Discussion in 'Music Corner' started by Petrofsk, Jul 18, 2016.
Yes, this is a proto punk album.
You're right their trousers were tight. You could see quite clearly... Nothing left to the imagination. No wonder the girls were screaming their lungs out!
I hope that this is correct:
1. "Twist and Shout" 30 August 1965 1:33
2. "She's a Woman" 30 August 1965 2:53
3. "Dizzy, Miss Lizzy" 29/30 August 1965 3:39 [Edited from the 29th and 30th of August 1965 ; originally edited by George Martin for the 1977 LP]
4. "Ticket to Ride" 29 August 1965 2:51
5. "Can't Buy Me Love" 30 August 1965 2:14
6. "Things We Said Today" 23 August 1964 2:18
7. "Roll Over Beethoven" 23 August 1964 2:28
8. "Boys" 23 August 1964 2:08
9. "A Hard Day's Night" 30 August 1965 3:13
10. "Help!" 29 August 1965 2:46 [Some people have indicated that this may be edited with verse 1 from the 3oth of August 1965]
11. "All My Loving" 23 August 1964 2:15
12. "She Loves You" 23 August 1964 2:31
13. "Long Tall Sally" 23 August 1964 2:53
14. "You Can't Do That" 23 August 1964 2:34
15. "I Want to Hold Your Hand" 23 August 1964 2:29
16. "Everybody's Trying to Be My Baby" 30 August 1965 2:21
17. "Baby's in Black" 30 August 1965 2:44
Meanwhile, the original vinyl is going for a pretty sum:
Look at this on eBay The Beatles At The Hollywood Bowl Vinyl LP »
It's funny that when you flip through how the Beatles' song titles get weirder weirder has it goes on down
These various comments about the bass.....isn't that the way it would have sounded if one were to be in the audience ? Doesn't bother me that much, sounds like live bass. Mushy, but so live early 60s.
Besides, I pulled out my 1977 original, put on the first four tracks and the bass sounded just about the same.
Incidentally, the intro of 'She's a Woman" sounds like the genesis of 'I Am The Walrus'.
Yeah......."Yellow Submarine" would have been a great "sing along"...er.... "scream along" song in 66'!
I'd love know the rationale behind allowing Love and Anthology for streaming but not YSS, US Albums, LIBN and BBC. Not that I'm worried personally: I already own them. Add to this the availability of the mono studio catalogue that forms part of US Albums but not the UK Beatles in Mono set.
1963 Bootleg aside, this looks to be the first Beatles album on iTunes that hasn't come with a PDF or iTunes LP liner notes. As such I've bought the CD for the liner notes and am streaming the album itself on Apple Music. I've bought plenty of Beatles on iTunes including YSS, both BBC albums and the US Albums set - the included iTunes LP liner notes were absolutely instrumental in my opting for iTunes downloads over CD and other digital download retailers. Good grief, even the Tomorrow Never Knows compilation got iTunes liner notes.
Hopefully the lack of liner notes for Hollywood Bowl doesn't herald the future for the Beatles on iTunes.
I never heard the original but must admit I really don't like the sound of this at all. Bass too loud with no definition and mixed to one side (who does that?). Sounds awful on headphones.
Performance is kicking, but I suspect I shan't listen to this again. Most disappointed :-(
I see you're in sensible mode this morning.
But I wanted a Target pressing!
I doubt the Best Buy in my town even had a copy, their physical media section is almost non-existent. I couldn't even find a copy at Barnes & Noble.
Just about anuone who recorded and mixed in the 60's did that. This was only recorded on three tracks. Drums and bass. Vocals. Guitars.
This is a HUGE improvement over the 1977 vinyl and subsequent BOOTS over the years. I have them all and this is probably the BEST you are going to hear
the Beatles LIVE IN CONCERT. The screams of the crowd have been diminished to a level that you can still hear the excitement but it is not over the top as in the 77 vinyl. Great
job done by Giles Martin in the remastering. The cover is not as good as the 77 vinyl but hey who the hell cares.
Yep, given the choices, vocal in the center makes the most sense, and if you are going to mix to stereo that means each of the instrumental tracks gets panned toward one side or other.
Good thing Barry Manilow wasn't in the Beatles
I agree, decided i had to get it so found a copy at barnes and nobel, (was around 15, when the original was released in 77). But remember it well, it was fun to listen to it again as I can't remember the last time i heard it. Thought it sounded pretty good, and was a fun listen!
Give me time...
He actually would have fitted better in Wings. Imagine a live medley of Copacabana and Goodnight Tonight. Pure bliss!
Yep. I don't get the complaint. Sounds to me like Paul McCartney is standing to my left just like I see him in the photos. As for the bass, sounds like I would expect it to, coming from those crummy PAs and therefore authentic.
Agreed about the improvement. Really nice job. However, take note...and this surprised me...on the last page of the booklet, Giles Martin is credited only as producer. Sam Onell did the mixing and Alex Wharton did the mastering. Martin approved, I guess. So in that sense I suppose one can say that he remastered it. He wasn't "hands on" in the process, apparently.
I saw two, and they were in the B section and not the new release end cap.
Two complete listens in and I'm quite happy. I'm also a bit surprised to find out that I may be the world's biggest fan of the original album (I guess you had to be just the right age when it showed up). I was concerned that the demixing process would produce an annoying artifact that could be "felt" if not explicitly heard, but I have yet to get that feeling. I think Giles needs to get to work on demixing the German gangsters out of the Star Club tapes,
listening to all my loving, a bit of a guitar player myself, ok, not great, but, I have never heard a rhythm line like John lays down in this song, totally original to my ears...
Re the bass sound. Pauls bass amp was not designed for good sound. It was designed for being the loudest possible. Most gigs on the 64 and 65 tour did not have the bass and guitars over the PA. They had the amps and that was that. The only way for the audience to her the amps was for them to be turned to the max. And with the amp technology of 65 loud meant compromising the sound. So what we hear is how Pauls amp sounded. Huge and boomy. That was the best a loud amp could do back then. And then add to the equation that he used a Hoffner with flatwound strings. There goes the last chance of anything not boomy.
Hear, hear. Exactly !
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