en San Francisco cerr\u00f3 el cap\u00edtulo en vivo; Revolver<\/em> ya apuntaba al estudio como escenario principal. Los remasters y el remix de 2022 solo subrayaron cu\u00e1nto del golpe original viv\u00eda en las elecciones de micro de Emerick y los arreglos de Martin.<\/p>\n

Lo \u00fatil es la prueba de trabajo. Un octeto de cuerdas, un coro infantil, una voz Leslie y un riff sobre Hacienda pueden compartir un mismo LP sin caer en la novedad. Revolver<\/em> es los Beatles decidiendo que el disco, no la setlist, es el producto terminado. Todo lo que sigue, incluido Sgt. Pepper<\/em>, toma prestado ese permiso.<\/p>\n

En 2022 el remix de Giles Martin acerc\u00f3 el campo est\u00e9reo a la escucha moderna sin borrar el golpe de medios de Emerick. El \u00e1lbum a\u00fan premia los pases con auriculares: cuenta las ediciones de cinta de Tomorrow Never Knows<\/em> y vuelve a la ac\u00fastica seca de Here, There and Everywhere<\/em>. Ese rango es el punto de Revolver<\/em>.<\/p>\n

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El 5 de agosto de 1966 Parlophone public\u00f3 Revolver, el \u00e1lbum de los Beatles grabado en Abbey Road con George Martin despu\u00e9s de que la banda dejara de fingir que cada canci\u00f3n necesitaba un arreglo de escenario.<\/p>\n","protected":false},"author":1,"featured_media":14438,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[300,299],"tags":[481,494],"class_list":["post-14442","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-albumes","category-criticas","tag-classic-rock-es","tag-the-beatles-es"],"yoast_head":"\nRevolver - Abbey Road, George Martin, el salto - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/albumes\/revolver-the-beatles\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Revolver - 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