The Beatles at Shea Stadium: August 15, 1965, From WABC-TV Broadcast Master

Label: Darthdisc

Source: Videotape copy of ABC's archival film master.

Track List:

[Color Bars & Clock]
Arthur Fiedler Introduction
Shea Stadium
I'm Down
Setting Up, Murray the K
Discotheque Dancers
Beatle Chat
King Curtis
Beatle Chat, Helicopter
Brenda Holloway
Helicopter Ride, Continued
Sounds Incorporated
[Commercial Space – Clock]
The Dressing Room
Introducing the Beatles
Twist & Shout
I Feel Fine
Dizzy Miss Lizzie
Ticket To Ride
Act Naturally
[Commercial Space – Clock]
Can't Buy Me Love
Baby's In Black
A Hard Day's Night
Help!
I'm Down and Credits
ABC Logo and Invaders Promo

The liner notes:
It was one of the Darthelves’ greatest exploits: getting into the ABC TV vault, finding the 35mm film broadcast master – complete with space for commercial breaks and – not seen since the original broadcast – Boston Pops conductor Arthur Fiedler’s introduction. Here it is, in far better quality than is typically seen. Naturally, the restored version, if Apple ever sees fit to release it, will probably blow this away. But it will also be a very different edit. Here it is, as ABC broadcast it on January 10, 1967 --- Neo, 2006

The Beatles - Turn Left at Greenland: The Beatles in America

Label: DarthDisc, DD DVD 8-10

DVD 1+2: 7-21 February 1964

DVD ONE: NEWSREELS & RAW FOOTAGE

01) Intro

7 February
02) Beatles Off To America - London (Pathé Newsreel)
03) Leaving Heathrow Airport, London
04) Beatles Hit New York (Movietone Newsreel fragment)
05) Arrival at Kennedy Airport
06) Arrival & Press Conference (ABC/Capitol Records)
07) Press Conference
08) Fans at Kennedy Airport
09) Girls at Kennedy Airport Sing From Me To You (AP)
10) More Fans at Kennedy Airport
11) Even More Fans at Kennedy Airport
12) Beatles Conquer America - Kennedy Airport (Pathé Newsreel)
13) Fans at the Plaza Hotel
14) Even More Fans at the Plaza Hotel
15) Girls at the Plaza Hotel, Interview 1 (CBS)
16) Girls at the Plaza Hotel, Interview 2 (CBS)
17) Beatles at the Plaza Hotel
18) Fans
19) Fans, Beatles
20) Merchandising - SELTAEB/Woolworth's

8 February
21) Central Park
22) Beatlemania Grips Gotham (Pathé Newsreel)
23) Das Welt Journal (German Newsreel)
24) February 7-8 Collage (BBC)

9 February
25) Exterior of Studio 50
26) White Christmas Interview

10 February
27) Plaza Hotel Interview, (CBS)
28) Gold Records Presentation
29) Plaza Hotel Interview, (AP)

11 February
30) Arrival at Union Station, Washington, DC
31) Arrival in Washington, alternate angle
32) Washington DC Interviews
33) The Beatles Triumphant Appearance in the DC! (Pop Movies Newsreel)
34) British Embassy, Washington, DC

12 February
35) Outside Carnegie Hall

18 February
36) With Cassius Clay, Miami

21 February
37) Miami Airport
38) and now a word from our sponsor


DVD TWO: The Washington Coliseum Concert & The Ed Sullivan Rehearsal (Miami)

01) Intro

11 February
Washington Coliseum Concert
02) Closed Circuit Promo
03) Intro and
04) Roll Over Beethoven
05) From Me To You
06) Intro
07) I Saw Her Standing There
08) Intro
09) This Boy
10) Intro
11) All My Loving
12) Intro
13) I Wanna Be Your Man
14) Intro
15) Please Please Me
16) Intro
17) Till There Was You
18) She Loves You
19) Intro
20) I Want To Hold Your Hand
21) Intro
22) Twist & Shout
23) Long Tall Sally (from video source)
24) From Me To You (from video source)

16 February
"Ed Sullivan Show" rehearsal: 16:02
25) She Loves You
26) This boy
27) Intro
28) All My Loving
29) Intro (Sullivan)
30) I Saw Her Standing There
31) From Me To You
32) Intro
33) I Want To Hold Your Hand
34) Outro (Sullivan)
35) A bit more sparring

36) ...and now a word from our sponsor


DVD THREE: The Triumphant Return: What's Happening!?

01) Intro

22 February
02) Das Welt Journal
03) Arrival at Heathrow
04) Welcome Home Beatles (Pathe Newsreel)
05) Arrival and Interview (ITN)
06) Interview (Granada)
07) Grandstand (BBC)
08) Interview (Swedish Television)

09) What's Happening! The Beatles in the USA (US version, 11-13-1964)

10) ...and now a word from our sponsor

Liner Notes

"HOW WOULD YOU LIKE A BEATLES SWEATSHIRT WORTH FIVE DOLLARS!!!!!?"

Some time ago, probably around the time "City of Light" was compiled, one of the Dartharchivists came up with the idea of compiling every circulating bit of audio (later the notion of including video was added) from the Beatles' first visit to America in February 1964. The idea was clearly a Winner; but facing the task of compiling it another thing. So okay, it took us about as long as Apple takes to do anything that doesn't involve a lawsuit -- but here it is, "Turn Left at Greenland," the story of...how the Beatles found America, basically.

There's some spectacular material here. Great bits of on-the-scene reporting by newsmen working without the wisdom of hindsight, and generally either immune, puzzled or simply amused by all the madness. The man-(or more often than not, girl)-on-the-street interviews prove to less tiresome than you might imagine: they capture a fascinating, and sometimes surprising variety of reactions to the Beatles, both from fans and their elders.

The interviews with the Beatles are fantastic as well: Murray the K pretty much caught on to what they were doing in his first interview: witness his comments about getting their ad-libbing into their soon-to-be-filmed "A Hard Day's Night." And Murray's February 6 interview with Malcolm Davies, for Saturday Club, gives a measure of the Beatles' impact in the United States even before anyone had a chance to see them. The Beatles' own reactions to the madness they've caused are striking as well: it's still new to them; the weariness evident in later tours is a long way down the road. There's a bit of commercial naivete as well: included here are lots of personalized radio station promos, something Brian Epstein clamped down on before the second tour.

But surely if you've got your hands on this set, you don't need to be told why this material is important. It was the Beatles' first visit to America, undertaken when, however confident the Fab Four were, they could have no way of knowing the degree to which the country would fall at their feet. It was one small step for four men ... never mind.

Perhaps what we should explain is how the set is laid out and why we made some of the decisions we did. You may be wondering, for example: if the idea here was to present every available audio and video recording of the visit, why are the three Ed Sullivan Show performances not included on the DVDs? And why are they included on the CDs? The same goes for material from the Maysles Brothers documentaries.

Easy. In a roundabout way. We didn't want to include anything that's commercially available - that is, that you should have in your collection in its official version - in the form in which it has been released. The Ed Sullivan Show performances and the Maysles Brothers film (or at least, a new version of it) are available on commercial DVD, but not on CD, and we felt that including the material on the CDs served a purpose - it helps tell the story, and it offers the material in a handy audio form for those who, for example, want to hear it on their iPods. In the case of the Maysles material, we haven't simply presented the soundtrack: we've broken it up and put its important components into the chronological sequence. We also included, on the third DVD, "What's Happening! The Beatles in the U.S.A." -- the Maysles film as it was seen in 1964, and quite different from the newly recompiled and expanded version in "The Beatles: The First US Visit" -- which, of course, you should own.

Beyond that, a few notes about the compilation. This material, audio and video, has been around for years, spread over compilations and documentaries and specials of all kinds, or just lying in the archives of AP, CBS, the BBC and other organizations, just waiting for the Darthelves to come along and do their thing. In some cases, considerable reconstructive surgery had to be done. The famous Kennedy Airport press conference, for example, has been stitched together from many sources - as of course, you'll hear, because the sound quality varies. But it's the most complete version you'll hear in a single sitting. (The video version, by contrast, leaves the sources as they were - in newsreels, for example, which we've left intact, repetitive though they sometimes are). The Brian Matthew Saturday Club interview, similarly, was stitched together from several sources (mostly, the BBC broadcast and Maysles material - much as was done in "The Beatles Anthology," which, of course, you should also own.)

The four CDs are filled to capacity, so what we left off - rather than go to a fifth disc - is material from the Beatles' arrival back in London. That material, however, is all sourced from video anyway, and is included on the third DVD. In compiling the DVDs, we tried to keep as close as we could to a one hour limit, to avoid quality loss. And it works out this way: DVD 1 includes newsreels and raw footage - some of it silent - from the first part of the group's visit, from their arrival on February 7 through their Carnegie Hall concert on Feb. 12. Okay, we don't have the Carnegie Hall concert, in either audio or video. Believe me, the Darthelves have tried everything, including sending attractive young elvettes to try to sweet talk the tape out of retired stagehands rumored to have a copy. No dice.

The second DVD brings together the best quality video we've seen of the Washington Coliseum show (augmented with the recently discovered video version of "Long Tall Sally" and a video excerpt from "From Me To You") and the Miami rehearsal for the Ed Sullivan Show. And the third DVD gives you "What's Happening!" and the return to London.

As for the source details - too much to include here. Get yourself a copy of John Winn's marvelous "Way Beyond Compare: The Beatles' Recorded Legacy, Volume 1: 1957-1965." Everything you need to know is on pp.130-160. (And you might as well get the successor volumes, "That Magical Feeling" and "Lifting Latches," while you're at it. And for another perspective on the time, it's worth getting hold of Michael Braun's "Love Me Do.")

- Neo, 2006

How the Magical E.P.s Were Made

by MAL and NEIL

At the end of last month's piece we said we'd planned to tell you about each of the Beatles' new recordings in detail but space had run out on us. So here we go with answers to all your questions. Let's start with the Fan Club Record, "CHRISTMAS TIME (IS HERE AGAIN)" before we talk about "Hello, Goodbye" and all the "Magical Mystery Tour" tracks.

The Christmas disc was not recorded until the evening of Tuesday November 28, a few days before Ringo went to Rome for "Candy" filming. John brought along the handwritten script he and the others had worked out earlier the same day. The first job was to record the theme song before going on to the bits of dialogue.

John got hold of a pair of tympani drums and put his coat across the top to muffle the sound. Paul sat down at the piano, George got his guitar ready and Ringo set up his own drum kit because Mal had nipped off down the road to take a mate for a pint!

Everyone Sang

Everyone joined in to sing the chorus--not just four Beatles but everyone who happened to be around including producer George Martin and actor Victor Spinetti who had dropped in for a chat!

Now it isn't usual to have dance routines on a record but The Beatles decided it would be a nice touch. Instead of using a sound effects record Ringo and Victor gave us all a "live performance" tap display specially for the recording!

After all the "talking" bits had been put on tape Paul and George had to leave but John stayed on to supervise the job of piecing together all the recorded bits. That took them until nearly three in the morning--with John deciding at the last moment to add the Poetic Scotsman sequence (George Martin playing "Auld Lang Syne" on the organ behind him) as a bonus for all North O' The Border Beatle People!!!

Julian's Design

The colourful sleeve for "CHRISTMAS TIME (IS HERE AGAIN)" was designed by John, Julian and Ringo the following afternoon at John's house. Julian got stuck in with his oil-painting set to produce the bright colours for the back while John and Ringo cut up dozens of ancient photographs for the front. If you count 'em up you'll find about 161 people on the front of the sleeve--plus one or two unfortunate folk who lost their heads! Where did all those pictures come from? No, they're NOT family album snaps of 19th century Lennon relatives! They were taken from the bundle of very old photo albums John has amongst his incredible collection of antique-type books.

That's enough about that. Now we'll go through the seven other new records--the ones you CAN buy in the shops.

"MAGICAL MYSTERY TOUR" was the first to be recorded--at the end of April and the start of May. That's Paul voice you hear doing the "commercial" at the beginning and he's also the lead singer with the others joining in behind and doing the answering bits. Three trumpet players came in to add "Penny Lane" sounds to the accompaniment. Paul played the piano with special echo effects added at the end where it sounds as though someone is actually singing with the piano.

On August 22 work began at Chappell Studios in New Bond Street on "YOUR MOTHER SHOULD KNOW". Paul was lead singer again on this track and he played piano. At one point you hear John joining him on organ.

In date order the next track was George's "BLUE JAY WAY", started on September 6. All the way through you hear two Harrison voices--he recorded the second one on top of the first to get the "duet" effect. Later he recorded the vocal backing with Paul. A technical process called "phasing" was used on the vocal sound and on George's Hammond Organ playing to create that fascinating "swirling" effect. The only additional instrument heard here is a single cello but there are studio-built technical effects used on the very end of the record.

Lots of Strings

Around the same time (first week of September) John got busy on "I AM THE WALRUS". As you can imagine this one took a lot of time and The Beatles kept coming back to it right the way through September. The opening features Master Mellotroneer John. Then you hear 8 violins and 4 cellos making all the string music for which producer George Martin did the score. John's singing is double-tracked which means you hear his voice twice-over all through the song. The other instruments are three horns--plus "radio voices" which keep butting in at odd moments. And, of course, there's a full-scale choir on this track. Six boys and six girls belonging to the Michael Sammes Singers. You hear the boys singing "Oompah, oompah, stick it up your jumpah!" and the girls do that "Everybody's got one" bit. Dunno who says "Sit down, father, rest you!" but it sounds very pleasant there at the end doesn't it!

Next on the agenda came the instrumental, "FLYING", which was started on September 8. John plays the main tune on his Highly Intelligent Trained Mellotron and Paul and George play an assortment of guitars. The whole group got together to do the chanting bit later on in the arrangement and at the end electronic sounds take over. John and Ringo built up these sounds in the studio and you hear some of their recorded tape loops played backwards.

Improvements

Before beginning "THE FOOL ON THE HILL", the group decided to do "Your Mother Should Know" again. They didn't like various things about the first version and thought of ways in which it should be improved. After that "THE FOOL ON THE HILL" got under way on September 25. A decidedly Paul sort of ballad with him singing and playing piano. Ringo plays the finger cymbals, George and John use harmonicas and Paul double-tracked his playing of the recorder to make it sound like two. The solo guitar passage is (of course) George. The only other instrument heard on "The Fool on the Hill" is a flute played by Paul.

The last few days of September were used to put the finishing touches on "Walrus". And that was it so far as the "Magical Mystery Tour" soundtrack numbers were concerned.

On October 2 it was time to get going on "Hello, Goodbye". Work on this recording was spread over quite a few weeks because all the four boys were busy editing and doing other jobs connected with the "Magical Mystery Tour" film. You already know that Paul is the lead singer on "Hello, Goodbye" with George joining him and John to supply the answering voices. Those spiky, metallic guitar chords are played by John and George. Session men added the sound of two violas. Paul is on the piano and extra percussion rhythm instruments like bongos and conga drums were brought in towards the end for the Maori finale! Incidentally sessions were delayed a couple of days in October when Paul got a swollen face caused by a hole in one of his teeth. But he's O.K. now!

Their Road Manager Neil Aspinall

Have you ever wondered who gets The Beatles out of bed in time to catch early trains and planes to distant destinations? Who feeds them with supplies of coke and hot dogs when human barriers of stage-door fans fasten the foursome in theatre dressing rooms? Who supervises the plugging in of the group's battery of amplifiers and the assembly of Ringo's precious drum kit?

The busier-than-busy man responsible is Road Manager Neil Aspinall who celebrates his 22nd birthday this month (13 October). Since May 1960 Neil has travelled everywhere with The Beatles attending to vital details ranging from passports and throat lozenges to rail reservations and hotel keys.

Looks After Reporters

When The Beatles are away from London and the West End offices of their press representative, Tony Barrow, Neil also looks after local reports and photographers who want to collect up-to-date backstage quotes and pics from the four most important names in British pop music today.

Neil Aspinall was born in Prestatyn. His father was in the Navy and his mother had moved from Merseyside to evacuation accommodation on the North Wales coast during the height of the blitz. In 1942 the Aspinalls returned to Liverpool and settled in a house situated only yards away from the Anfield pitch of the city's famous soccer team.

Lessons With Paul

Having passed his eleven-plus exams at West Derby School Neil went on to Liverpool Institute and found himself taking Art and English lessons alongside an equally youthful Paul McCartney. It didn't take Paul and Neil long to meet up with George Harrison who was just a year behind them.

Recalls Neil: "My first encounter with George was behind the school's air-raid shelters. This great mass of shaggy hair loomed up and an out-of-breath voice requested a quick drag of my Woodbine. It was one of the first cigarettes either of us had smoked. We spluttered our way through it bravely but gleefully. After that the three of us did lots of ridiculous things together. By the time we were ready to take the G.C.E. exams we'd added John Lennon to our 'mad lad' gang. He was doing his first terms at Liverpool College of Art which overlooks the Institute playground and we all got together in a students' coffee bar each lunchtime."

Passed 8 G.C.E.'s

Neil took nine G.C.E. subjects and passed all of them except French. He stayed on at school until he was almost eighteen and then left in July 1959 to study accountancy. he spent two years with a firm of chartered accountants and during the second of those years he was augmenting his salary of fifty shillings a week by driving The Beatles to and from local dates on the Mersey Beat ballroom and club circuit.

Raved About Beatles

At this time Neil was living in a large old house where drummer Pete Best ran a cellar club called The Casbah. The Beatles used to dump their equipment in the basement because it couldn't be stored in their own homes. While Pete was in Germany Neil helped to run The Casbah Club. "Nobody had heard of The Beatles," says Neil, "but we put up posters saying, 'Coming Soon - Merseyside's Most Fabulous New Group.' We raved about The Beatles to local compere / deejay Bob Wooler when he visited the club with Gerry And The Pacemakers. Then we crossed our fingers and hoped they'd live up to our lavish praise when they got back from that first Hamburg trip! When they returned George had started to sing with The Beatles. Before those long eight-hour sessions in Hamburg John and Paul had handled all the vocals. By the time they came to The Casbah they had three regularly featured vocalists instead of two!"

Full-Time Job

It was the group's first post-Hamburg appearances which convinced both Neil Aspinall and Bob Wooler that The Beatles were destined to become permanently popular. Bob set up what turned out to be a historic booking for The Beatles at a suburban ballroom - Litherland Town Hall - in December 1960. The capacity crowd of dancers came away having been unexpectedly knocked out by rip-it-up performances of things like "What'd I Say" and "Long Tall Sally." The word spread and The Beatles were on the road to success.

The sharp increase in bookings meant that Neil had to choose between accountancy and working with The Beatles. He chose the full-time job of Road Manager, a decision which, he admits, has brought him a rewarding mixture of excitement, fun and very hard work. FREDERICK JAMES.

Madman Discography

Madman 13-14 - The Beatals - Wildcat!
Madman 41 - Nirvana - Had It All
Madman 72 - Wings - Got Any Toothpicks?
Madman 98 - Bob Dylan - Sweet Marie

Bob Dylan - Sweet Marie

Label: Madman 98

Total Time: 72:30

San Jose Arena, San Jose, California May 19, 1998
1. Absolutely Sweet Marie (4:22)
2. The Man In Me (4:29)
3. Cold Iron Bound (6:44)
4. Just Like A Woman (6:10)
5. Silvio (6:55)
6. Stone Walls and Steel Bars (3:05)
7. Masters of War (5:20)
8. Tangled Up in Blue (8:39)
9. Make You Feel My Love (4:15)
10. band introduction (0:34)
11. Highway 61 Revisited (5:26)
12. Forever Young (6:50)
13. Love Sick (5:23)
14. Rainy Day Women #12 & 35 (4:15)

With over 1000 "Never-Ending Tour" concerts under his belt over the last 10 years, Bob Dylan has established himself as an enigmatic live performer. When he is on, he is unparalleled, singing with emotion and passion like no other. When he is off, he can forget lyrics, play harmonicas in the wrong key, and sleepwalk and mumble his way through an entire show. On May 19th, he was ON. Following Van Morrison and Joni Mitchell on a dream triple bill, Dylan tears the place down from the first notes of "Absolutely Sweet Marie". Here's 70+ minutes of intensity and focus (his entire set), captured on a splendid soundboard recording. Special highlights include a rare performance of "Make You Feel My Love", as well as "Stone Walls and Steel Bars", which has never been officially released.

Wings - Got Any Toothpicks?

Label: Madman 72

Total Time: 56:49

Tracks 1-9 August 22, 1972 Antwerp, Belgium
1. Best Friend (4:09)
2. Soily (4:11)
3. I Am Your Singer (3:22)
4. Seaside Woman (4:05)
5. Say You Don't Mind (3:22)
6. Henry's Blue (6:33)
7. Give Ireland Back To The Irish (3:30)
8. Cottonfields (3:23)
9. My Love (4:40)

Track 10 August 20, 1972 Amsterdam, Holland
10. Henry's Blue (6:52)

Tracks 11-13 August 21, 1972 The Hague, Holland
11. 1882 (6:28)
12. Wild Life (2:21)
13. Hi, Hi, Hi (2:28)

Track 14 August 20, 1972 from Dutch Radio
14. Complain To The Queen (1:24)

Harking back to an earlier incarnation of Wings, "Got Any Toothpicks?" is a collection of soundboard recordings from Wings' 1972 Summer Tour Of Europe.

This special 26th anniversary edition has been remastered from newly discovered sources, surpassing all previously available versions of this material.

"Wings Over Europe" hit the road in early July 1972, playing twenty-plus shows by the time the tour wrapped up at the end of August. The set list consisted of a mix of previously released McCartney/Wings tunes as well as providing a showcase for new material scheduled to be included on the group's forthcoming LP. Unfortunately, by the time 'Red Rose Speedway' hit the racks, it had been trimmed to a single disc of studio material, leaving the live recordings and a handful of outtakes by the wayside. All of the recordings assembled here come from the last few dates on the tour, when the tapes were rolling...

This collection of highlights from the first "official" tour, opens with a portion of Wings' show at the Cine Roma in Antwerp, Belgium on August 22, 1972. The tape picks up with the last number of the first set, 'Best Friend.' It was this performance that has served as the basic track for all the different versions prepared for the never issued 'Cold Cuts' collection. The majority of the second set is also included with an added bonus. For the only time on the tour, Paul and Co. performed the Leadbelly standard 'Cottonfields,' a huge European hit for the Beach Boys in 1970.

'Hi, Hi, Hi' and 'Wild Life' both come from the soundtrack of the uncompleted MPL film project, The Bruce McMouse Show. These performances were captured at the Congresgebouw in The Hague on August 21, 1972. Also originating from this concert is Wings' performance of '1882', an unreleased track originally slated to be included on 'Red Rose Speedway.' The version appearing here consists of the live recording after being subjected to additional studio overdubs, most noticeably additional vocals from Paul. On a side note, the commercially released live recording of 'The Mess' was also recorded at this performance.

As Wings was a "real band" opposed to just being Paul's backing group, each member was afforded a solo spot during the show. 'Henry's Blue,' a lengthy, droning 12-bar, complete with unintelligible lyrics served as lead guitarist Henry McCullough's contribution. The second version on this collection comes from Wings' appearance at the Concertgebouw in Amsterdam on August 20, 1972. Also recorded this day was an interview for the Dutch radio program, 'Popsmuk.' To close the broadcast, Paul, Linda and Denny Laine huddled around Henry at the piano and offered an improvised performance entitled "Complain To The Queen."

As previously noted, these recordings represent Paul in a rare democratic 'group' setting, certainly the only time this situation has existed outside of the Beatles. Not surprisingly, this period was also Wings' least successful in a commercial sense, forcing Paul to the fore on the 'Red Rose Speedway' LP, evidenced by the 'Paul McCartney and Wings' moniker on the cover. This disc contains several of the surviving documents of that era.