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The Beatles - Shea!/Candlestick Park

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Scan submitted/created by [Thomas Drozewski, seltaebjpgr@mediaone.net]

Publisher: Spank Records
Reference :SP-109
Date :1994
Made In :Australia
Quality :ADD
Booklet & packaging :44 pages - photos/commentary
(there's also a standard edition with 4 page booklet)
Total duration: 53:24

Comments
Boxed edition with 44 page booklet or standard edition with 4 page booklet.
Tracks 1-10 Shea Stadium 15 Aug 1965
Tracks 11-21 Candlestick Park 29 Aug 1966
Candlestick Park recorded with Tony Barrows audio cassette recorder (with a C-60 cassette), so the last track is incomplete.

"The audio tapes [of Shea Stadium performance] revealed not only musical flaws on The Beatles' part but also technical imperfections caused by the sheer size of the venue, the high-decibel screaming and the less than state-of-the-art mobile recording equipment around in 1965. To have screened unaltered usch a high-profile film on peak-time television would have done the group a disservice.

So it was that, amid some secrecy, the Beatles came to CTS studios in central London this day, to 'sweeten' the soundtrack, by whatever means necessary, of their production film 'The Beatles At Shea Stadium'.

The session began with Paul only, overdubbing new bass tracks onto DIZZY MISS LIZZY, CAN'T BUY ME LOVE, BABY'S IN BLACK and I'M DOWN. Onto this latter song John also overdubbed a new organ track.

More drastic repair work was then effected by the group as a whole, with entirely new recordings completed for two songs: I FEEL FINE (done at George Martin's specific request) and HELP!. The Beatles strove to re-create a live-concert sound with these recordings rather than their more typical EMI studio feel, and they also had to match carefully their singing and playing with the on-screen images, hence the use of CTS, the premier audio-to-film dubbing studio in London.

To fix ACT NATURALLY [not available here] the Beatles did nothing: the film post-production team merely replaced the Shea Recording with the Beatles' disc version, syncing it to the pictures by means of audience cutaways and even, in places, cuts the music (Intentionnaly or otherwise, one moment - where Ringo's vocal is evident but his mouth is closed - was left in the film uncorrected).

Documentation also suggests that John wished to record a new version of TICKET TO RIDE and that it was done during this CTS session but close study of the film indicates that the original Shea version was used (although perhaps a little instrumental overdubbing was effected).

Additionnally, George Martin desired a new recording of TWIST AND SHOUT but there wasn't time for that. Instead, the post-production team used the unreleased 30 Aug 1965 Hollywood Bowl concert recodring to bolster the sound, causing - in one place - John's live vocal to be double-tracked.

In fact, the Bowl recording was used extensively [...] for recordings of the screaming audience, especially on the two all-new London recordings.

No doctoring appears to have been done to either SHE'S A WOMAN or EVERYBODY'S TRYING TO BE MY BABY [not available here]". (Lewisohn, 1992)