Philip Shouse and his rock colleagues have recorded a version of The Beatles' “I’m Only Sleeping”, a song originally released on the band’s album Revolver. The track had previously only been available as the B-side on the vinyl single “Real Thing”. Shouse describes the recording as a tribute to the music that has been central to his own musical life. At the same time, the collaboration brings together several rock musicians for the performance.
Shouse has described his longstanding interest in The Beatles as an enduring part of who he is. According to him, that enthusiasm made working on the song particularly fun. He also mentions Nicke, Mats, and Jesper as contributors to the recording and praises Gustav Kronfelt’s artwork. Together, these comments frame the release as both a collective musical project and a personal expression of admiration for one of pop music’s most influential groups.
A Beatles Song at the Center of the Project
The choice of “I’m Only Sleeping” ties the collaboration directly to Revolver, the album on which The Beatles originally released the song. Shouse and his fellow musicians do not present the track as new material, but rather revisit a composition with an established place in the band’s catalog. The focus is on interpretation: putting their own rock touch on a song that has reached listeners through several generations.
The track’s previous release as a B-side gives this version an additional context. According to the materials, the song before this release was only available on the vinyl single “Real Thing”. The new version thus gives the recording renewed attention and links it simultaneously to Shouse’s earlier work. The connection is clear: a song once paired with a single as its B-side now receives attention on its own release.
Shouse’s comments emphasize the joy of making the recording rather than giving a detailed account of the arrangement. He describes the opportunity to work on a Beatles song as a particularly enjoyable experience and highlights Nicke, Mats, and Jesper as part of what made the session significant for him. His appreciation of Kronfelt’s artwork shows the enthusiasm extends beyond just the music and highlights the visual presentation as another important part of the project.
Shouse’s story revolves around the collaboration between the musicians and their shared work on the song. Central is the joy he describes in bringing his fellow musicians together around a strong composition. In this way, the project appears both as a collective musical initiative and as a personal expression of his enduring appreciation for The Beatles.
When Shouse describes the track as a tribute to pop music’s greatest names, he clearly expresses his respect for the original. The project builds on a familiar premise behind a cover: admiration for the original, combined with the opportunity for a group of musicians to make the song part of their own shared story. The release also offers two avenues for listeners—through Shouse’s continued interest in The Beatles or through the song’s place on Revolver.
For this rock constellation, therefore, “I’m Only Sleeping” is more than a return to a well-known composition. The version gives renewed attention to a song that had previously only appeared as a B-side, documents a collaboration between Shouse and the musicians he mentions, and reflects the enduring appeal he sees in a song worth celebrating. The result is presented as a tribute to a classic and to the shared enthusiasm that inspired the interpretation.
