a brilliant album which underlines once and for all that the Beatles have definitely broken the bounds of what we used to call pop." Peter Clayton, a jazz critic for Gramophone magazine, described it as "an astonishing collection" that defied easy categorisation since much of the LP had no precedent in the context of pop music. Clayton concluded: "if there's anything wrong with the record at all it is that such a diet of newness might give the ordinary pop-picker indigestion." Edward Greenfield of The Guardian titled his review "Thinking Pop" and wrote that the three Beatles songwriters "habitually go outside the realm of sloppy love-theme, and find inspiration instead (as serious artists always must) in specific feelings and specific experiences". Highlighting the importance of McCartney's classical aesthetic, he recognised the band's ongoing success as "fair vindication" for popular taste in terms of its alignment with artistic merit. In their joint review for Record Mirror, Richard Green and Peter Jones found the album "full of musical ingenuity" yet "controversial", and added: "There are parts that will split the pop fraternity neatly down the middle." In her round-up of 1966 for the Evening Standard, Maureen Cleave named Revolver and the single as the year's best records, although she rued that, together with Mick Jagger, the Beatles had become aloof in that, "Unlike anybody else, they seemed to know what they wanted." Due to the controversies surrounding the Beatles during their tour, critical reaction in the US was muted relative to the band's previous releases. According to Rodriguez, in redefining the limits of pop music, Revolver emphasised the need for genuine rock criticism, a form of journalism that only became commonplace from 1967. KRLA Beat reviewer described Revolver as "a musical creation of exceptional excellence" but lamented that, amid the continued acclaim for Rubber Soul, "it is receiving only a fraction of the attention and respect due", and some Americans were overly focusing on the band's "political views". Writing in the recently launched Crawdaddy!, Paul Williams gave the US LP a mixed review, in which he admired "Love You To" and "Eleanor Rigby" but derided "Tomorrow Never Knows" and "Yellow Submarine". Williams lauded the album's musical range but found it lacked an integral quality, which he acknowledged was outside the group's control. According to Turner, the album's combination of novel sounds and unusual subject matter "challenged all the conventions of pop" and