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Adelaide Reaction (PC-163/164) includes material from June, 1964 specifically: Netherlands 6/5/64, Bloccker 6/6/64(Early & Late), Adelaide 6/12/64, Melbourne 6/17/64(Early & Late), Sydney 6/18-20/64 Melbourne(video mix) 6/17/64(late).

http://www.collectorsmusicreviews.com/announcements/new-beatles-on-silver/

Ïîäðîáíîñòè î ðåëèçå "Adelaide Reaction"
ñì. https://www.beatles.ru/postman/forum_messages.asp...type=1&word=adelaide&headers=1#1012487

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Adelaide Reaction (Purple Chick PC-163/164)

Disc 1 (79:15) The Beatles in Nederland - 5 June, 1964: 1: interview (Denmark and The Netherlands), 2: She Loves You (Denmark and The Netherlands), 3: All My Loving (Denmark and The Netherlands), 4: Twist And Shout (Denmark and The Netherlands), 5: Roll Over Beethoven (Denmark and The Netherlands), 6: Long Tall Sally (Denmark and The Netherlands), 7: Can’t Buy Me Love (Denmark and The Netherlands,

Blokker, The Netherlands - 6 June, 1964 (early): 8: intro (Miscellaneous Tracks 2005), 9: I Saw Her Standing There (Miscellaneous Tracks 2005 + Denmark and The Netherlands), 10: I Want To Hold Your Hand (Denmark and The Netherlands), 11: intro (Denmark and The Netherlands), 12: All My Loving (Denmark and The Netherlands), 13: She Loves You (Denmark and The Netherlands), 14: intro (We’d Like To Carry On), 15: Twist And Shout (We’d Like To Carry On), 16: Long Tall Sally (We’d Like To Carry On + Vinyl To The Core),

Blokker, The Netherlands - 6 June, 1964 (late): 17: intro (We’d Like To Carry On), 18: I Saw Her Standing There (We’d Like To Carry On), 19: I Want To Hold Your Hand (We’d Like To Carry On)
20: intro (We’d Like To Carry On), 21: All My Loving (We’d Like To Carry On)

Adelaide, Australia - 12 June, 1964: 22: intro (300,000 Beatle Fans Can’t Be Wrong), 23: I Saw Her Standing There (300,000 Beatle Fans Can’t Be Wrong), 24: I Want To Hold Your Hand (300,000 Beatle Fans Can’t Be Wrong), 25: All My Loving (300,000 Beatle Fans Can’t Be Wrong), 26: She Loves You (300,000 Beatle Fans Can’t Be Wrong), 27: Till There Was You (300,000 Beatle Fans Can’t Be Wrong) 28: Roll Over Beethoven (300,000 Beatle Fans Can’t Be Wrong), 29: Can’t Buy Me Love (300,000 Beatle Fans Can’t Be Wrong), 30: This Boy (300,000 Beatle Fans Can’t Be Wrong), 31: Twist And Shout (300,000 Beatle Fans Can’t Be Wrong), 32: Long Tall Sally (300,000 Beatle Fans Can’t Be Wrong), 33: outro (300,000 Beatle Fans Can’t Be Wrong + 300,000 Beatle Fans Can’t Be Wrong vinyl)

Disc 2 (76:48) Melbourne, Australia, 17 June, 1964 (early): 1: intro (Australian Tour 1964), 2: I Saw Her Standing There (Australian Tour 1964), 3: You Can’t Do That (Australian Tour 1964), 4: All My Loving (Australian Tour 1964), 5: She Loves You (Australian Tour 1964), 6: Till There Was You (Australian Tour 1964), 7: Roll Over Beethoven (Australian Tour 1964), 8: Can’t Buy Me Love (Australian Tour 1964)
9: This Boy (Australian Tour 1964), 10: Twist And Shout (Australian Tour 1964), 11: intro to long tall sally All The Best From Australia)

Melbourne, Australia, 17 June, 1964 (late): 12: intro (Message To Australia), 13: I Saw Her Standing There (Message To Australia), 14: You Can’t Do That (Message To Australia), 15: All My Loving (Message To Australia), 16: She Loves You (Message To Australia), 17: Till There Was You (Message To Australia)
18: Roll Over Beethoven (Message To Australia), 19: Can’t Buy Me Love (Message To Australia), 20: This Boy (Message To Australia), 21: Twist And Shout (Message To Australia), 22: Long Tall Sally (Message To Australia)

Sydney, Australia - 18-20 June, 1964: 23: intro (Make As Much Noise As You Like), 24: I Saw Her Standing There (Make As Much Noise As You Like), 25: You Can’t Do That (Make As Much Noise As You Like)

Original source notes: “You probably don’t need another live Beatles collection, but here’s one anyway, taking us through to the conclusion of their first world tour, with Jimmy Nichols on drums for Disc One.”

“Carefully compiled and restored from the best sources we could find. As always, we didn’t just copy the audio from the listed sources - instead, we tried to work some of our patented sonic magic when necessary. Of course, the quality still varies from dire to delightful, but you knew that already.”

“What’s interesting is that we have two different in-line mixes for (most of) the second Melbourne show. We briefly toyed with the idea of combining them, but they didn’t produce a satisfying stereo image.”

“Purple Chick discs are fan created and NEVER FOR SALE!”

Purple Chick has a reputation for being the label of choice for hardcore Beatles fans and has released 6 double volumes of live Beatles concerts beginning with “Live 01 - Star Club”, “Live 02 - Before America”, “Live 03 - Conquering America”, “Live 04 - Adelaide Reaction”, “Live 05 - Seattle Down” and “Live 06 - Convention Hall Wisdom” [PC-157/158/159/160/161/162/163/164/165/166/167/168] of which “Adelaide Reaction June 1964″ + “Convention Hall Wisdom” see their release in original silver label issue.

The mere thought of a Purple Chick release on silver label issue must seem abhorrent and an aberration to this loyal fan base. I say, what we have here is potentially the best of both worlds although it is necessary and fair to emphatically state that Purple Chick had nothing to do with this development and, hence, did not sell out here.

Disc One begins with the June 4. 1964 Beatles performance in Denmark featuring none other than Jimmy Nichol on drums as a “temporary Beatle” to cover for Ringo who collapsed the day before at an early morning photo shoot with 102-degree fever and tonsillitis. Nichol played with the Beatles until Ringo was able to join them in Melbourne later that month. “All My Loving” offered different pitched harmonies. Nichols was not as forceful or dramatic as Ringo on “Twist And Shout”. Wild and manic clapping helped “Roll Over Beethoven” take off. The Beatles are heard in extreme clarity with intermittent crowd enthusiasm and howls mostly in the backround. Nichol is able to be heard in front of the mix on this track. The silence between tracks and the crowd reactions is startling. Before breaking into “Can’t Buy Me Love”, the Beatles announce: “The next song will be the last song for us. Clap your hands, stomp your feet.” Clearly the Beatles egged their crowds on.

We move into the June 6, 1964 early Netherlands performance with crowd excitement abundant and whistles left and right. “I Saw Her Standing There” sounds like a distant audience recording but easy to listen to. It is easy to discern that Nichol is on drums on a more melodic version of “I Want To Hold Your Hand”. Nichol offered a plodding beat on this track that had the crowd singing along throughout its duration. It is next to impossible to hear the Beatles singing on “All My Loving” as the crowd takes over again in unison for the entire track. At the end of the song one can hear: “Thank you very much” deep in the backround. “She Loves You” sounded a bit like a karokee sing along with the track fading out before completion. The fidelity improves with “Twist And Shout” but unfortunately includes the announcer, in pristine fidelity, talking over the entire performance. “Long Tall Sally” fades out at the 22 second mark to end this show.

The June 6, 1964 late Netherlands concert begins with the wild and hysterical sounding crowd and a fade in to “I Saw Her Standing There” with some mild, though not annoying, distortion at the upper registers featuring solid aggressive jamming by the Beatles. “I Want To Hold Your Hand” fades in and lasts only 19 seconds. “All My Loving” in excellent fidelity intermittently fades in and out in a continuous 47 second feed.

The June 12, 1964 Adelaide performance is the last one featuring Nichol on drums and starts with the Intro: “Wow, you’re gonna be, you’re gonna be a good audience aren’t you. You’re not going to do silly things like they do overseas. Please stay right where you are. Scream after the numbers . Please, let’s hear them sing. What can you say. Complete silence. Complete silence. You can’t say anything else but, ladies and gentlemen, THE BEATLES!” The concert kicks off with “I Saw Her Standing There” and the crowd noise and hysteria reaching deafening proportions. The voices were crystal clear with the bass up front and the vocals + guitars secondary in the mix. Harrison sounded good on lead guitar with the bass, again, carrying the track. The guitars, bass and vocals were very clear on “I Want To Hold Your Hand”. Prior to “All My Loving”, McCartney states: “First of all, we’d like to thank everyone for the marvelous welcome we’ve had in Adelaide”. The crowd goes insane and absolutely hysterical intermittently. The Beatles, surprisingly, are heard in very good clarity on this track. The vocals, guitars and crowd are heard up front in the mix in “She Loves You”.

McCartney is in fine form with his defined bass lines on “Till There Was You” which also featured stellar guitar(s). The crowd, thankfully, was mostly in the backround to help appreciate this gem. The guitars, bass and vocals were, again, up front in the mix on “Roll Over Beethoven”. McCartney, afterwards, implores the raucous crowd just prior to “Can’t Buy Me Love”: “We’d like you to join in if you would…Do that all through the song”. The percussion from Nichol can finally be heard with “This Boy”, a ballad featuring quite defined and pronounced bass. Lennon is howling to the extreme in blues like fashion on “Twist And Shout” while Nichol can be heard once again. McCartney states: “Thank you. We’d like to finish off…” as his voice cracks and they break into “Long Tall Sally” with Nichol heard again throughout the track. The announcer comments in the Outro: “The Beatles. Let’s hear it. Please stay where you are. Let’s hear it for them…Even though you didn’t do what I said, it was marvelous anyway…”

Disc Two begins with the June 17, 1964 early Melbourne show. The crowd was wild and hysterical. A full band sound was heard for “I Saw Her Standing There” with the bass and drums, especially the drums, up front in the mix. Welcome back Ringo! The instrumentation is clear, the bass is defined and the crowd is at a constant ear-splitting fever pitch on “All My Loving”. The guitars are way up front in the mix on “Can’t Buy Me Love”. Prior to “Long Tall Sally”, McCartney says: “For all of us, it’s really good to have Ringo back”. There was a cut with no “Long Tall Sally” here.

The June 17, 1964 late Melbourne show began with the Intro: “Ladies and gentlemen, the biggest attraction in the whole world, THE BEATLES!” The harmonies stood out on “You Can’t Do That” with Harrison letting it out on guitar and complemented with Ringo’s steady beat. A jangled sounding guitar with a strong rhythm section in tow was captured along with Harrison’s perfect harmony complementing “All My Loving”. It was wonderful to also hear the lavish instrumentation and exquisite touch by Ringo elevating the relaxed + infectious mood on “Till There Was You”. Harrison’s guitar was piercing throughout “Can’t Buy Me Love” with Ringo’s incessant drumming out of control + filling the grooves of a very interesting + compelling version of “Can’t Buy Me Love”. Great harmonies are featured on “This Boy”. The band literally tears into “Twist And Shout” offering a ferocious rock and roll fueled engine that roared and wouldn’t quit. Prior to “Long Tall Sally”, McCartney said: “One more thing. It’s all very nice for us to have back with us, Ringo”.

The June 18 - 20, 1964 Sydney concerts are offered here in the shortest of snippets. Both “I Saw Her Standing There” and “You Can’t Do That” fade out almost as quickly as they start in decent audience sound.

Disc Two closes with the June 17, 1964 late Melbourne Video Mix. We get a fade in to “I Saw Her Standing There” and a fade out of “Till There Was You” after 8 seconds. “Roll Over Beethoven” lasts about 1:17 and then fades into “Can’t Buy Me Love”. “This Boy” is skipped. Nothing really special here with the truncated Video Mix.

I did compare The Beatles/”Australian Tour 1964″ on Yellow Dog [YD 070/071] with the above Purple Chick release for the June 17, 1964 early and late shows and found no discernible difference in the fidelity for the early show. However, there is more gain and punch with the first in- line transfer of PC-164 as compared to YD 071 and YD 071 also sounds a bit constricted with a tunnel like reproduction confirming Purple Chick’s hand in providing some of their patented sonic magic. The above Purple Chick 2 CD release comes with thick + tasteful informative inserts and offers a wonderful chronological capsule of the Beatles June 1964 Australian performances in primarily an excellent, captivating and exciting sounding format that comes with high recommendations.

http://www.collectorsmusicreviews.com/beatles/beatles-adelaide-reaction-purple-chick-pc...

Original source notes: “The sixth volume of the Beatles’ live career finishing off their first U.S. tour and bringing us to the end of 1964, plus an orphan show from 1965 (there won’t be room for it next volume!)”“As always. some shows already sounded great (like Indianapolis), our proprietary audio equalization and clean-up system made some significant improvements (like Philadelphia) while some shows were really beyond redemption (like Montreal).”

“Purple Chick discs are fan created and NEVER FOR SALE!”

Purple Chick has a reputation for being the label of choice for hardcore Beatle fans and has released 6 double volumes of live Beatles concerts beginning with “Live 01 - Star Club”, “Live 02 - Before America”, “Live 03 - Conquering America”, “Live 04 - Adelaide Reaction”, “Live 05 - Seattle Down” and “Live 06 - Convention Hall Wisdom” [PC-157/158/159/160/161/162/163/164/165/166/167/168] of which “Adelaide Reaction June 1964″ + “Convention Hall Wisdom” see their release on original silver label issue with the latter being reviewed here.

The mere thought of a Purple Chick release on silver label issue must seem abhorrent and an aberration to this loyal fan base. I say once again, what we have here is potentially the best of both worlds although it is necessary and fair to emphatically state once again that Purple Chick had nothing to do with this development and, hence, did not sell out here.

Disc One begins with the 9-2-64 Beatles performance at Convention Hall in Philadelphia. We are introduced so to speak to the crowd for the first seconds of the recording and then “Twist And Shout” with fluctuating sound. The vocals are very clear with the ongoing crowd buzz in the backround on “You Can’t Do That”. McCartney says: “Thank you very much and good evening - how are you” before they break into “All My Loving” featuring Lennon’s effective harmonization with McCartney. Lennon follows with: “Our next song is an oldie from last year” which leads into “She Loves You”. Harrison harmonizes nicely on “Things We Said Today” which is delivered in a smooth, hypnotic and appealing manner. There is no introduction to “Roll Over Beethoven” which is played incredibly fast and in charged form. McCartney asks the audience: “We’d like you to join in on this song…” prior to “Can’t Buy Me Love”. Lennon cracks up laughing toward the end of “If I Fell”. After “I Want To Hold Your Hand”, McCartney states: “Thank you very much. Thank you. Next - hang on just a second. We’d like to do something that we don’t get often much of a chance to doing. We’d like to feature somebody who doesn’t get much of a chance - who doesn’t get much of a chance to sing so - now a special feature singing a feature from our first Capitol album singing a song is RINGO” as they break into “Boys” with Ringo delivering a great charged lead vocal as the crowd pitch continues to elevate. The fidelity is enhanced for most of “Long Tall Sally” which ends the set.

The September 3, 1964 Indianapolis concert at the State Fair Coliseum is a wonderful excellent audience recording which is kicked off with the announcer in crystal clear voice: “…One minute. Just one quick second. Thanks a million for being such a great crowd. I didn’t come up to the Frank Sinatra age. I, I think he is one of the greatest. I miss the Sinatra era. I was right in the middle of the Elvis Presley era but I have never in my life seen anything like you know who. On behalf of all, of the State Fair Board and all of the good guys from WYFE - may I present THE BEATLES”.

The crowd sounds utterly “mad” and driven. “Twist And Shout” bursts out in tremendous fidelity. Lennon’s raspy delivery is accentuated on “You Can’t Do That”. McCartney’s voice sounds great on “All My Loving”. Lennon + McCartney complement each other perfectly on a great rendition of “She Loves You”. “Things We Said Today” is played fast with the bass sounding so clear that it gives you the shivers. The percussion is crisp and steady. Ringo is all over the kit on “Roll Over Beethoven” with the cymbals completely filling the grooves of this track. There are nice deep pulsating bass lines on “If I Fell” with the harmonies sounding a bit tentative. Lennon sounds like he is going to crack up laughing at several junctures in this track. The rhythm section is strong and powerful on “I Want To Hold Your Hand’. The Beatles really jam on “Boys” which is indicative of their infectious sheer and raw energy. Lennon states: “Thank you Ringo”. Ringo replies: “Thank you John”. Lennon states: “Thank you Ringo”. “A Hard Day’s Night” was played fast + hard with Lennon’s guttural delivery so apparent. This stellar concert performance ends with “Long Tall Sally” which cuts abruptly at the 53 second mark which is noticeable considering the incredible fidelity of those precious 53 seconds.

Disc Two begins with listing several tracks from the 9-5-64 Chicago International Amphitheatre and several tracks from the 9-6-64 Detroit Olympia Stadium venues but music is only actually heard, if for only seconds, on the 4th track, “Can’t Buy Me Love”, with the announcer stating: “The Beatles, well - they were in there somewhere”.

Tracks 5 through 7 cover the 9-7-64 Toronto Maple Leaf Gardens performance with “You Can’t Do That” lasting a mere 32 seconds offering sounds of bass, guitars and, to a lesser extent, vocals. A full rendition of a track, finally, appears with “All My Loving” featuring crowd fanfare that is louder than the music more than intermittently throughout this number in good audience quality. “She Loves You” ends the set clocking in at 1:13.

We move on to the 9-8-64 Montreal concert at the Montreal Forum that was described in the original source notes as being “beyond redemption”. Interestingly enough, I found that Purple Chick [PC-168] represents an upgrade over “Upgrades And Additions Vol. 2″ on Monochrome [MC-03006] which includes the same above 10 concert tracks. PC-168 exhibits more gain and a more defined low end and is certainly more conducive to achieving a reasonable listen. PC-168 is a good compressed audience recording with minimal audience sounds which exhibits some distortion at high registers. “Roll Over Beethoven” features a frenzied guitar attack with slightly improved sound. The Beatles, interestingly enough, manage to use the same lines for the introductions of “Can’t Buy Me Love” + “If I Fell”. I was finally moved to notice that on “Boys” Lennon, McCartney & Harrison harmonize in unique fashion to this Starkey lead track. They sound as if they are naturally extending their high-pitched and exaggerated collective harmonies as these 3 do not need to carry the track vocally. John + Ringo thank each other repeatedly,back and forth, after the track. “A Hard Day’s Night” follows and cuts out at 1:39.

Original source notes: “The ninth volume in our ‘all the good titles are taken already’ overview of The Beatles’ live career. This brings us to the end of their second U.S. tour and, unfortunately, to the end of the surviving 1965 shows. We’d love to hear a tape from their December British tour.Most of these recordings already sounded fine, although the less said about Minneapolis the better. Even so, we still ran our proprietary audio clean-up system. We think the re-edit and re-eq of the afternoon San Francisco show is the most significant improvement.

Our Hollywood Bowl Deluxe Edition has different edits/mixes, but these are the same unedited stereo tapes of the 1965 Hollywood Bowl shows. (We also fixed a tape stretch in I Feel Fine on the 30th. Wow.)

As always, Purple Chick discs are fan created and NEVER FOR SALE!!!
Don’t ever buy these discs. Ever”.

Purple Chick has a reputation for being the label of choice for hardcore Beatle fans and has released 9 double volumes of live Beatles concerts beginning with “Live 01 - Star Club”, Live 02 - Before America”, “Live 03 - Conquering America”, “Live 04 - Adelaide Reaction”, “Live 05 - Seattle Down”, “Live 06 - Convention Hall Wisdom”, “Live 07 - Les Beatles En Europe”, “Live 08 - Sheaken, Not Stirred” + “Live 09 - Bowled Over” [PC-157/158/159/160/161/162/163/164/165/166/167/168/169/170/171/172/173/174] of which “Adelaide Reaction”, “Convention Hall Wisdom”, “Les Beatles En Europe”, “Sheaken, Not Stirred” + “Bowled Over” see their release on original silver label issue with the latter being reviewed here.

The mere thought of a Purple Chick release on silver label issue must seem abhorrent and an aberration to this loyal fan base. I say once again, what we have here is potentially the best of both worlds although it is necessary and fair to emphatically state once again that Purple Chick had nothing to do with this development and, hence, did not sell out here.

There have been ample releases of live Beatles performances captured in varying sound quality on Yellow Dog, Silent Sea, DarthDisc, Dr. Ebbetts, Great Dane Records, Secret Trax and VigOtone labels to name just a few. Purple Chick advertises that they feel the afternoon San Francisco show bears the most significant improvement in their ninth volume of live Beatles releases resulting from their re-edit and re-eq of this show. I compared PC-173/74 with “The Beatles - U.S.A. Vol. 3 Live Anthology: Tour Of America 1965/1966″ on MBE [MBE-010-0021/2] label release and felt that the gain, generally speaking, was accentuated on MBE and it offered more dynamic range overall and represented an easier listen especially for the horrid sounding Minneapolis 8-21-65 concert. Purple chick has applied its wizardry in cleaning up some of these shows but, unfortunately, the impact and excitement associated with these live performances is diminished due to the reduced gain/volume and lack of punchiness as compared with MBE.

PC-173/74, however, reflects a successful tweaking of some of these recordings and comes with thick + tasteful inserts and graphics which serve to enhance Purple Chick’s hand in providing some of their patented sonic reproductive magic once again.

http://www.collectorsmusicreviews.com/beatles/beatles-live-bowled-over-purple-chick-c-1...

Live: Sheaken, Not Stirred (Purple Chick PC-171/72)

DISC ONE [67:54] :

Shea Stadium, New York, NY - 15 August, 1965
1: intro (The Greatest Live Moment Of Their CareLive Collection Volume 1)
25: A Hard Day’s Night (The Ultimate Live Collection Volume 1)
26: Help! (The Ultimate Live Collection Volume 1)
27: I’m Down (The Ultimate Live Collection Volume 1)
28: outro (The Ultimate Live Collection Volume 1)

Original source notes: “Volume eight in the ‘you probably already have most of this’ live collection. The beginning of the Beatles’ second U.S. tour marked the start of their performing decline. Purple Chick discs: fan created NEVER FOR SALE!!!

You know the drill. Just a little audio tweaking where necessary. Probably most noticeable in the Atlanta show. Also, this might be the first time the Atlanta tape has appeared glitchless”.

Purple Chick has a reputation for being the label of choice for hardcore Beatle fans and has released 9 double volumes of live Beatles concerts beginning with “Live 01 - Star Club”, Live 02 - Before America”, “Live 03 - Conquering America”, “Live 04 - Adelaide Reaction”, “Live 05 - Seattle Down”, “Live 06 - Convention Hall Wisdom”, “Live 07 - Les Beatles En Europe”, “Live 08 - Sheaken, Not Stirred” + “Live 09 - Bowled Over” [PC- /158/159/160/161/162/163/164/165/166/167/168/169/170/171/172/173/174] of which “Adelaide Reaction”, “Convention Hall Wisdom”, “Les Beatles En Europe”, “Sheaken, Not Stirred” + “Bowled Over” see their release on original silver label issue with PC-171/72 being reviewed here.

The mere thought of a Purple Chick release on silver label issue must seem abhorrent and an aberration to this loyal fan base. I say once again, what we have here is potentially the best of both worlds although it is necessary and fair to emphatically state once again that Purple Chick had nothing to do with this development and, hence, did not sell out here. There have been ample releases of live Beatles performances captured in varying sound quality on Yellow Dog, Silent Sea, DarthDisc, Dr. Ebbetts, Great Dane Records, Secret Trax and VigOtone labels to name just a few.

I compared PC-171/72 with “The Beatles - U.S.A. Vol. 2 Live Anthology: Tour Of America 1965″ on MBE [MBE-009-0021/2] label release. PC-171 offers a cleaner and less distorted Shea 8-15-65 as opposed to an abrasive sounding MBE-009-0021 that exhibits marked increased gain. PC-171 delivers Atlanta 8-18-65 a bit cleaned up with some distortion and more enhanced bass compared to MBE-009-0021 that has more gain and distortion present in the mix. PC-172 turns in a toned down sounding afternoon Houston 8-19-65 compared to MBE-009-0022 which exhibits increased gain, brightness and a more pulsating bass. PC-172 evening Houston 8-19-65 sounds tinny as opposed to MBE-009-0022 which packs more punch with enhanced bass and overall gain and an in yourge_top_header"

http://www.collectorsmusicreviews.com/beatles/beatles-live-sheaken-not-stirred-purple-c...

Original source notes: “The seventh volume in our continuing overview of The Beatles’ live career, highlighting their brief 1965 European tour and then moving to America. As always, we think these are (objectively) the most complete and (subjectively) the best sounding versions of these shows to date. Performance-wise, they’re not so bad either. Of course, your mileage may vary, and some shows will always sound pretty dire.

As always, Purple Chick discs are fan created and NEVER FOR SALE!!! Don’t ever buy these discs. Ever”.

Purple Chick has a reputation for being the label of choice for hardcore Beatle fans and has released 9 double volumes of live Beatles concerts beginning with “Live 01 - Star Club”, Live 02 - Before America”, “Live 03 - Conquering America”, “Live 04 - Adelaide Reaction”, “Live 05 - Seattle Down”, “Live 06 - Convention Hall Wisdom”, “Live 07 - Les Beatles En Europe”, “Live 08 - Sheaken, Not Stirred” + “Live 09 - Bowled Over” [PC-57/158/159/160/161/162/163/164/165/166/167/168/169/170/171/172/173/174] of which “Adelaide Reaction”, “Convention Hall Wisdom”, “Les Beatles En Europe”, “Sheaken, Not Stirred” + “Bowled Over” see their release on original silver label issue with PC-169/70 being reviewed here.

The mere thought of a Purple Chick release on silver label issue must seem abhorrent and an aberration to this loyal fan base. I say once again, what we have here is potentially the best of both worlds although it is necessary and fair to emphatically state once again that Purple Chick had nothing to do with this development and, hence, did not sell out here.

There have been ample releases of live Beatles performances captured in varying sound quality on Yellow Dog, Silent Sea, DarthDisc, Dr. Ebbetts, Great Dane Records, Secret Trax and VigOtone labels to name just a few. I compared PC-169/70 with “City Of Light” on DarthDisc [DD 007/8] and “Paris Landing June 20, 1965″ on Godfatherecords [G.R. 333] for the afternoon + evening Paris 6-20-65 shows and PC-169/70 with “The Beatles In Italy 1965″ on Misterclaudel [mccd - 033] for the afternoon + evening Italy 6-27-65 shows.

PC-169 afternoon Paris 6-20-65 has more defined bass, less distortion and gain compared DD 008. PC-169 evening Paris 6-20-65 sounded constricted compared to DD 008 that breathed more and offered steady audience buzz in the background. It did feature what I considered to be non-bothersome hiss. PC-170 afternoon Italy 6-27-65 sounded like a distant audience feed with some defined bass compared to mccd - 033 “aired version” which sounded hissy and without audience buzzing while exhibiting more distortion. However, mccd - 033 “soundboard version” was, hands down, the best source of all of the above. PC- 170 evening Italy 6-27-65 is a soundboard source compared to mccd - 033 which is a distant distorted audience.

G.R. 333 offered the best fidelity for both afternoon and evening Paris 6-20-65 shows. The bass was well defined, there was more gain without any distortion, enhanced dynamic range and a sharper audience feed. I recommend this source for the Paris 6-20-65 shows without reservations.

PC-169/70, once again, reflects, more often than not, a successful tweaking of some of these recordings and comes with thick + tasteful inserts and graphics which serve to enhance Purple Chick’s hand in providing some of their patented sonic reproductive magic. Seems like you almost need a scorecard to keep track of these ever-increasing sources.

http://www.collectorsmusicreviews.com/beatles/the-beatles-live-les-beatles-en-europe-pu...