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Beatles - Why Don't We Do It In The Bowl

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Music : Rock : Lossless
The Beatles
Why Don't We Do It In The Bowl
2015

 
 
All thanks goes to Lord Reith!

Greetings! :spin:
:spin: :spin: :spin:

This is a special set to commemorate the 50th anniversary of the 1965 Hollywood Bowl
concerts.

Of course, the 1964 Bowl concert is no stranger to die hard fans, being one of the first - if not
THE first - live show booted on vinyl in the early 70s. That show came to us via a mono reference acetate nicely mixed
and edited by Capitol back in the day, supposedly nixed by the Fab Four when they heard it (since Capitol tended to do
as they pleased though, one does wonder whether it was their decision not to release rather than The Beatles). At any
rate this mono version is included here as a bonus since it sounds nice and was a staple of early bootleg titles for a
decade. Indeed it was one of the very first boots I ever purchased, and even though I had the official LP I found the
uninterrupted concert to be much more enjoyable. As a homage to these early boots, you'll notice the front cover of this
set is reversible, with a choice of modern or retro pasted-insert cover - complete with requisite song misidentification
and misinformation!

The rest of the set comprises new stereo remixes of all three shows. These are not the
usual remixes but have been done from scratch by myself. Rough - no, VERY rough - stereo remixes first trickled out in
the early 90s via the Yellow Dog and Midnight Beat labels. I guess that like most people I was expecting these to sound
as good as the stereo remixes on the official 1977 album, but they were a far cry from that. The vocals were completely
dry and often too loud or too faint, guitars faded up and down randomly and the drums sounded very distant. Over the
years various people including Dr Ebbetts, HMC and Misterclaudel have had a go at cleaning up these tapes, and a while
back Helterskelter even shared a fine upgrade of the 64 concert. But the inherent problem of the actual mixing persisted
- until now!

For this set I used software to retrieve the three original recording tracks. As odd as it
sounds, three track recording was the norm in the US at the time. I don't believe these recorders could be used for
overdubbing, they were just a useful modification of stereo which allowed the producer to have the vocals on a
completely separate track from the main stereo mix. It is also useful to us because it means that 50 years later it is
possible to retrieve the three individual channels. This has allowed me to start completely from scratch with a clean
slate. I don't know where the rough stereo mixes came from, but given their crudeness I imagine two possibilities: (1)
pre-production for the 1977 album, allowing George Martin to decide on which performances to use or (2) on-the-spot
mixes made by a mischievous employee left alone in the studio for a couple of hours. It's nice to imagine it was the
latter!

There's a lot of problems to overcome here. Firstly, Capitol regrettably decided to do some live
location mixing of the vocals, which led to vital harmonies being lost in You Can't Do That and I Wanna Be Your Man. In
1965 they started recording one show with the wrong microphone allocations, mistakenly mixing Ringo's drum mic in with
John's vocal and leaving Paul's vocal lost in the wilderness (his mic was actually working and audible to the crowd
since his voice can be heard faintly via the PA speakers in the background). They then spent the better part of four
songs fiddling with the balance until they found the right one, by which time Twist And Shout, She's A Woman and I Feel
Fine had all been spoiled. This has all been left as-is for obvious reasons. They also didn't realise that John
occasionally played important guitar parts, so his contributions to You Can't Do That, Long Tall Sally and I Feel Fine
were left buried in the background. Problems with the first 65 show were also compounded when Paul's bass amp
malfunctioned halfway through, although in this instance I was able to correct some of the problems resulting from that.
The 65 shows also have a tremendous amount of crowd noise, to the point where it is often louder than the music. Finally
the choice of mics used by Capitol doesn't appear ideal as they seem to be very directional and don't take kindly to The
Beatles' tendency to move their heads about when singing, thus the vocal levels are really wild. It has been possible to
fix this up to a certain point, beyond which the corrections become too obvious.

The rough bootleg remixes
also have problems, the main one being that the vocals are often too loud. Sometimes the person mixing would also fade
up the guitars for the solo and then forget to bring them down again, resulting in the guitars being too loud for the
second half of the song. This is worst on the first 65 concert. Happily all this is reversible.

The new
remixes here are basically emulating the style of the mono acetate and the 1977 lp, although I didn't add quite as much
reverb to the vocals as those did. For the rest, the stereo sound stage is the same but like I said has been completely
rebalanced from scratch. No doubt if you compare it to the regular mixes then some songs will sound different and some
the same. The 64 show was not too bad so the difference is not as great, but in the 65 shows the differences in mixing
should be apparent in the improved evenness of vocals and instruments. Of course, sonic deficiencies like dropouts have
been corrected too. I've tried to make the sound a good deal more meaty and exciting, and I hope I've succeeded in that.
Perhaps one day we'll be treated to an official cd, although all things considered it's unlikely that would contain all
three unedited shows.

Here are the links. I'll also be posting a video of the 1964 show edited by me from
upgraded footage.
---------------------------------------------------
I'm looking for (in lossless
format):
- THE VIDEO BEAT rock n roll collections, tv appearances (most of them)
- The Ultimate Rock n
Roll Jukebox (5 DVD)
- Various Artists' "Rocky Mountain Low - The Colorado Musical Underground Of The Late
1970s " LINK:
http://www.discogs.com/Various-Rocky-Mountain-Low-The-Colorado-Musical-Underground-Of-The-Late-1970s/release/3163401
- SATURDAY NIGHT BEECHNUT SHOW 1958 - 1960  (20 DVDs)
- REM's deluxe edition albums
- Lydia Lunch's records,
videos, interviews (official and unnofficial)
- PJ Harvey's rarities/singles/EPs
**(Singles: Dress;
Sheela-Na-Gig; Send His Love to Me 2CD; You Said Something; The Piano; The Devil; Black Hearted Love; The Glorious Land;
The Words That Maketh Murder)
** (Promos: To Date 5-track; When Under Ether); "The Slow Drug" alternate
version without backing vocals; and other rarities
- Sugarcubes' rarities/singles/EPs
- Bj?rk's rarities +
singles + SHM CDs
- Dead Can Dance unreleased tracks compilation
- Dead Can Dance - The Scavengers (Brendan
Perry's old band)
- Dead Can Dance - Microfilm (live Seaview Paradise Lounge, Melbourne 18 July 1980 - Window /
Centrefold single launch )
- Dead Can Dance - pre-history, demos & Peel Sessions
- Deacd Can Dance - Early
Demos (3CD)
For more info about these Dead Can Dance's rarities, check here:
http://www.innercitysound.com.au/DeadCanDance.html

- Beach Boys' "A Long Promised Road" 2DVD
compilation bootleg
- Bob Marley & The Wailers - One Love at Studio One 1964-1966
- Residents
discography
- Cyndi Lauper bootlegs from the 80s (audio/video and TV appearances)
- Steve Jesse Bernstein
discography
- Various Artists' Hard To Find 45s On CD
- There's a more complete FLAC wantlist on demonoid
forums. You can view my requests and also make your own here:
http://fora.demonoid.me/index.php?topic=135877.0                                                             

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