- Release date:
- Sep 09, 2016
More from year 2016
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Written by Larry Williams
3:39 • Live • L1.2016 • 2016 remix. Composite using parts from August 29th and August 30th
- Giles Martin :
- Voyle Gilmore :
- Sam Okell :
- Mixing engineer
- Alex Wharton :
- Matt Mysko :
- Assistant mixing engineer
- James Clark :
- Audio restoration
Concert From the concert in Los Angeles, USA on Aug 29, 1965
Written by Chuck Berry
Written by Carl Perkins
From PR Newswire, July 20, 2016:
LONDON, July 20, 2016 /PRNewswire/ — Apple Corps Ltd. and Universal Music Group are pleased to announce global release plans for The Beatles:Live At The Hollywood Bowl, 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. A companion to The Beatles: Eight Days A Week – The Touring Years,Academy Award®-winner Ron Howard’s authorized and highly anticipated documentary feature film about the band’s early career, The Beatles: Live At The Hollywood Bowl will be released worldwide on CD and for digital download and streaming on September 9, followed by a 180-gram gatefold vinyl LP on November 18. The album includes a 24-page booklet with an essay by noted music journalist David Fricke, and its cover art features a sunny photo taken on August 22, 1964 by The Beatles’ then-U.S. tour manager, Bob Bonis, as John, Paul, George and Ringo boarded a chartered flight from Seattle Tacoma Airport to Vancouver, BC for their first concert in Canada.
Documenting The Beatles’ Hollywood Bowl concerts on tape was no easy feat, as producer Sir George Martin explained in his album notes for 1977’s The Beatles At The Hollywood Bowl: “The chaos, I might almost say panic, that reigned at these concerts was unbelievable unless you were there. Only three track recording was possible; The Beatles had no ‘fold back’ speakers, so they could not hear what they were singing, and the eternal shriek from 17,000 healthy, young lungs made even a jet plane inaudible.”
While The Beatles:Live At The Hollywood Bowl references the long out of print 1977 album, it is an entirely new release, directly sourced from the original three track tapes of the concerts. To preserve the excitement of the shows while unveiling the performances in today’s best available clarity and quality, GRAMMY Award® winning producer Giles Martin and GRAMMY Award® winning engineer Sam Okell have expertly remixed and mastered the recordings at Abbey Road Studios, including the thirteen tracks from the original album produced by Giles’ father, plus four additional, previously unreleased recordings from the momentous concerts.
“A few years ago Capitol Studios called saying they’d discovered some Hollywood Bowl three track tapes in their archive,” saysGiles Martin. “We transferred them and noticed an improvement over the tapes we’ve kept in the London archive. Alongside this I’d been working for some time with a team headed by technical engineer James Clarke on demix technology, the ability to remove and separate sounds from a single track. With Sam Okell, I started work on remixing the Hollywood Bowl tapes. Technology has moved on since my father worked on the material all those years ago. Now there’s improved clarity, and so the immediacy and visceral excitement can be heard like never before. My father’s words still ring true, but what we hear now is the raw energy of four lads playing together to a crowd that loved them. This is the closest you can get to being at the Hollywood Bowl at the height of Beatlemania. We hope you enjoy the show…” […]
From AXS, interview with Giles Martin, September 15, 2016:
AXS.com : Were the original three-track tapes used for the album were different from the ones used in 1977 when the original “Live at the Hollywood Bowl” album was released on vinyl?
Giles Martin: I’m not sure if they were the different tapes or not as there is no record of the tapes that were used. A few years ago Capitol Studios called saying they’d discovered some Hollywood Bowl three track tapes in their archive. We transferred them and noticed an improvement over the tapes we had in the London archive which were used for the original record, so these were the ones we used. The main difference in the transfer process is that we could go direct to Pro Tools whereas my father and Geoff Emerick transferred to tape to mix. Our versions were therefore much clearer.
AXS.com: What did you do to mix them for the new release and how was the crowd noise a factor in the mix?
G.M.: The crowd noise is a massive problem. All three Hollywood Bowl shows are drenched in screams across all the tracks. The audience was much louder than the band. That said, I’d been working closely with a boffin called James Clarke developing remix technology — the ability separate sounds from a single mono track. The original intention for the software was to use this for separating vocal from instruments, drums from guitars, etc. I suggested that we should try this tech on the newly acquired Hollywood Bowl tapes to see if we could reduce or at least separate the screams. From adjusting the program to suit, I worked alongside engineer Sam Okell to remove layers of crowd noise which then allowed us to treat the band’s sound before putting the crowd back in.
AXS.com: How were the four bonus tracks chosen for the CD?
G.M.: I went through all the three concerts applying the new process and simply chose the best tracks at the end. I didn’t reference the original record, but thankfully came up with the same track list — my dad must have taught me something right! — and because we have better technology these days, we could make those four extra tracks work too.
AXS.com: Was any thought given to releasing all three entire Hollywood Bowl shows or at least two of them, since one show in the recordings circulating with collectors has audio problems for several songs? And could more of these shows or others be released in the future?
G.M.: Of all the live Beatles recordings, the Hollywood Bowl tapes are the best from an audio point of view. The Bowl tracks not featured on the new record, as well as many other tracks from other live sources are out there as bootlegs and available in various different formats if fans really want to hear them, but the quality isn’t great for many different reasons. The official releases should sound as good as possible and if certain tracks don’t pass that threshold then there’s little point in putting them out,. Our responsibility is to make sure that the quality of the tracks that we release for sale appeal to music fans and collectors alike.
Last updated on July 11, 2017