Live At The Hollywood Bowl

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Track Listings

Disc: 1

1	Twist and Shout
2	She's a Woman
3	Dizzy Miss Lizzy
4	Ticket to Ride
5	Can\'t Buy Me Love
6	Things We Said Today
7	Roll Over Beethoven
8	Boys
9	A Hard Day's Night

Disc: 2

1	Help!
2	All My Loving
3	She Loves You
4	Long Tall Sally
5	You Can\'t Do That
6	I Want to Hold Your Hand
7	Everybody's Trying to Be My Baby
8	Baby's in Black

Editorial Reviews

The Beatles: Live At The Hollywood Bowl is a new album that captures the joyous exuberance of the band's three sold-out concerts at Los Angeles' Hollywood Bowl in 1964 and 1965. The 1LP on 180 gram heavyweight vinyl is housed in a gatefold sleeve. A companion to The Beatles: Eight Days A Week - The Touring Years, Academy Awardr-winner Ron Howard's authorized and highly anticipated documentary feature film about the band's early career.

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
Product Dimensions ‏ : ‎ 1.18 x 8.27 x 8.27 inches; 13.62 Ounces
Manufacturer ‏ : ‎ Capitol
Original Release Date ‏ : ‎ 2016
Date First Available ‏ : ‎ July 18, 2016
Label ‏ : ‎ Capitol
ASIN ‏ : ‎ B01IO7OHUE
Country of Origin ‏ : ‎ USA
Number of discs ‏ : ‎ 1

Best Sellers Rank: #7,993 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #3,633 in Rock (CDs & Vinyl)

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Drdaystrum

this is a fantastic, historically important CD

Reviewed in the United States on November 7, 2016

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What can one say that has not been uttered thousands of times before about the Beatles. Suffice to say they are historically, the most famous, influential and arguably important "band" in music history or at least within the genre of electronic pop/rock based music even though their music transcended any label or genre, little has been written or discussed about their live performances. Excluding David Fricke's laughable, & grossly misleading liner notes, this is a fantastic, historically important CD.
Of course its understandable given the tsunami of screaming that shattered their ears for practically every performance since doing their last Cavern show on August 3, 1963 that they had an uphill battle trying to perform to levels they were used to. They were obviously, without question, a great little quartet and were perfectly able, IF allowed to hear themselves, to come off very close to their original recordings even though, by October 1963, due to their ability to make mulitple over dubs via the Telefunken four track, the studio instrument shuffle was on especially by 1965 when they recorded the Help LP i.e., John or Paul playing lead guitars, keyboards, etc. but for live performances such as Ticket to Ride (where during the actual studio recording Paul played lead guitar & bass, George played two guitars including a 12 string and John on electric rhythm) they had no choice but to use the standard 2 guitars, bass and drums format. During Ticket to Ride, George had to cover the lead riffs that Paul actually played on the recorded version but the audiences would never have known the difference even if they COULD hear them.
The Beatles were heavily into double tracking by their second LP (With the Beatles) and during live shows they had to compensate for sections that were sung by the same vocalist, case in point, All My Loving which features McCartney singing his own vocal harmony duet on the last verse but for live shows, Harrison would join McCartney for those harmonies (just as he did on Things We Said Today, another tune where PM sang both harmony vocals on the studio recording) plus they would deviate for effect such as on a Hard Days Night were during the studio recording, John is the main double tracked lead with Paul taking the middle eight, but on the live versions, Paul joins John on the end of each refrain "you know I feel al...right" where on the studio recording, its John alone double tracked during those sections.
I Want to Hold Your Hand is interesting from the standpoint, as demonstrated in other live tracks, George would sling on his Rickenbacker 12 string for John Lennon's great A Hard Days Night, You Can\'t Do That and If I Fell (which is not included on this CD) but to accommodate the short time frame, would keep the 12 string on during tunes like IWTHYH, or Long Tall Sally etc. even though there is certainly no 12 on those original recordings.
What DOES punch through on this recording is the power of the Fabs, even with the handicap of trying to perform "deaf" since they had no monitors. Tunes like Lennon's Help, or great covers like Twist & Shout and Boys come through with visceral impact including the powerful Beatles version of Long Tall Sally which features Paul's great walking bass lines.
Lennon's You Can\'t Do That is fabulous instrumentally but only suffers from the fact, Paul and George's back up harmonies are lost for the first few verses due to mic problems. Again, its most amazing that John and Paul (& occasionally George) could pull off complex harmonies considering they could NOT hear themselves which in hindsight, has to be a monumental feat and is testimony to HOW good they really were. The only mild critique I would make regarding the recordings is how mixed back John's great rhythm guitar is even when he played lead guitar such as on the first solo break on Long Tall Sally and the guitar solo during You Can\'t Do That.
My only complaint about this CD is the ludicrous set of liner notes by David Fricke where he shamelessly displays his little fan boy crush on McCartney. His liner notes immediately focus on one of the poorest tracks on the whole CD much less one of the worst compositions from their catalog which is Things We Said Today. First of all, he makes the absurd claim that Paul's Things We Said Today was somehow a spectacular leap forward in the evolution of Beatles tunes...huh? He goes on ad-nauseam about how much of a departure it is because its based on a "minor" sequence, obviously forgetting the John Lennon wrote several "minor" based melodies before that including I'll Be Back and Not a Second Time. The way he gushes over McCartney at the expense of his co-writer and partner, a guy named John Lennon (who by the summer of 1965 was far out numbering McCartney in compositions, lead vocals and even A side singles) only betrays his bias and apparent man crush on Paul:-)
Things We Said Today was the B side of the single Hard Days Night in England and over here, it was thrown onto the Capitol LP, Something New.
Fricke continues his bias toward Paul by again highlighting All My Loving and She's a Woman virtually skipping over all of Lennon's great tunes except for Help. OK Fricke, with all due respect, get a room!???? Do U need to be reminded that a team called Lennon AND McCartney co-wrote over 300 compositions. Did you know that in addition to each of them writing separately, and together, one or the other would almost always contribute something to a composition even if written 95% by either John or Paul. For instance, take a ballad like And I Love Her, a typical tune featuring a nice progression for the verses but John added the middle eight, "a love like ours, could never die" and I mean both music and lyrics. Take Michelle, another Paul ballad where the verses were his but John added the Nina Simone influenced section, "I love I love I love you...". Paul would add a middle eight to one of John's compositions like the middle eight to Day in the Life and vice versa or the harmonies on John's Norwegian Wood etc., that is WHY it was an historic collaboration.
As Paul has said on many occasions, it wasn\'t as simple as, "Paul writes the ballads and John writes the rockers", it was far more complex than the usual cliche statements and totally mixed. John could write melodic tunes like If I Fell, I'll Be Back, This Boy, No Reply, Across the Universe or sweet folk rock tunes like I'm a Loser or pure ballads like Girl, Julia or even Goodnight (sung by Ringo) or sophisticated tunes like The Word, Lucy in the Sky, Hey Bulldog, Happiness is a Warm Gun and so on where conversely Paul could write rockers like She's a Woman, Helter Skelter and I'm Down which demonstrates how co-equal they were in their ability to write any type of composition whether it was hard rock, folk, blues, or even ballads with jazz overtones.
So if one discounts David Fricke's totally unbalanced assessment of this live CD as if it were Paul McCartney and his 3 lackeys backing him up, a wholly erroneous account, then over all its a GREAT CD and absolutely worth finding a place in anyone's Beatles collection. I don\'t know about Fricke, but I DID see the Beatles live and will always treasure those memories. The Beatles were an intricate chemical mix, without John they would have been too saccharine with no edge, & no humor, without Paul they would have been a bit too harsh & uncompromising. John & Paul were the heart, brain and guts of the band, and that IS a fact:-)

10 people found this helpful

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steve_manassas

A long overdue and terrific release

Reviewed in the United States on September 17, 2016

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On February 12, 1964, Capitol Records planned to record The Beatles' appearance at New York City's Carnegie Hall, but was denied permission by the American Federation Of Musicians (AFM), even though both non-union and foreign acts had played Carnegie Hall in the past. See Bruce Spizer's excellent book, The Beatles Are Coming!: The Birth Of Beatlemania In America , for additional details.

With AFM permission granted, Capitol recorded The Beatles' concert at Los Angeles' Hollywood Bowl amphitheater on August 23, 1964. Capitol prepared acetates of the concert, but The Beatles and their manager, Brian Epstein, blocked the album's release, because of poor performance and sound quality. A year later, Capitol returned to The Hollywood Bowl and tried again, taping both the August 29 and 30, 1965 shows. The first show proved unusable because of a problem with Paul's vocal microphone. Again, The Beatles and Brian Epstein blocked the album's release. A 48-second excerpt of the 1964 Hollywood Bowl performance of "Twist And Shout" opened up Side Four of the Capitol documentary album, The Beatles' Story (Capitol (S)TBO-2222), which was reissued on CD in 2014 as part of The U.S. Albums box set, as well as an individual CD in Japan . Over the years, purloined copies of Capitol's 1964 Hollywood Bowl acetate were acquired by bootleggers, and became the sources for various bootleg LPs (and, years later, CDs). The Bowl recordings had other uses as well; they were used to enhance the sound for some of the songs on the 1965 Shea Stadium concert film, where some of the Bowl crowd noise was also dubbed in. In addition, the version of "I Want To Hold Your Hand" featured in The Beatles' Love (CD + Audio DVD) is a mashup of the 1964 Hollywood Bowl recording (included as a bonus track on this CD) with the 1963 studio version; however, all that can be heard from the Bowl version is the crowd noise, with the studio version superimposed on top. Perhaps listeners with fancy 5.1 surround-sound equipment can discern parts of the live version in the LOVE remix.

In 1969, the 1964 Hollywood Bowl tapes were sent to EMI's Abbey Road Studios, with the 1965 tapes following two years later, in 1971. According to some sources, the tapes were given to Phil Spector to make a live album, which never appeared. How far Spector got with his work is unknown. After The Beatles' EMI contract expired in 1976, Capitol prepared an acetate of a double album that contained 20 songs from both the 1964 and 1965 concerts, omitting "Things We Said Today." But this album was also rejected. Finally, in January 1977, at the request of then-Capitol president Bhaskar Menon, producer George Martin and engineer Geoff Emerick prepared a 13-song LP, containing six songs from the 1964 show and seven songs from the 1965 shows (mostly from August 30, with a few edits from August 29). On May 4, 1977, The Beatles At The Hollywood Bowl (Capitol SMAS-11638; Parlophone EMTV 4) was finally released on vinyl, and topped the charts on both sides of the Atlantic.

Up until now, the only Hollywood Bowl track released on CD was an outtake of "Baby's In Black," not found on the original LP, but issued on the 1996 Real Love CD single. At the 2006 Fest For Beatles Fans in New Jersey, Bruce Spizer proposed that the Hollywood Bowl album be released on CD as part of a CAPITOL ALBUMS, VOLUME 3 box set, which would also have contained CD versions of the United Artists Records A Hard Day's Night [Original Motion Picture Soundtrack] (The U.S. Album) , Capitol's 1966 album Yesterday And Today (The U.S. Album) , and Apple's 1970 compilation Hey Jude (The U.S. Album) . This proposal was apparently rejected by EMI and Apple. Also apparently rejected were a proposed CAPITOL ALBUMS, VOLUME 4 box set, consisting of the theme albums Rock 'N' Roll Music , Love Songs , the U.S. Rarities LP, and Reel Music , as well as a 13-CD deluxe Capitol Albums box set (similar to the 2014 U.S. ALBUMS box set, except that the U.S. versions of SGT. PEPPER and MAGICAL MYSTERY TOUR would have been included, rather than the U.A. A HARD DAY'S NIGHT and Apple's HEY JUDE).

Finally, in conjunction with the new Ron Howard documentary, THE BEATLES: EIGHT DAYS A WEEK - THE TOURING YEARS, the Hollywood Bowl concerts have been issued on CD. Remixed by Giles Martin (the late Sir George's son) from original three-track tapes newly acquired from the Capitol vaults, the new CD is superb. It contains the same 13 songs as the original 1977 album, plus four bonus tracks: "You Can\'t Do That" and "I Want To Hold Your Hand" from 1964, along with "Everybody's Trying To Be My Baby" and "Baby's In Black" from 1965. The band is much more up-front, and the crowd noise less prominent, than on the 1977 album. "Baby's In Black" is the same August 30, 1965 performance as before, except that the 1996 single release is an edit of the intro from August 29, with the music from the 30th; the new CD uses the unedited version from August 30.

Four songs are missing from the concert CD: "If I Fell" from 1964, and "I Wanna Be Your Man," "I Feel Fine," and "I'm Down" from 1965. Other songs were performed both years. Apparently, Giles Martin felt that these four performances were sub-par, or maybe Capitol/UMe did not want to pay royalties on 21 songs. Personally, I would have issued a double CD containing the original 1977 album, the 1996 single version of "Baby's In Black," and the complete 1964 concert on Disc 1, with both 1965 concerts on Disc 2. But I'm greedy.

The booklet contains a nice essay by Rolling Stone's David Fricke, a reprint of George Martin's original sleeve notes from the 1977 vinyl LP, and many archival photos and Los Angeles Times news clippings, including one from 1964, which mentions a young 14-year-old Beatle fan named Natalie Cole. Natalie was a lifelong Beatle fan, and I'm sure she had the 1977 LP in her collection. Or maybe Nat "King" Cole had enough clout with Capitol to acquire one of the 1964 Hollywood Bowl acetates for his daughter. Sadly, Natalie did not live to hear this CD or see the new film, which she would have loved.

Pending Apple's approval, I would love to see Giles Martin restore the 1962 Hamburg Star-Club tapes. If he could do that, he would really be a genius.

Five stars for the CD. I have seen the movie in the theater, and it is excellent; I am looking forward to the deluxe two-disc DVD release on November 18, 2016 (I pre-ordered it from Amazon, and received it on November 18, 2016).

12 people found this helpful

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GPT

Beatles Live

Reviewed in the United States on December 7, 2023

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Excellent production.

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最高です！！

ブリティッシュロック

Reviewed in Japan on December 2, 2023

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ビートルズからストーンズ、フー、スモールフェイセスに、クリーム、ツェッペリン、そしてディープパープル、イエス…
ブリティッシュロックの凄さの流れがわかるライブアルバムだと思いましたよ!

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Robert Lee

Excellent service.Great VFM

Reviewed in the United Kingdom on November 8, 2023

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Lovely revamp of the 1977 album. Thanks.

Amazon Customer

A time capsule - feel the love!

Reviewed in the United Kingdom on February 20, 2022

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Nostalgia, of a sort... I was a very young chap when the Beatles shot to fame. I liked the tunes, the lyrics and the personalities. Contrary to impressions it was not only emotional young ladies who bought Beatles product and attended their shows. In those days the performances and records were seen as ephemeral: if you missed them you missed them for good and all. Some performances were filmed or recorded but the likelihood of them being screened more than once was very limited at the time. Even the Beatles themselves thought their career in music would be short-lived and that they would settle into 'proper jobs' funded by their youthful windfall. But, their success burgeoned and a market developed for Beatles product and memorabilia including 'bootleg' recordings. These would have originally been on magnetic tape or vinyl (or acetate) discs and to make copies of them required quite an outlay on equipment and possession of suitable technical skills... The copying process caused loss of fidelity and poor source material descended into sonic sludge until modern digital methods both allowed 'loss-less' copying and made it possible for anyone with a computer to do. Rare bootlegs are now easily available. In my case I heard from someone that there was a bootleg of the Beatles Live at the Hollywood Bowl... It seemed to me the best place to look for a copy would be the USA. By chance an Uncle had married an American girl and re-located to the USA so my poor aunt was sent out to footslog any record stores she could in search of this holy grail of Beatles product. She came up with zilch, nada, nothing and felt she would be better looking for unicorns or dragons. A few years later EMI bowed to consumer pressure and released a selected edit of different Hollywood Bowl shows cherry picking the best as they thought. This made for a rather short vinyl album: like most live performances the tempo was faster than the studio versions. The sound of the crowd was intrusive and perhaps even the lads could hardly hear themselves play but is was the next best thing to having been at a gig for me. The album went, unusually for a Beatles record, out of print and was not re-mastered and released on CD until this recent tie-in with the 'Eight Days a Week' film where the opportunity was taken to add some suitable bonus tracks. It is still a short playing time but huge nostalgia trip for someone of my age. All things come to he who waits!

2 people found this helpful

Quiverbow

Even better than the Bay City Rollers.

Reviewed in the United Kingdom on September 9, 2016

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Date: Saturday, 7th September 1963.
Location: Fairfield Hall, Croydon.

That day will stay with me until I'm no longer around. Why? That\'s the day my auntie took me to see The Beatles. And I mean see, not hear, as, though seven rows from the front no one actually heard anything other than an incessant barrage of screaming.

Fourteen years later, 'Live at the Hollywood Bowl' was issued and nearly four decades on that Long Player is now available on Compact Disc. Sort of. Whilst this has been remixed and cleaned up and whatever else those involved do with such things, it\'s not just a straight reissue. No Sir. This has four extra songs added, all of which have never been previously released, of which more later. In fact, regarding in-concert recordings of The Beatles, there has been a minuscule amount made available for public consumption (on anything legal that is). Though there wasn\'t much professionally recorded, even so, the audiences were unwilling to do anything but scream so making conditions rather difficult, resulting in a lot of it unusable.

However, of those concerts that were salvageable, this now sounds superb. The instruments and vocals have been brought to the fore and are much cleaner and audible. The audience, whilst still much in evidence, is no longer the 'white noise' heard on the LP. It\'s hard to believe that the Beatles toured for no more than 3½ years, an equivalent time now seen as a period between tours for many artists. Hearing this makes you realise why they gave up playing live. The mostly female audiences didn\'t go to actually hear them; it was enough just to be there.

From the shortened opener 'Twist And Shout' (and I'm still wondering why they did that), if you close your eyes, you can imagine yourself being part of the mania. Not only were they recording artists they performers too and whilst they never varied their set, some still insist that the group wasn\'t much as a live act, but that\'s missing the point. Considering they weren\'t allowed to be such a thing by those in attendance, using the house PA, and considering the circumstances, this shows how wrong those doubters were/are. If you thought the screaming was loud, the decibels increased at various junctures; during the second instrumental break of 'Everybody's Trying To Be My Baby' (maybe they danced about a bit), and also on 'Things We Said Today', to give but two examples. The worst thing here is 'Dizzy Miss Lizzy'. It wasn\'t much of a song to start with but it\'s dragged out too long for my liking. The whole thing is 43 minutes of something we never witnessed before or will ever witness again.

Those four additional songs should have been inserted into the order in which they were performed. In fact, Apple should have resequenced this so it sounded more like a complete show in its own right. They always ended with a shouter, but on here it\'s what Lennon calls “a waltz”, which, quite honestly, is a silly way to finish, even more so as Paul introduces 'Long Tall Sally' as their last song. That notwithstanding, this is an essential purchase for all Beatles fans and anyone else who wants to know what all the fuss was about.

A word on the cover; it could have been much better. The green text looks like the CD is called 'Eight Days A Week' from a show at The Hollywood Bowl and makes it seem as though the film is one based on that performance. That\'s what spoils it. What was wrong with using the original sleeve? There a nice booklet with some good photos, some of which I've never seen, and a bit of interesting reading.

It\'s astonishing to think that half a century and more later, not only do the Beatles generate column inches most other artists can only imagine, but they still have the capacity to excite. Hopefully, Lucy has found the answer to her question.

24 people found this helpful

Andrew Sweeney

So much better than the 1977 release!

Reviewed in the United Kingdom on June 29, 2017

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I bought my first version of this album when I was a Beatle-mad teenager, as a cassette copy of the 1977 record on the EMI budget Music For Pleasure label. I probably listened to it three times and then gave it up as a lost cause, as the screaming virtually drowned the music out in quite a few places and, where it didn\'t, there was still a relentless background noise of teenage joy, anguish and lust. I accepted that it was a historic piece, of interest to fans, but that it wasn\'t something even the most ardent Beatles fan would listen to very much at all; the fact that it never received a CD release in that form is rather telling. I imagine that it was probably easier to bear listening to it over a stereo system rather than through headphones, where the screaming sound was like white noise injected directly into the brain, but I went for decades without revisiting the Hollywood Bowl tapes. Now, thanks to Giles Martin's tireless work, we now have a listenable, highly enjoyable version of the album, which also acts as an audio accompaniment to Ron Howard's film, Eight Days A Week: The Touring Years.

The track listing reads like an abridged greatest hits of The Beatles from 1962 to 1965 although, it\'s strange, despite the huge amount of self-penned hits they'd had even at that point, six of the seventeen songs are cover versions (Twist And Shout, Dizzy Miss Lizzy, Roll Over Beethoven, Boys, Long Tall Sally and Everybody's Trying To Be My Baby), so they still hadn\'t, by the mid-sixties, lost that feeling of being the belting, amphetamine-fuelled rock 'n' roll covers band that played all day and all night in those Hamburg clubs. The live setting suits certain songs better than others; She's A Woman, for example, isn\'t the best song Paul McCartney has ever written and sounds rather subdued on the studio recording, but giving it a good live rock treatment makes it sound better than it ever did before, and Macca is also in superb form for Can\'t Buy Me Love and Things We Said Today whereas John does A Hard Day's Night and Help! particular justice and the whole band harmonise brilliantly during their smash hit, She Loves You (the screams that greet their high “wooo!” bit are particularly intense and quite amusing).

Taken from two performances at the Hollywood Bowl on August 23rd, 1964 and August 29th, 1965 and pieced together from several recording sources of the concerts, this seventeen track CD is infinitely superior to the barely tolerable album of the same name originally released in 1977. This is the kind of album I'd be happy to listen to at any time; a live release that finally does The Beatles justice. In fact, considering the fact that they could hardly hear themselves whilst they performed, their timekeeping and technical ability are actually rather impressive. Recorded at the very height of Beatlemania, the hero worship and adulation are apparent, as every sentence uttered by any individual Beatle is met with a solid wall of screams; you can almost hear the charged hormones in the air, but the difference with the 2016 improved production is that the music remains upfront and vibrant throughout. Although there are the Live At The BBC albums, these are mainly live studio recordings and, therefore, Live At The Hollywood Bowl is the only true live Beatles concert album on official release and, thanks to Giles Martin, it is now one that can join other quality Beatles albums in the rack and actually stand a chance of being played from time to time.

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