Revolution in the Head: The Beatles' Records and the Sixties

The late Ian MacDonald really nailed it with this book. I try to read any comprehensive analysis of the Beatles recorded catalog that I can - and none even come close to this. Simply put, this book changed the way I listened to the Beatles music. It made me a more attentive, discerning listener. It broadened the scope of my knowledge of '60s music by pointing the way towards other music of the era that I hadn't yet heard. I find it hard to overstate the influence this book has had on me personally - I have read it cover to cover numerous times and still find myself going back to it. This isn't a history of the Beatles - it is a song-by-song analysis, in the order the songs were recorded, of everything officially released by the group. And make no mistake, it is not an objective collection of facts - there ARE mostly reliable recording dates, release dates, and song credits for every entry, so it can be used as a quick reference. But this is a highly opinionated piece of writing - Mr. MacDonald was not afraid to ruffle feathers by offering critical evaluations of some of the Beatles most popular songs (he is quite harsh, for instance, towards classics like "Across the Universe" and "While My Guitar Gently Weeps"). Mr. MacDonald does a great job of placing this body of work within the context of the time it was released - but he also manages to assess each song purely on its own terms, as well. While quite obviously a true-blue Beatles fan, MacDonald maintained a certain level of objectivity throughout - never getting caught up in fanboy idolization. He's tough on this music - when he feels a song isn't up to the band's established standards, he makes it very clear what he doesn't like. In a way, I think MacDonald managed to have a significant impact on certain aspects of popular opinion towards the Beatles music. That may sound like a bit much, but keep in mind that this book was originally published in 1994 and has become (arguably) the standard for critical analysis of the Beatles music. Throughout the book, MacDonald challenges many of the long-held notions that had gone more or less unchallenged in many, many Beatles-related wiritings. Some of the stereotypes - i.e. John was the intellectual and innovator, Paul was the lightweight romantic - had practically become accepted as facts by music fans. There isn't so much revisionism for it's own sake in this book, but rather a serious re-examination of those popular opinions/theories that often yields a fresh perspective. That's where the value really can be found in this book - you may not agree with every idea MacDonald puts forth, but it is guaranteed you will be forced to take a fresh look at the Beatles music.

This is an indispensable book about Beatles music appreciation. MacDonald was one of the most idiosyncratic critics of music that ever lived. This book must be owned by anyone, especially musicians and songwriters, who wants to truly get to the heart of the music of the Beatles. The only disappointment for me (and for anyone who's been faithfully buying and reading the updates of this book since its release in the mid-1990s) is that the 3rd edition is NOT REVISED. If you own the second edition, you do not need to buy this book. There is not one difference in the text. Oddly enough, this edition has slightly better quality paper, for some reason, whereas the previous edition uses sort of newspaper/telephone book quality sheets that tear easily. Two other subtle changes are: a different pic on the front cover, and the omission of one of the members of Oasis' profanely worded endorsement of the book. Happy reading if you've never been inside the book before, but if you have the 2nd revised edition, you can sit this one out.

"Revolution in the Head" is a vast, intelligent, subtle, lucid, and thoroughly engaging masterpiece. Ian MacDonald captures the essence of each track precisely, with a natural insight into the workings of pop music and lyrics. His writing displays taste and concision throughout, putting most similar books in the shade.In place of cold dissection of the score, or tedious misinterpretation of the "meaning" of the songs, MacDonald proposes an explanation of how and why each Beatles song affects us. His critical stance is refreshingly honest: for example, few others have dared to give the White Album the treatment it deserves. Nevertheless, I have yet to discover a book that crystallises the magic of The Beatles with such grace and compassion.The book is imbued with a sense of loss for the passing of the decade that produced all the music. I suspect that this must put off certain readers; to them I suggest that a careful reading of the Introduction is essential. But it's hard to imagine anyone with respect for the Beatles' legacy failing to enjoy this book.

What MacDonald does better than other writers that attempt to examine the music of The Beatles is make the reader sit with the book open and the stereo on. Each entry examines not just the songs, but the actual recordings of the songs, and analyzes of each one's sound, arrangement, production, recording techniques, instrumentation, and many other elements that less-well-structured books normally omit. MacDonald even lists specific points of time on each track so that the reader will know exactly what part of the track is being pointed out and discussed: whereas other books might refer to "the third measure of the bridge," or "the second inverted submediant," MacDonald refers to the point of time on the CD so that all readers, not just those who read sheet music, can find the part in question. Ever since the Beatles' became household names, music scholars have applied traditionally trained musicians' and musicologists' vocabulary and concepts to their music; MacDonald uses absolutely no musical notation in his analyses, yet he examines the music more effectively than music critics and writers whose analyses have meaning only to those who read music (thousands of Beatle fans can't, yet they may want to appreciate the music without first taking a course in music composition). Though the book was published before the BBC and Anthology CDs were released, MacDonald examines every Beatles single and album track, not just the popular ones; he does not include photographs, nor does he discuss in great detail the lyrics of the songs, as other Beatles "music critics" have done. His speculation about the songwriting power struggle between Lennon and McCartney is intriguing, particularly when he analyzes the progression of each one's distinct composition process, from "Love Me Do" to the final recordings. Most critics attempt to analyze the Beatles' music by avoiding it entirely, and instead examine lyrics, biographical information, photos, concerts, history, interview quotes, and so forth, but MacDonald's primary focus is on The Beatles' music, which is and will always be its legacy. So put away your music theory dictionaries, open "Revolution in the Head," and pop in your favorite Beatles CD. You will never fully appreciate the music until you explore it with this book. Happy reading (and listening)!