Released in the summer of 1966, Revolver is the exact point where The Beatles stopped being “moptops” and became the architects of modern music. It’s the sound of four people realising the recording studio was a playground with no rules. They had finished touring for good and poured all that pent-up energy into creating something that couldn’t possibly be recreated on a stage at the time.

Style-wise, it’s a total kaleidoscope. You’ve got George Harrison’s newfound obsession with Indian classical music, Paul McCartney’s incredible knack for soulful ballads and baroque pop, and John Lennon’s dive into psychedelic imagery and tape loops. It doesn’t sound like one genre; it sounds like the birth of about six different ones. There’s a crispness to the production that still feels fresh today – those drums are so punchy they could have been recorded last week.

“Eleanor rigby” is a stunning piece of storytelling, while “Tomorrow never knows” is a terrifyingly brilliant leap into the future that still sounds avant-garde sixty years later. “Taxman” provides that biting, guitar-heavy edge that keeps the album grounded. It’s worth revisiting because it’s a perfect record – it’s short, sharp, and every single second counts. It’s the ultimate proof of what happens when the biggest band in the world decides to get weird.