By Terry Ott

If you ever get the chance to pick up the complete recorded works of the Beatles at the Hollywood Bowl, circa 1964-5, by all means, do so.

I recently spent a couple of hours listening closely to those recordings-made by Capitol with a 3 track recording machine now some 40 years ago-and it is my opinion that the Fabs' live performances-at least these ones-get undeserved short shrift by critcs.

Maybe it was the fact that the Hollywood Bowl venue gave the boys a little better shot at hearing what they were playing-what with the Bowl's stage and concave perhaps preserving more of their sound amidst the jet engine roar of the shreiking teens-but a careful listen demonstrates the Beatles were in fact turning in quite good performances, despite the hysteria.

And the orginal 3 track stereo tapes are actually pretty well mixed and balanced, and many times you can pick out the excellent work of drummer Ringo Star, and George Harrison's loud lead. The voccals tend to be spotty, but wot the 'ell.

Try as I may, I could never really hear John Lennon's backing guitar, but Paul McCartney's bass lines ususally come through, albeit a little muddy.

So personally, I prefer listening to these tapes, more than the George Martin produced 1977 Live at the Hollywood Bowl LP, which sadly, has still not been released on (legit) CD.

But in comparing the Martin mix to the originals-that were planned for release way back in the mid 60s but called off for as yet not totally explained reasons-the raw tapes come off as unvarnished yes, but also more vital and lively, despite the many mistakes, clunker notes, and recording malfunctions. (They didn't have wardrobe malfunctions back in those days.)

One of my favourite moments occurs in the second 1965 show-the one where Paul's mic craps out for the first half of the show-when as McCartney is attempting to introduce the closing number, I'm Down, John is busy yelling into the mic at his electric piano, "Hello, hello? HELLO?" and Macca decides to plunge right into the screaming, opening lines of the song. Meanwhile, John's mic is obviously working, but the piano is barely audible!

The raw tapes show also that Ringo was able to keep a damn good backbeat, and even acomplish fancy fills when required. And the Lads even manage to sing some pretty nice harmonies when called upon, especially on 1965's Baby's In Black, which did get a legit release on the Real Love CD single in 1996. (Interestingly, the raw tapes show that Apple spliced the introduction of the song from the second show, on to the song recorded during the first show for the CD single, although there was little to choose from the two versions.)

Finally, also of some interest is that George-ever the (quiet) joker-introduced Everybody's Trying To Be My Baby at both '65 shows as coming from an album called "Beatles 93," a sly take on the Beatles 65 Capitol album.

Ah, the good olde daze...

Well by now I guess you have all heard the big news.

Sir Paul McCartney will be the featured performer at this year's Super Bowl in Jacksonville, Florida,in the good old US of A.

Now this should be a damn good show, but then again, how can Macca possibly top last year's boob on the boob tube performance by the sister of the part owner of most of Mac's songs, Janet Jackson?

As far as a skin surprise, Macca realistically could only equal what Jim Morrison of the Doors (allegedly) did, now some 35 years ago.

(For those of you younger Beatle fans, a then young rock God Jim was reported at the time to have briefly flashed his manhood at a Florida show, and was arrested and later convicted and sentenced to jail for his folly. Check out Oliver Stone's The Doors movie for more info and even more scandalous allegations.)

Or to put it another way, Paul would have to equal what John Lennon did for the cover of Two Virgins, to top everyone, including Jim and Janet.

Now we all know how Paul longs to be top dog, or even The King of r&r.

Yet somehow I doubt it-showing it, that is. It is just not SPM's style, and anyway, there will be a tape delay.

However, I can share with you-and this is on deep, deep background from a source I will call Peter Punk-that in the spirit of the defiant 60s and the ground breaking Beatles, Macca will perform the somewhat dodgy Chuck Berry standard, My Ding-a-Ling, just to prove that nobody, not even the FCC or NFL, can tell a Beatle what to do.

The tape delay may result in the TV audience only hearing something like, "I want...play...ding...to...hold," which although palpable nonsense, may be mis-interpreted as "I buried Paul," by those freaks that said he (you) wuz dead.

Remember, you heard it hear foist, Billy Shears. (Another clue for you all.)

It may be true what somebody once said about the Internet being a vanity press for the wankful and needy, but on the other hand, it does tend to be able to find hairs-and split 'em.

Take for instance the new Capitol Albums Vol. 1 CD box set.

Just opening up some Yahoo! Beatles group e-mails, I discovered that (apparently)there is a long box-that I bought-and a short box, that I have not yet seen. This type of silly detail may only be important to those who have not much else to worry about, but another observation of the set caught my eye, and thoughts.

One online reviewer asked why the digi-pack reproductions of the original covers looked like bootlegs. In fact, that reviewer-and I think correctly-pointed out that the Dr. Ebbett's versions of these albums have absolutely pristine copies of the original covers, and if the Dr. can do it, why not Capitol?

Isn't that so much like Apple/Capitol/EMI? They produce a set- possibly aided along by illicit sales of the original albums-and the booters get it better than the real record company!

(Although still yet another Internet reviewer reminded that we don't play the packaging.)

I've even read some reviews that claim some of the Dr. E's versions are at least the equal-or even better-than these new fangled/old ones, that have been "valved," whatever that really is, if in fact it is anything worth mentioning, or even claiming for that matter.

And it really is too bad that the rocket scientists at Apple jerked Bruce Spizer around-they did not include his notes on the tracks as originally intended- because his immense knowledge of the Capitol releases in and outs is sorely missed in the set's booklet (For those that have not already heard, Bruce will supply his notes for a nominal $3, if you contact him via his Website.)

The other-and I'm sure unintended-benefit of this new set is that the remixers, especially the boys from TOUP, are having a field day, reclaiming elements of these mixes, that I'm sure will result in even better faux 5.1 mixes in the very near future.

Still, and after much wanking by many of us, I still like this new set.

Well, the big day is officially tomorrow, but I just couldn't wait, could I?

Neither, it looks, could quite a few others.

Actually, at least one store that I know of in the Hamilton, Ontario area was selling the Capitol Albums Vol. 1 last Friday, sadly to lukewarm interest, I might add.

Embargoing a major release like this is a joke, especially when it is a major chain store told to wait. What is a poor record company PR weasel to do? Walk into Best Buy or Wal-Mart and start yelling at the 20 year old department manager that "that's it! No more Beatle product for you mates!" Yeah sure. Pigs fly before dollars.

But anyways, I didn't buy my set until today, and at first blush I like it, warts and all.

And I do say warts unreservedly because there are in fact quite a few real audio warts, what with staying "true" to the "orginal" stereo and mono mixes- that is IF you believe all the talk from Capitol/EMI-and listening on head phones really bring them out.

For instance, the "stereo" mix of Little Child sounds like, well, shit. Big, sloppy edits that are not there on the mono mix-listen yourself if you disbelieve-yet Till There Was You sounds very good in stereo indeed.

I won't go through the whole mixed bag of Vol. 1 now, but will revisit as required and spirit moves me.

And for me, the overall point of this set is to give the Baby Boomers a comfort level heretofore unknown for 40 years. Being able to actually handle mini replicas of the orginal albums is a warm and fuzzy moment, and the only thing missing is peanut butter, jelly and coke stains on the covers.

Yeah, yeah, yeah and YEAH!.

I got a bit of a chuckle looking over the EMI Canada press release for the upcoming Beatles Capitol Albums Vol. 1 box set.

Funny to me in that one of the pr weasels who threatened me with Beatle excomunication in 1999 when I broke the story-still up on AbbeyRd-of the aborted Sgt. Pepper CD box-as well as the person who I am pretty sure freaked out on a Hamilton, Ont. Cd retailer after the store broke a world-wide embargo and sold me the Anthology DVD set a full week before it's official release (and therafter banned me from the storeas if I could give a shit)-a story also chronicled on AbbeyRd-is still around.

And I also thought it ironic that after EMI forced us nearly 20 years ago to drink the lousy digital Kool-Aid with all those crummy first four UK mono CDs, and not very good stereo ones, we now get what most North American fans wanted all along anyways.

Of course, EMI/Capitol is the big winner in all of this-they basically get to sell the same material twice and sometimes thrice-and depending on your point of view, the fans the losers, or at least the losers of hard earned dollars.

I think that if anyone even dared suggest this new set 15, 10 or even 5 years ago as a possible reality, that person would have been mocked and accused of being on drugs.

But beginning in 1999-drugs or not- I have always said that eventually, EVERYTHING ever put out by the Beatles would be reissued in one form or another, and I still stand by that prediction.

(Most likely the bootleggers influenced this set more or as much as anything else.)

I also notice that at the bottom of the EMI Canada PR, they list the Beatles "core collection," as everything post late 1965, which is to say, oops, there goes those first four UK mono CDs(!), I guess to be replaced by Capitol Vol.1 and presumably Vol. 2, and maybe even 3.

And here's a question: when EMI (finally) get 'round to issuing the Beatles back catalogue in some sort of high end audio, will they then revert to the UK catalogue, because "that is the way the Beatles intended?"

I wonder what will be the "core catalogue" then.

John Lennon once said that so many more people got rich off the Beatles than the Beatles themselves. In the next 5-10 years, that truism may prove obsolete.

Whenever I get a package from Gotham Johnny, direct via courier all the way from the great New York City, I can barely wait to get the darn thing home.

And that's because GJ, my man, ALWAYS comes up with some of the MOST amazing Beatles stuff I have ever had the pleasure to review.

This time, it is Apple studio taped Nagra reels that sound better than anything that I have heard, anyways. And not too many synching (beeeep!) cues get in the way, either.

Multiple takes of Two of Us-including a funny voice gag take- For You Blue and I've Got a Feeling are the best sounding and rocking I've ever come across.

Shows how much really good stuff Phil Spector had to work with.

Then, as an added treat, I also received, "Posters, Incense, and Strobe Candles," described as "the legendary Get Back Radio Broadcast by WBCN, Boston, September 22, 1969," originally on Vigo Tone Vigo 109.

This thing is a mind blower.

"According to Beatle folklore, promotional copies of their unreleased 1969 Get Back LP were distributed to radio stations in the United States," reads the liner notes.

"In fact, no promo copies of the album were issued, although many radio stations aired tapes that were in circulation at the time...a second source for the Get Back material was a referrence acetate prepared by Beatles producer Glyn Johns on March 10, 1969...his tape is significantly different than the final mix, which is widely avilable on illcit records. It's noticably less processed in terms of editing and reverb...this is far and away the best sounding tape of the material you're ever likely to hear."

All I can say after listening to this historic sonic artifact, is that THIS is THE REAL Let it Be/Get Back...Naked!

Virtually every selection on this edition of Get Back is different in some way from any other version I have heard, and I've heard quite a few.

A little bit of surface noise gets a bit in the way, but not enough to spoil the recording with distortation, audio junk, skips, etc.

As Gotham Johnny points out, this version is what John Lennon called "warts and all."

Glyn Johns sure knew what he was doing, and I'm at a loss why this mix was rejected by the Fabs. If the group wanted a "raw" r&r recording of the Beatles, this surely was (is) it.

(And hey! Why was this version not given consideration last year when Apple/EMI finally coughed up (some) of the tapes?)

And the DJ gab is great! This is the way they should do radio, "warts and all."

Plus, even back in 1969, Apple's litigious ways were apparently well known, as the Boston DJ advises that if listeners were to tape the Get Back album off the radio, Apple might pay them a visit.

Guess nothing has changed in 35 years!

Now, some Rock and Roll.

Almost 30 years on, John Lennon's personal jukebox of 50s r&r standards has stood up well.

This CD is simply fun to listen to, and at almost 55 minutes and 4 bonus tracks, it is not a bad value either.

Interestingly, Yoko Ono decided to go light with the CD booklet, which is just a 4 pager.

Perhaps this is her least favourite Lennon era work, as most of the sessions were completed during lennon's (in)famous "lost weekend," when he and Ms. Ono were apart for close to 18 months circa 1973-4. In fact, unlike all of John's post Beatle work, I believe Rock and Roll was the only Lennon work without Ms. Ono's input.

As I mentioned in an earlier BB, this album was not really a fave of mine when it appeared in 1975, but ever since I heard the outtakes from the sessions contained in the Lennon Anthology box set, I was hooked.

This CD also re-affirms the fantastic set of rock and roll pipes owned by John Lennon, who always was self concious of his singing voice. John CAN rock with the best of them, no doubt about it.

And with the improved sound and remastering job on this CD, the brilliance of producer Phil Spector-who legend has it pulled out a gun and fired it in the studio prompting Lennon to supposedly say, "Phil if you want to f**king kill me, go ahead but if not put away the gun as it's wrecking my hearing," or something to that effect-really shines through.

(And given recent events, Spector would have done well to take heed of John's advice and get rid of his guns.)

I hope one day that this release gets the "deluxe edition" treatment as a double CD with lots of alts and outs.

But for now, well worth the $15.

I really like the new John Lennon Accoustic CD.

I find something subtly comforting listening to Mr. Lennon alone with his six string, and as Yoko Ono remarks in the CD booklet this is music "from his heart."

And speaking of the booklet, there are some great pix of John and Yoko from what appears to be the Double Fantasy era. In addition, the booklet has reproduced all of the songs lyrics, as well as a guitar chord chart.

Watching The Wheels-with some alternate lyrics- is a real keeper on this CD, as is Real Love. Of the "old" stuff, Working Class Hero really kicks rich man ass.

I would have liked to hear the accoustic demo of Free As A Bird which the Threatles added to and used for Anthology, but what 'ell, maybe the next time.

My only moderate quibble is that this CD is just too damn short, even though it does have 7 previously unreleased tracks.

And is Ms. Ono unaware that many artists are now routinely providing at least 60 minutes per album, and some reissues stretch to over 70 minutes? This CD is only 44 minutes long, a total that was customary when vinyl records were the technology of the day. Note to Yoko: CDs can hold 80 minutes!

Of course, only Yoko knows what's left in the Lennon musical vault, but I'd hazzard a guess it's a lot more than the 44 minutes we get with Accoustic.

Other than the above concern-and a version of Cold Turkey in which John sounds a little like an alley cat in heat- this is a great release.

As we await the release on Nov. 2 of John Lennon's Accoustic CD, I got to thinking about the choice of tracks.

I always "got" the idea and notion behind Woman Is the Nigger Of the World-which is included on Accoustic-and John had said many times that the title was inspired by Yoko Ono's musings on the state of femininity circa 1972.

And 30 years ago, the use of the word "nigger" was not the A-bomb that it is today, and Lennon's metaphorical pro-woman song even got played on the radio, although it was never a hit or anything close to it.

So of all the dozens of songs that Ms. Ono could choose for this new compilation, it is interesting that she decided to put WITNOTW on the new release.

Obviously, she may feel that the premise of the song is still relevant, 32 years after the fact.

But I doubt that I could get away with broadcasting the song, or even repeating its title on the AM radio station that I broadcast on, no matter how much premise and perspective the tune was afforded before hand.

Funny how things have changed since the 70s.

When Captiol re-released Got To get You Into My Life in 1976 with a flip side of Helter Skelter, a Buffalo, NY disc jockey told me that if he played HS, he would be fired.

Yet today, to play HS or discuss its (bizarre) connection to Charles Manson doesn't even raise an eyebrow, let alone get someone fired.

But if WISTNOTW was the song in question and on the air, heads would surely roll.

Ironic, isn't it?

I trust Ms. Ono knows what she's doing.