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"Revolver" is a song by American recording artist Madonna from her third greatest hits compilation, Celebration (2009). It was released on December 14, 2009, by Warner Bros. Records and marked her final single release with the label, which had been her record company since 1982. The song features American rapper Lil Wayne and was written by Madonna, Carlos Battey, Steven Battey, Dwayne Carter, Justin Franks and Brandon Kitchen. It was produced by Madonna and DJ Frank E.

In March 2009, Madonna's representative Liz Rosenberg confirmed that Madonna was planning to release a greatest hits album by fall 2009.[1] She also added that Madonna had plans to go to the studio and record new material for the album.[2] The next day, Madonna's manager, Guy Oseary, asked fans on his Twitter for input regarding the track listing of the greatest hits album. It was later confirmed that she wrote three new tracks for the album, with Paul Oakenfold being confirmed as producer for two of the new songs.[3] Warner Bros. Records reported the title of the greatest hits to be Celebration through Madonna's official website.[4] They also reported that the final song on the collection was to be "Revolver", a collaboration with Lil Wayne and whose demo version was already present in the net. It was present alongside the title track.[5] Before the album was released on September 29, 2009, the original version of "Revolver" was released on the internet; the track had previously appeared in May as a demo recording.[6][7] In December 2009, NME confirmed "Revolver" as the second single from Celebration.[8] The song was released digitally in the United Kingdom on December 14, 2009, by Warner Bros. Records along with a digital maxi single release worldwide on December 29, 2009, featuring remixes by David Guetta and Afrojack,[9] Paul van Dyk and Tracy Young.[10]

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The song charted on the Canadian Hot 100 for one week at position 95 on the issue dated October 17, 2009, but fell off the chart the next week.[25] On the Billboard issue dated January 16, 2010, the song made a re-entry on the chart at a higher position of 47, and was the highest debut of the chart.[26] It made a top-20 debut on the official chart of Finland, at position nineteen[27] and moved to 18 after two weeks. In the United Kingdom, the song was initially positioned at number 188, but after a few weeks it jumped up to a position 130 on the UK Singles Chart.[28] The One Love remix of "Revolver", featuring David Guetta, debuted on the Belgian Singles Chart at Flanders region at position 37. After a few weeks, the song reached number 26 on the Flanders chart and 25 on the Wallonia chart.[29] The song debuted at number 41 on Billboard's Hot Dance Club Songs chart on the issue dated January 16, 2010 as the highest debut of that week,[30] and reached a peak of four, staying for two weeks at the same position.[31] In Italy, the song reached number 12 on the singles chart and was certified gold by the Federation of the Italian Music Industry (FIMI) for shipment of 15,000 copies of the single.[32][33] The song also charted in Ireland, at position 41.[34] In Spain the song reached 39 on the chart, for one week only.[35] In the Czech Republic, "Revolver" debuted at number 66, and reached a peak of number 22 after seven weeks.[36]

The Beatles recorded Revolver after taking a three-month break at the start of 1966, and during a period when London was feted as the era's cultural capital. Regarded by some commentators as the start of the group's psychedelic period, the songs reflect their interest in the drug LSD, Eastern philosophy and the avant-garde while addressing themes such as death and transcendence of material concerns. With no plans to reproduce their new material in concert, the band made liberal use of automatic double tracking, varispeed, reversed tapes, close audio miking, and instruments outside of their standard live set-up. Among its tracks are "Tomorrow Never Knows", incorporating heavy Indian drone and a collage of tape loops; "Eleanor Rigby", a song about loneliness featuring a string octet as its only musical backing; and "Love You To", a foray into Hindustani classical music. The sessions also produced a non-album single, "Paperback Writer" backed with "Rain".

In the United Kingdom, the album's 14 tracks were gradually distributed to radio stations in the weeks before its release. In North America, Revolver was reduced to 11 songs by Capitol Records, with the omitted three appearing on the June 1966 LP Yesterday and Today. The release there coincided with the Beatles' final concert tour and the controversy surrounding John Lennon's remark that the band had become "more popular than Jesus". The album topped the Record Retailer chart in the UK for seven weeks and the US Billboard Top LPs list for six weeks. Critical reaction was highly favourable in the UK but less so in the US amid the press's unease at the band's outspokenness on contemporary issues.

While arranging dates for the band's world tour,[29] Epstein agreed to a proposal by journalist Maureen Cleave for the Beatles to be interviewed separately for a series of articles that would explore each of the band members' personality and lifestyle beyond his identity as a Beatle.[30] The articles were published in weekly instalments in London's Evening Standard newspaper throughout March 1966, and reflected the transformation that was underway during the group's months of inactivity.[31][nb 3] Of the two principal songwriters, Cleave found Lennon to be intuitive, lazy and dissatisfied with fame and his surroundings in the Surrey countryside, while McCartney conveyed confidence and a hunger for knowledge and new creative possibilities.[33] In his book Revolver: How the Beatles Reimagined Rock 'n' Roll, Robert Rodriguez writes that, whereas Lennon had been the Beatles' dominant creative force before Revolver, McCartney now attained an approximately equal position with him.[34] In a further development, Harrison's interest in the music and culture of India, and his study of the Indian sitar, had inspired him as a composer.[35] According to author Ian Inglis, Revolver is widely viewed as "the album on which Harrison came of age as a songwriter".[36]

The band had worked on ten songs, including both sides of the upcoming single, by 1 May, when they interrupted the sessions to perform at the NME's annual Poll-Winners Concert.[51][nb 5] At a time when Time magazine dubbed London "the Swinging City", belatedly recognising its ascendance as the era's cultural capital,[53][54] the Beatles drew inspiration from attending concerts by visiting artists, as well as film premieres, plays and other cultural events.[55] From February through June, these musical acts included Stevie Wonder, Roy Orbison, the Lovin' Spoonful, the Mamas & the Papas,[56] Bob Dylan (with whom they socialised extensively), Luciano Berio and Ravi Shankar.[57][nb 6] During mid-May, Lennon and McCartney attended a private listening party for the Beach Boys' Pet Sounds album,[61] and McCartney met Italian director Michelangelo Antonioni, who filmed Blowup in London, inspired by the contemporary fashion scene.[62]

On 16 May,[63] Epstein responded to a request from Capitol Records, EMI's North American counterpart, to supply three new songs for an upcoming US release, titled Yesterday and Today.[64] Issued on 20 June, this album combined tracks that Capitol had omitted from the Beatles' previous US releases with songs that the band had originally issued on non-album singles.[63] From the six completed recordings for Revolver, Martin selected three Lennon-written songs, since the sessions had favoured his compositions thus far.[64] Keen to limit the interruption to recording that multiple television appearances would create,[65][66] the Beatles spent two days making promotional films for the "Paperback Writer" single.[59][67] The first set of clips was filmed at EMI Studio 1 on 19 May[68] by Michael Lindsay-Hogg, director of the popular TV show Ready Steady Go![69] The following day, the group shot further clips for the two songs in the grounds of Chiswick House, in west London.[59] In the face of fans' complaints of an aloofness in their new work, however, the band conceded to making a live appearance on Top of the Pops on 16 June.[70]

The sessions for Revolver furthered the spirit of studio experimentation evident on Rubber Soul.[80][81] With the Beatles increasingly involved in the production of their music, Martin's role as producer had changed to one of a facilitator and collaborator, whereby the band now relied on him to make their ideas a reality.[72][82][nb 7] According to Rodriguez, Revolver marked the first time the Beatles integrated studio technology into the "conception of the recordings they made".[84] He views this approach as reflective of the group's waning interest in live performance before crowds of screaming fans, "in favor of creating soundscapes without limitation" in a studio environment.[85] For the first time at EMI Studios, the company's four-track tape machines were placed in the studio's control room, alongside the producer and balance engineer, rather than in a dedicated machine room.[86] The Beatles' new recording engineer on the project was nineteen-year-old Geoff Emerick,[87] whom author and critic Ian MacDonald describes as an "English audio experimentalist" in the tradition of Joe Meek.[88][nb 8] Emerick recalled that no preproduction or rehearsal process took place for Revolver; instead, the band used the studio to create each song from what was often just an outline of a composition.[91] Speaking shortly before the start of the sessions, Lennon said that they had considered making the album a continuous flow of tracks, without gaps to differentiate between each song.[14][nb 9] e24fc04721