Beatles/TX,USA 1965 2Shows Upgrade

Every artist has a classic sound source that you can tell just by mentioning the venue’s name, such as the Rolling Stones’ Hampton Coliseum or Pink Floyd’s Oakland Coliseum. For the Beatles, it was the Sam Houston Coliseum. As a famous sound source from the 1965 American tour, it has been reevaluated in the past 10 years for its wilder and more energetic performances than the Shea Stadium and the Hollywood Bowl where the live album was recorded. It can be said that it is a live sound source. It is said that this sound source was recorded from the soundboard of the Houston radio station KILT, whose logo is also visible in the stage photo published on the jacket. However, it was an era when concert PA systems had finally been established, and it is notable that it received a surprising amount of cheers for a soundboard recording of that type (probably because the audience was so noisy that day). However, there is no evidence that KILT or the original sound source was broadcast, and the soundboard recording, which was thought to have been shelved at the station, was leaked in the late 1970s. Of course, it was released as a bootleg, but both the day and night stages were recorded on the TMOQ label’s “LIVE FROM SAM HOUSTON COLISEUM”, which featured a light blue out photo of Butcher’s cover, and it quickly became popular due to its good sound quality. It has earned its place as a classic. Tobe Milo, a label that tends to be deified among enthusiasts, released “IN PARSON SAM HOUSTON COLISEUM,” which contains excerpts of performances by undercard artists who were not able to hear it there, and only the night part, but it is clear that the tape is The generation was inferior, and there was a big difference in sound quality from the previous light blue jacket. Therefore, during the LP era, light blue jackets and reissues from the same affiliated BOX TOP label consistently dominated the market. Since it is such an excellent sound source, LP-release items appeared as expected in the CD era, and the appearance of a time-honored release using tape was awaited. At such a time, the prestigious Yellow Dog released a long-awaited item that was not an LP release, “THE ULTIMATE LIVE COLLECTION VOLUME 1”. As a version that is finally suitable for the CD era, it seems that there are quite a number of enthusiasts who have benefited from this. However, although it was a long-awaited release, the early parts of songs such as “Dizzy Miss Lizzy” and “I’m Down” in the daytime section and “I Wanna Be Your Man” in the evening section showed signs of tape aging. Problems from the LP era, such as the sound chafing and uneven volume between the night songs “A Hard Day’s Night” and “Help!”, remained unresolved. On the contrary, both shows felt more or less muffled, and they also had their own problem of low pitch. In addition, there are some parts where periodic and weak crackling noises are heard, and even serious enthusiasts have said things like, “It’s better to listen to it on LP” and “I still can’t live without the light blue jacket.” And although the two shows were recorded on CD, they were recorded separately on two discs, and the first half contained the sound source of the 1964 American tour, which was a negative point. Of course, issues with pitch and sound quality have been resolved many times with later items based on “THE ULTIMATE LIVE COLLECTION VOLUME 1”, and there are probably many enthusiasts who own them. However, with this release, maniacs are going even further and addressing the issue of the sound source. The maniac who worked on it is the familiar MasterJedi. He once again carried out a thorough overhaul of the sound source, using “THE ULTIMATE LIVE COLLECTION VOLUME 1” as the base. Of course, the pitch and sound quality have been changed, as well as the popping sound. Up to this point, it had been resolved in the previously released editions, but this time, the sound rubbing due to the aging of the tape that occurred at the beginning of a series of songs was also resolved. Just by listening and comparing that part, you should be able to understand that the LP has a clearer upper feel than the original CD. The final touch was that due to the phase shift of the tape deck, there was a strange feeling that was close to pseudo-stereo (especially in the night part), but for the first time he corrected it and recorded it in a pure monaural state. As a result, the natural feeling unique to moist monaural has been improved, and it is clear that the listening comfort has increased compared to the previously released version. Another big appeal of the Sam Houston Coliseum is that you can enjoy the Beatles’ performances with completely different expressions on two stages. Apparently, the screams from the audience were so loud during the daytime performance that a police officer interrupted the performance and went up on stage to warn the audience (a photo of the scene still exists). Perhaps because of this confusion, in “Baby’s In Black”, when John makes a mistake in the lyrics, Paul follows suit, and it develops into a bit of a joke, but this is rather interesting. Above all, this episode’s “I’m Down” is a hyper performance that seems to change the situation completely, and is this the best take of the 1965 American take where John played the VOX organ? The more I want to say that. The beginning of such a masterpiece has been carefully restored, making it even more appealing. The evening part was worth the introduction with a sermon from the host, and it didn’t feel as noisy as the daytime part, but this time John’s voice was in a bad state. From the opening song “Twist And Shout”, it’s already worn out, and it’s also valuable to be able to capture the scene where Paul smiles wryly in front of John, who seems to be in pain, in this song and “I Feel Fine”. Or. At the same time, this is proof that the Beatles could hear themselves playing. If you look at the photo from that day on this front cover, you’ll notice that there is a box-like object at the edge of the stage facing the Beatles. At that time, there was probably no concept of monitors or so-called “gaeshi”, but it was certainly a mysterious object that looked like one. I would be surprised if this was one of the earliest monitors. Perhaps due to the effects of this mysterious object, John also completed the stage despite having a sore throat. This is an excellent sound source that clearly conveys the performance of the three people who are trying to support him. It’s true that the commotion in the daytime session, or John in the nighttime session, may have caused problems and led to it being shelved. Still, although countless items have been released until now due to good sound quality and memorable performances, there was still some dissatisfaction with the 1965 American tour staple Sam Houston Coliseum. The best version is finally here! Sam Houston Coliseum, Houston, TX, USA 19th August 1965 SBD(UPGRADE) (75:01) AFTERNOON SHOW 3:00 pm 1. Introduction 2. Twist And Shout 3. She’s A Woman 4. I Feel Fine 5. Dizzy Miss Lizzy 6. Ticket To Ride 7. Everybody’s Trying To Be My Baby 8. Can’t Buy Me Love 9. Baby’s In Black 10. I Wanna Be Your Man 11. A Hard Day’s Night 12. Help 13. I’m Down EVENING SHOW 8:00 pm 14. Introduction 15. Twist And Shout 16. She’s A Woman 17. I Feel Fine 18. Dizzy Miss Lizzy 19. Ticket To Ride 20. Everybody’s Trying To Be My Baby 21. Can’t Buy Me Love 22. Baby’s In Black 23. I Wanna Be Your Man 24. A Hard Day’s Night 25. Help 26. I’m Down