The Beatles live at Stowe School, Buckinghamshire, 4 April 1963

2Xmastime:

>In spite of All the Danger тоже невозможно слушать
>- песня отстой, запись скрипит...

Шикардос, всяко лучше этого любительского концерта :)


У меня был запиленный винил Эбби Роуд на Here comes the sun, а мне было пофиг :)

2Стас:

>2Dr. Pepper:
>>Hey Good Lookin
>К сожалению мы эту песню не услышим...


Ну хотя бы примерно, 31 января 1969. Даже есть немного видеоряда, но не нашел на youtube

На данный момент, наиболее полная рецензия с сайта beatlegdb.com
Гугл переводит кривовато, текст имхо заслуживает хорошего перевода. Поэтому выкладываю как есть.

First track is 34 seconds of warmup which sounds uncannily like the beginning of "Pepper".. an audience restless in their seats and a band tuning up (even a couple seconds of classical music for some reason).

"I Saw Her Standing There" is first, sounding much like the Star-Club renditions, except after the (smokin') guitar solo, they seem lost as to whether a second bridge ("my heart went boom") or final verse comes next. The latter wins out, so this may be an early instance of the truncated arrangement.

Just a couple seconds pause and John launches them into "Too Much Monkey Business". Very similar to the "Saturday Club" performance from March. Audience is whooping along in spots, and gives the ending a mighty cheer.

Paul then wishes everyone good evening and apologizes for George's illness. His introduction for "Love Me Do" gets a rousing response from the crowd. Very strange to hear a hall full of young men roar for the Fabs! John on harmonica here, audience clapping along in time. "Skip-beat" rhythm appears on the last half of the solo, performed more smoothly by Ringo than Pete. A fantastic and unique guitar lick by George closes out the song!

Paul again, announcing a song recorded by "friends of ours, The Big Three". "Some Other Guy" has guitars LOUD and drowning out the vocals to some extent. Solo is over modulated and distorted, but the energy carries the day.

Paul introduces "Misery" as a song they wrote a few weeks ago for Kenny Lynch, trying to explain it's from Kenny's new single as well as their LP, with John mocking him every few words in his "crip" voice. Nice to hear this one live with the crowd clapping along again (lots of students seem familiar with the album already). Ending is quite sloppy.

John says the next song is one they don't often play, but will due to the circumstances (no George lead vocals, longer show). "I Just Don't Understand" is a touch livelier than the BBC performance. Nice backing vocals from Paul & George and shouting from leather-lungs Lennon to usher in the final verse. Audience unfamiliar at the start but by the last tremolo chord they are clearly digging it.

A few words from Paul and straight into "A Shot Of Rhythm And Blues". Slightly different intro to the usual, which may be a mistake (they seem a bit lost on the chords until the chorus). Oh wow, they are all over the place. Messy. Luckily we have a nice live BBC version of this already.

Then several uh, boys, request "Boys", so they set up Ringo's vocal mic, and he requests the folks to "join in". Richie socks it to the very appreciative crowd with a powerful vocal. Another raunchy distorted guitar solo with screaming from Paul in the background.

Requests for "There's A Place" and "How Do You Do It" are ignored for the moment. Since Ringo has the mic set up, he calls an audible and introduces "Matchbox" by Carl Perkins, to no acclaim. This is the earliest Ringo-led recording we have of this, and it's like a mash-up of the Star-Club (John) arrangement and Ringo's "Pop Go The Beatles" take. Clearly not part of their regular setlist, and it seems like George is about to wrap it up after the third verse, but Ringo keeps bashing away, so they extend another solo and two verses.

Paul says the next song is their brand-new release which he hopes they will like (John interjects something snide at this point), and that "it's called... uh, what's it called? "From Me To You"". No harmonica this time, as John and Paul share the lead vocals throughout. Crowd doesn't know what to make of it at first, but a few people clap along. They bring the dynamics way down for the middle eights, particularly the drumming, and when they power up for the last verse and particularly the coda, it brings the crowd back to life.

John says to "save their claps for the B-side", which Paul introduces as ""Thank You Girl"... don't worry, luv." A bit surreal to hear this in Star-Club quality, but they are clearly harmonizing beautifully underneath all the hiss and echo. The ending "ow"s and Ringo's fills get cheers from the punters. Ending peters out with a naked guitar chord and squeal of feedback.

There is some cross-talk next as John begins to introduce a Chuck Berry number, an audience member requests "Taste Of Honey", and Paul says "we can't do that one" (maybe someone else asked for "Chains" or "Secret"?). In the end, it's "Memphis Tennessee" which follows, sounding like an Elvis or Carl Sun number, all chugging rhythm guitar and inaudible drums and bass. "Smallco" is present as always.

Paul asks for requests and "A Taste Of Honey" wins out. A few laughs from the crowd suggest Lennon is up to his usual antics during Paul's earnest crooning. No extra verse in this one, same arrangement as the LP.

"Twist And Shout" and "There's A Place" are called out for requests, the first of which is up next. Crowd clapping and whooping during the breaks, and singing along to the buildups. Lead vocals are pretty much inaudible throughout but you get the idea, and the fans go nuts as it ends - biggest response of the show so far.

More requests: "Please Please Me" and "Anna". Paul discusses it with John and they opt for the latter. Guitar to the fore again, but Ringo's cymbals peek through. They seem to give up on doing backing vocals pretty early, no doubt thanks to George's illness. This only leaves room for John's magnificent lead vocal to shine through. Last chord is botched but who cares?

Paul acknowledges the request for "Please Please Me" (another huge cheer) and thanks everyone for coming. Sounds like the crowd sings along with the "come on" refrains, and there are even some high pitched screams at times. Clearly a fan favorite, and they seem to enjoy playing it. Extended whistling and cheers follow.

That was probably the last scheduled number, but ignoring shouted requests for "Chains", Paul cues up a number by Chad Romero, "The Hippy Hippy Shake". Real edge in his opening "For goodness sake..." and then he is drowned out by the rest of the band. Powerful and high energy performance. Almost garage band grungy solo from George! Rapturous response at the end.

John then calls out another Chuck Berry number, "I'm Talking About You". The last three songs (along with "I Saw Her Standing There", "Too Much Monkey Business", and "Misery" from earlier) were all part of their March '63 live broadcast on "Saturday Club". John stretches out the opening guitar lick a bit, but otherwise this is akin to the Beeb performance. More screams and whistles from crowd members during the song. You can picture them dancing in the aisles at this point, though I doubt that was allowed in a school auditorium.

Someone shouts for "Long Tall Sally" (and "Kansas City") and after some consultation onstage, they settle on "Ask Me Why". A nice rendition, tighter than the Star-Club, and more screaming (from girls?) at one point. Polite applause and a wolf-whistle at the end.

More calls for Ringo to sing, putting one in mind of a scene from "Help!" ("Ringo!!! Rin-GOOO!"). Instead Paul does his "Peggy Leg" intro for "Till There Was You". Opening is very subdued, more like the Decca audition than any BBC or live version subsequent to this. At least John doesn't heckle him like at the Star-Club.

Another shout of "How Do You Do It", and John sings a line of it mockingly, stating that Gerry "doesn't do ours", so why should they do one of his? Instead we get "Money (That's What I Want)", with no tom-tom breaks. That is, we get about the first 30 seconds of it - apparently the rest was taped over by "Surfin' Bird", of all things (not present here).

When we return, Paul is apologizing that they can't do all the requests like "Chains", but makes up for it with a repeat of the opener, "I Saw Her Standing There", which seems to gratify all. Once again, they omit the second bridge, but all seem to be on the same page this time.

And that's it! What a treat to have this available 60 years after the fact. It makes for stark contrast with the Star-Club tapes, because the sound quality is similar, the repertoire overlaps, and energy levels are just as high, but this time they are playing to people WHO APPRECIATE WHAT THEY ARE HEARING! So instead of a smattering of drunken nightclub rabble, listening to songs they've never heard, introduced in a language many of them don't comprehend, we have a hall full of enthusiastic teenagers calling for their favorites off a brand new LP, and joining in but not overwhelming the music with incessant screaming.

Половина сообщений потерта! Два раза объяснять не надо. Больше значит ничего писать не следует. Давно уже пора на самом деле. Всем спасибо!

2Dr. Pepper:

>Половина сообщений потерта!

Правильно потёрта.

второй диск (AI demix)
https://cloud.mail.ru/public/5mkb/ExpzBQiFj

2Xmastime:

>второй диск (AI demix)
>https://cloud.mail.ru/public/5mkb/ExpzBQiF
Спасибо!

Концерт появился в приемлимом качестве, теперь можно слушать: https://drive.google.com/drive/folders/1LqPPKVaExiI6kayfRt718z5eqi5Omv0M