Beatles / Sam Houston Coliseum 1965 Upgrade / 1CD

Beatles / Sam Houston Coliseum 1965 Upgrade / 1CD / Non Label
Sam Houston Coliseum, Houston, TX, USA 19th August 1965 SBD(UPGRADE)

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Every artist has a standard sound source that just tells the name of the venue, such as the Rolling Stones’ Hampton Colosseum and Pink Floyd’s Oakland Coliseum. For the Beatles, Sam Houston Coliseum. As a famous sound source on the 1965 American tour, the share stadium, the wilder and more vigorous performance than the Hollywood bowl where the live album was recorded was re-evaluated at once in the last 10 years. It can be said that it is a live sound source.
It is said that this sound source was recorded by the Houston radio station KILT, whose logo is also shown in the stage photo published in this jacket, from the sound board of PA out. However, it was an era when the PA system of the concert was finally established, and it was characterized by the surprisingly cheerful sound board recording of that kind (although the audience on that day was noisy). However, there was no evidence that KILT or this sound source was broadcast, and it was in the late 1970s that soundboard recordings that seemed to have been stored in the station leaked. Of course, it was released as a bootleg, but “LIVE FROM SAM HOUSTON COLISEUM”, which has a light blue butcher cover outphoto from the TMOQ label, recorded both day and night stages, and in a blink of an eye due to its good sound quality. We won the standard seat.
From the label that is often deified by enthusiasts, Tobe Milo has released “IN PARSON SAM HOUSTON COLISEUM”, which contains only the excerpts of the undercard artist’s performance and the night section that I could not hear there, but obviously it is a tape of The generation was inferior, and there was a big difference in sound quality from the previous light blue jacket. Therefore, in the LP era, light blue jackets and reissues from the BOX TOP label of the same series were consistently sweeping the market.

It’s such a good sound source, so in the era of CD, the item of LP drop as expected appeared, and the advent of timely release using tape was awaited. It was “THE ULTIMATE LIVE COLLECTION VOLUME 1” of the prestigious yellow dog who was full of time and released items that were not LP drops. It seems that the number of maniacs who have taken care of this as a version suitable for the CD era has finally increased. Although it was a long-awaited release, the deterioration of the tape over time in the early stages of songs such as “Dizzy Miss Lizzy” and “I’m Down” in the daytime section or “I Wanna Be Your Man” in the nighttime section. The problems from the LP era, such as the rubbing of sounds that seemed strange, and the uneven volume between the songs of “A Hard Day’s Night” and “Help!” in the night part, were not solved.
On the contrary, both shows were more or less muffled, but they also had the unique problem of low pitch. In addition, there are some parts that are periodical and weak, but there are noises such as bubble wrap, and even harsh enthusiasts even heard that “you should listen to LP” or “I still can’t let go of the light blue jacket.” And while the two shows were recorded on two discs even though they were CDs, the mishandling that the sound source of the 1964 American Tour was recorded in the first half was also a minus point.

Of course, with regard to pitch and sound quality problems, the late items have been solved many times based on “THE ULTIMATE LIVE COLLECTION VOLUME 1”, and many enthusiasts should own them. However, with this release, enthusiasts have taken a step further to address the issue of sound sources. The Master Man who worked on it is familiar Master Jedi. Again, based on “THE ULTIMATE LIVE COLLECTION VOLUME 1”, he dared to thoroughly overhaul the sound source.
Of course, not only pitch and sound quality, but also the poppy sound of the example was deleted. Up to this point, it was solved even in the already released version, but this time the rub of the sound due to aging of the tape that occurred in the beginning of the series of songs was also resolved. Even by just listening and comparing that part, the LP should have a clear upper feeling than the original CD. For the first time, the tape deck phase shift caused the strange feeling (especially at night) that was close to pseudo-stereo, and for the first time it was recorded in a pure monaural state. As a result, the moist monaural natural feeling is also improved, and it is clear that the listening comfort is increased compared to the already released board.

Another big attraction of Sam Houston Coliseum is that you can enjoy playing the Beatles with different expressions on two stages. It seems that the screams of the spectators were quite awful in the daytime section, and the police officers interrupted the progress on the way to the stage and called the spectators’ attention (a picture of the scene is also left). Perhaps due to this kind of confusion, when John made a mistake in the lyrics in “Baby’s In Black”, Paul followed suit and it developed into a little silly play, but this is rather interesting. What’s more, this time’I’m Down’ is a hyper performance that seems to change the situation, is this the best in the American take in 1965 when John played the VOX organ? I want to say that. The beginning of such a masterpiece has been carefully restored, so it will be even more attractive.
The night club is worth the preaching that the moderator preached, so I can’t feel the same excitement as the day club, but this time John’s voice is terrible. It’s also valuable that Paul’s singing and biting smiles in front of this song and the painful John in “I Feel Fine” from the opening “Twist And Shout” Heel. At the same time, this is the best proof that the Beatles could hear their performance. If you look at the day’s photo in this front cover, you’ll notice that there is only one object on the edge of the stage, like a box facing the Beatles. At that time, there should be no concept of a monitor, a so-called “return”, but it is certainly a mysterious object that looks like it. It would be surprising if this was the earliest monitor.
Perhaps there was an effect of this mysterious object, John also completed the stage while holding back his throat. An excellent sound source that clearly conveys the performance of the three people who are trying to support him. Certainly, the noise of the daytime part or John of the nighttime part might have been a problem. Still, the 65th American tour classic Sam Houston Coliseum, which had been released with countless items until now due to its good sound quality and listening performance, but still had some dissatisfaction. The best version is finally here!

この音源は今回ジャケに掲載したステージ写真にもロゴが写っているヒューストンのラジオ局KILTがPAアウトのサウンドボードからの録音を敢行したものだと言われています。しかしコンサートのPAシステムがようやく確立された時代であり、その手のサウンドボード録音としては驚くほど歓声を拾っている(それほどこの日の観客が騒がしかったのでしょうが)点が特徴かと。ところがKILTか本音源を放送した形跡はなく、局でお蔵入りしていたと思われるサウンドボード録音が流出したのは1970年代後半。もちろんブートレグとしてリリースされた訳ですが、TMOQ系列のレーベルから水色でブッチャー・カバーのアウトフォトをあしらった「LIVE FROM SAM HOUSTON COLISEUM」に昼夜両方のステージが収録され、その音質の良さから瞬く間に定番の座を獲得したのです。
マニアの間では神格化されがちなレーベル、Tobe Miloからは、そこで聞けなった前座アーティストの演奏の抜粋と夜の部だけを収録した「IN PARSON SAM HOUSTON COLISEUM」がリリースされたものの明らかにテープのジェネレーションが劣っており、先の水色ジャケとは音質面で大きな差がありました。よってLPの時代は水色ジャケや同系列のBOX TOPレーベルなどからの再発盤などが一貫して市場を席捲していたものです。

それほどの優良音源ですので、CDの時代には案の定LP落としのアイテムが登場してしまい、テープを使用した由緒正しいリリースの登場が待たれました。そんな時期に満を持してLP落としでないアイテムをリリースしてくれたのが名門イエロードッグの「THE ULTIMATE LIVE COLLECTION VOLUME 1」。ようやくCD時代に相応しいバージョンとして、これのお世話になったマニアはかなりの数に上るかと思われます。とはいえ待望のリリースではあったものの、昼の部の「Dizzy Miss Lizzy」と「I’m Down」、あるいは夜の部の「I Wanna Be Your Man」といった曲の序盤における、テープの経年劣化と思しき音の擦れ、さらには夜の部「A Hard Day’s Night」と「Help!」の曲間における音量ムラといったLP時代からの問題は解消されていませんでした。

もちろんピッチや音質の問題に関しては後発アイテムが「THE ULTIMATE LIVE COLLECTION VOLUME 1」をベースとしながら何度も解消してきており、それらを所有しているマニアも多いはず。ところが今回のリリースは、マニアがさらに踏み込んで音源の問題に対処しているという点。それに取り組んでくれたマニアがおなじみMasterJedi。彼は再び「THE ULTIMATE LIVE COLLECTION VOLUME 1」をベースとしながら、徹底的な音源のオーバーホールを敢行。

そして二回のステージでまるで表情が違うビートルズの演奏が楽しめるという点もサム・ヒューストン・コロシアムの大きな魅力。昼の部は相当に観客の絶叫が凄まじかったらしく、途中で警官が進行を遮ってステージに上がり、観客に注意を促していたほど(その場面の写真も残されています)。こうした混乱もあってか、「Baby’s In Black」ではジョンが歌詞を間違えるとポールもそれに追随、ちょっとしたおふざけにまで発展しているのですが、これがむしろ面白い。それに何といってもこの回の「I’m Down」はそうした状況を一変させるかのごとくハイパーな演奏で、ジョンがVOXのオルガンを弾いた65年アメリカのテイクではこれがベストか?と言いたくなってしまうほど。そんな名演の冒頭が丁寧にレストアされているので、なおさら魅力的な演奏に映ることでしょう。
夜の部は司会者のお説教交じりな前説の甲斐もあり、昼の部ほどの騒ぎには感じられないのですが、今度は何とジョンの声が絶不調。もうオープニングの「Twist And Shout」からしてボロボロ、この曲や「I Feel Fine」での辛そうなジョンを前に、ポールが歌いながら苦笑してしまう場面までもが捉えられているのも貴重かと。それと同時に、これはビートルズが自分たちの演奏を聞こえていた何よりの証拠となるもの。今回の表ジャケに載った当日の写真を見ると、ステージの端に一つだけ、ビートルズの方を向いた箱のような物体があることに気付くでしょう。当時はモニター、いわゆる「返し」の概念はないはずなのですが、それのように映る不思議な物体であることは確か。もしもこれが最初期のモニターだとしたら驚きですよね。



1. Introduction
2. Twist And Shout
3. She’s A Woman
4. I Feel Fine
5. Dizzy Miss Lizzy
6. Ticket To Ride
7. Everybody’s Trying To Be My Baby
8. Can’t Buy Me Love
9. Baby’s In Black
10. I Wanna Be Your Man
11. A Hard Day’s Night
12. Help
13. I’m Down


14. Introduction
15. Twist And Shout
16. She’s A Woman
17. I Feel Fine
18. Dizzy Miss Lizzy
19. Ticket To Ride
20. Everybody’s Trying To Be My Baby
21. Can’t Buy Me Love
22. Baby’s In Black
23. I Wanna Be Your Man
24. A Hard Day’s Night
25. Help
26. I’m Down

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