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The Beatles
Shea Stadium, Flushing, Queens, New York
15 August 1965
(SBD>?>FLAC)
01. Interview by Brian Mathew
02. Intro
03. Twist And Shout
04. She’s A Woman
05. I Feel Fine
06. Dizzy Miss Lizzy
07. Ticket To Ride
08. Everybody’s Trying To Be My Baby
09. Can’t Buy Me Love
10. Baby’s In Black
11. Act Naturally
12. A Hard Day’s Night
13. Help!
14. I’m Down
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5 January 1966 CTS Studios, London
Overdub and re-recording session for “The Beatles At Shea Stadium” (TV?>?>FLAC)
15. Dizzy Miss Lizzy (Bass overdub)
16. Can’t Buy Me Love (Bass Overdub)
17. Baby’s In Black (Bass Overdub)
18. I’m Down (Bass & organ overdub)
19. I Feel Fine (Complete re-recording)
20. Help! (Complete re-recording)
21. Ticket To Ride (Possible overdubs)
John Lennon: Vocals/Guitar/Organ
Paul McCartney: Vocals/Bass
George Harrison: Guitar/Vocals
Ringo Starr: Drums/Vocals
This is the complete, unadulterated Shea Stadium soundboard recording.
The following excerpted from "The Beatles Source" web site and describs the tape from which this is taken:
This is the "warts and all" version of the most famous rock concert in history...no remixing,
no re-recording, and no overdubs.
Except, of course, for The Beatles themselves and their inner circle, this writer was assured that he
would be only the second person in the world to ever hear this historic recording that has been stored away
since 1965. In a word...or, maybe a phrase...this is one for the time capsule!
It is not generally known how much "doctoring" was done to prepare "The Beatles At Shea Stadium" for television.
Until the publication of Mark Lewisohn's "The Complete Beatles Chronicles", in 1992, even the most ardent
Beatles experts, were under the impression that, other than the fact that several songs were cut from the
television special due to time constraints, the only such "doctoring" was the substitution of the recorded
single version of "Act Naturally" for Ringo's live vocal.
Lewisohn's chronicle of the Beatles activities on January 5, 1966, however, reveals in detail the extent of
remixing, re-recording, and ovrdubbing. For it was on this day that the group entered CTS Studios in Kensington
Gardens Square, London, to do just that.
CTS (CIne Tele Sound) was the UK's state of the art audio-to-film dubbing studio at the time. Since the advent
of sound motion pictures, such dubbing has been an integral part of movie-making. The practice has been common
in live music film just as long. What artist doesn't want to release the best possible performance?
The reasons The Beatles, Brian Epstein, and producer George Martin, elected to facilitate a makeover, of sorts,
on many of the Shea Stadium tracks, was two-fold. First, even though state of the art technology, by 1965
standards, was utilized for the flm and audio recording of the event, a myriad of complications with the audio
feed arose (eg. drop-outs, missing bass tracks, microphone malfunctions, equalization problems...etc.
The filming of the Shea Stadium concert for television was the first event of any kind (live or in the studio) to
utilize eight cameras. Boy, would we love to get a look at that from eight camera angles and zooms! The bottom
line: technical difficulties necessitated re-recording and overdubbing on certain tracks. Second, the conditions
at Shea Stadium were electrifying from the audiences standpoint. After all, it was the largest audience in
history to ever attend a concert, and the high-decibal screaming was to be expected. From the Beatles standpoint,
between the sheer immensity of it all with 55,600 in the seats, they had a hard time hearing themselves. Under
such conditions, the performance itself is bound to suffer somewhat. But there is no need to make excuses because
from this listeners standpoint, this Beatles "warts and all" performance was just fine. Sure, there were some
strained vocals, a few mangled lyrics, and the like, but overall, nothing avid listeners to the abundance of
Beatles concerts haven't become accustomed to from other '65 shows. It's too bad that some of the banter was
cut, and Ringo's lyric could have made the cut as well. Lewisohn relates that the re-recording and overdubbing
that took place at CTS Studios that day was taken very seriously, as the group wanted to adhere to the
live-concert sound and be careful in matching the singing and playing to the on-screen images...a tough task.
The most striking aspect of listening to the Beatles performance particularly, was the fact that the screaming,
while constant throughout, on this line feed is relegated to the background on this mix. Lewisohn confirms that
screaming from the unreleased Hollywood Bowl performance of August 30, 1965 was extensively incorporated into
the Shea Stadium film. Interesting, eh?We urge you to read Lewisohn's full account in 'The Beatles Chronicles.'
For more information and details, please go to: http://www.beatlesource.com/bs/to-shea1.html
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