The great rock and roll swindle
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| The Beatles in Madrid (the photos, that is) |
Okay, we fell for it, hook, line and sinker. It was after all, a good story with a beautiful bonus at the end – a chance to hear a professionally recorded stereophonic representation of a full Beatles concert from 1965, with not too much screaming going on.
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| Efe Eme book |
José Luis Álvarez Sánchez set the trap with an exclusive feature at the Spanish music site Efe Eme in May 2015. How he had made an agreement with The Beatles’ manager Brian Epstein to record The Beatles’ only concert in Madrid, July 2, 1965, and that it was now finally going to be made available for fans of the group for the fiftieth anniversary of the concert, July 2, 2015. A photo of the tape was also featured on the website alongside the interview.
In the interview with Efe Eme, Álvarez also claimed that in a chance meeting with Epstein in April 1965, he himself had persuaded the manager to include Spain in the upcoming European tour. Epstein had been worried about the lack of Beatles record sales in Spain, but Álvarez had convinced him that this was only due to the country’s shortage of record players, and that there were plenty of Beatles fans. Epstein relented, and Spain was included in the tour.
There’s just one big flaw in this story:
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| Contract from Brian Epstein about the concerts in Spain, dated February 5, 1965 |
A letter from Brian Epstein confirming the concerts in Madrid on July 2 and Barcelona the next day still exists, and is dated 5 February, 1965 – a couple of months before Álvarez’ presumably fictious meeting with Epstein took place. As the meeting was not taped and photographs not taken, we now have to conclude that Álvarez invented the story. One of the other things Álvarez recounted from this meeting, was that Epstein had been following his music magazine Fonorama since issue 1 in 1963.
Alvarez was at the time of the concert, editor of the magazine called Fonorama. No doubt, Álvarez and other members of his staff would have been able to meet Epstein and The Beatles during the press conference in Madrid prior to the concert, and they featured this and an account of the concert in their magazine at the time.
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| Fonorama 15/16, 1965 |
What they probably didn’t do, was record the concert. And in the unlikely event that it really did happen, something must have gone wrong. The tape may have been unplayable, or they may just have lost it. Because the vinyl and CD record released by Álvarez’ independent record label Cocodrilo Records on July 2, 2015 does not contain the Madrid concert. It’s not even in stereo. What the record does contain, is a hodgepodge of recordings, mainly from two Paris concerts. And this is not the first time Alvarez has been selling this fake, it’s only a bigger event this time around, with the online music store Fnac reporting that it’s currently their biggest seller! And Álvarez has been touring Spanish radio and TV channels with this record for the past couple of days.
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| An earlier, less successful outing of the tape creation. |
Apparently, the fake was created as early as 1992. The following elements were used in the “recreation” of the Madrid concert:
From the June 20, 1965 Paris afternoon concert:
“Twist & Shout”, “She’s a Woman”, “I’m a loser”, “Can´t Buy Me Love”, “I Wanna Be Your Man” and “A Hard Day´s Night”
From the June 20, 1965 Paris evening concert: “Everybody´s Trying To Be My Baby”, “Ticket To Ride” and “Long Tall Sally”
From the June 30, 1966 Tokyo concert: “Baby´s In Black”, “Rock And Roll Music” and “I Feel Fine”.
From Paul McCartney’s 2 November, 1989 Madrid concert:
Song introduction in Spanish.
The one thing on this album that could be authentic, is the opening announcement from Torrebruno, introducing the Beatles on stage. Judging from the nature of the rest of the material, this was probably recreated by Torrebruno himself, back in 1992 – with added audience noise.
So we’ve all been duped. The Spanish señorita was a Frenchman in drag. The Beatles’ concerts in Paris were great, but are better enjoyed in their natural surroundings, like on this bootleg:
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| A great bootleg of the Beatles in Paris, come 2016 it will even be legal in Europe. |
If you have been lead astray by our enthusiastic first reports about the Madrid concert recording here on WogBlog, our sincerest apology. If it’s any consolation, you’re not alone. As we are typing this, there’s a copy on it’s way to us, too. And one other thing: at least you will have a photo booklet and a nice record sleeve with a great story behind it: how we all were fooled by José Luis Álvarez Sánchez. Print this blog post and stick it in the record sleeve. It will reveal the true story behind the record. Show the record to your friends and let them in on the story. Give it enough time, and you’ll laugh at it, too.
Update: Statement from Efe Eme.
The store of Efe Eme has released this statement:
In the wake of the rumors generated in the last few hours on the authenticity of the audio of the album “The Beatles: Concierto en Madrid”, Efe Eme wants to clarify that this album is not a product produced by us and that, like other stores, all we do is sell it. The producer is José Luis Álvarez under the label Cocodrilo Records.
We have always been aware of the doubts that surrounds this recording, which is why, when we interviewed Álvarez in efeeme.com, at no time did our editor confirm the authenticity of the audio (he could not do it) and actually asked Alvarez about that.
Before putting the album on sale in the store of Efe Eme, we again turned our attention to the authenticity of the recording, and Alvarez again confirmed it was genuine. In any case, the store of Efe Eme cannot see nor assure the authenticity of the content of products produced by third party (only the ones that we publish ourselves under the brand Efe Eme). And so here is a typical example: If the author of a book produced by another company has copied texts of another work, it is not in our power to know. If we knew everything, our wisdom would be infinite, and this is not the case (and it is impossible). With “The Beatles: Concierto en Madrid”, it’s the same thing. So, we made it clear that José Luis Álvarez “ensures that it was recorded that night with approval from Brian Epstein”. That is to say, he ensures it, not we. And we only have offered it on sale, as did other stores.
At the moment it seems obvious that the bulk of the content of the album is extracted from the recordings of the two concerts of the Beatles in Paris of August 1965 (sic) (never released officially but circulating as “bootlegs”), In those concerts the Beatles performed the same repertoire as in Madrid. Added to this were inserted recordings from Torrebruno and Paul McCartney talking in Spanish which, honestly, we do not have the slightest idea about where it comes from.
For all these reasons, and since you have bought the album, we want to state that the audio of this concert is not appropriate to that of the concert in Madrid (which probably does not exist). If you want to return your order, you just have to communicate with us and negotiate the return.
If you have bought the numbered edition, unless we hear from you before the 7th of July that you want to cancel the purchase, when we receive this edition, we are going to ship it to you: towards the 15th of July.
In any case, yes we would like to warn that these editions in these three formats, and which are based on a small lie, over time will turn into a collector’s item. It may be in the part of the record collection labeled “bizarre” or “Made in Spain”, if you like, but nonetheless collectible. Oddities, “bootlegs” which in all likelihood will rub discographers given its strange origin, and the value that is placed upon pieces related to the Beatles discography.
For the time being, we have withdrawn the albums from sale, but we are thinking, for this collector’s market, we will keep selling the units that we have got in stock. But, of course, while warning of their falseness.
As vendors, we want to apologize to all those shoppers who have felt cheated and the inconvenience that all this can entail. It has not been our intention.
The store of Efe Eme
UPDATE 2:
José Luis Álvarez Sánchez has now left a commentary in the comments section of this blog post. He now seems to have accepted that the record he has released is not what it purports to be. His defense is chiefly that someone must have switched his tape out with a false one at some point in time without him noticing it.
Does the release at least have some unseen photos from Spain included? That would be worth the price of the disc for me at least.
Yes. A booklet with pictures.
So it seems the NEMS letter is a fake aswell – using an original letter head as basis?
Some one should sue him.
I don't know Sara, seems to be a 24 page booklet with text and photos in a 22cm x 22cm format in the regular edition, while the limited, expensive version has a 48 page booklet in LP format.
F*&^^ing amateurs. If they only had put a little more effort in the basic recording, they probably would have gotten away with it in the beginning. If you listen to the current recording its obvious after 10 minutes that something is very wrong.
Great story Roger!
I cancelled the purchase yesterday, as soon as I found out about this fraud. I just got the email from 'disc-order.com' confirming that the order is now indeed cancelled and that I haven't been charged.
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I assume all the comments about the falsehood of recordings are based on the hearing of the actual CD in question
The store of Efe Eme has released this statement:
In the wake of the rumors generated in the last few hours on the authenticity of the audio of the album "The Beatles: Concierto en Madrid", Efe Eme wants to clarify that this album is not a product edited by us and that, like other stores, all we do is sell it. The editor is José Luis Álvarez under the label Cocodrilo Records.
We have always been aware of the doubts that surrounds this recording, which is why, at the time, when in efeeme.com we interviewed Álvarez, at no time oue editor confirmed the authenticity of the audio (he could not do it) and actually asked Alvarez about that.
Before putting the album on sale in the store of Efe Eme, we went back to turn our attention to the authenticity of the recording, and Alvarez again confirmed its authenticity. In any case, the store of Efe Eme cannot see nor assure the authenticity of the content of products edited by third party (only the ones that we publish ourselves under the brand Efe Eme). And so here is a typical example: if the author of a book edited by another company has copied texts of another work, is not in our power to know. If we knew everything, our wisdom would be infinite, and it is not the case (even it is impossible). With "The Beatles: Concierto en Madrid", it's the same thing. So, we made it clear that José Luis Álvarez "ensures that it was recorded that night with approval from Brian Epstein". That is to say, he ensures it, not we. And we only have to put it on sale, as did other stores.
At the moment it seems obvious that the bulk of the content of the album is extracted from the recordings of the two concerts of the Beatles in Paris of August 1965 (sic) (never released officially but circulating as "bootlegs"), In those concerte tha Beatles performed the same repertoire as in Madrid. Added to this were inserted recordings from Torrebruno and Paul Mccarney talking in Spanish which, honestly, we do not have the slightest idea of where it comes from.
For all these reasons, and since you have bought the album, we want to state that the audio of this concert is not appropriate to that of the concert in Madrid (which probably does not exist). If you want to return your order, you just have to communicate with us and negotiate the return.
If you have bought the numbered edition, unless we hear from you before the 7th of July that you want to cancel the purchase, when we receive this edition, we are going to ship it to you: towards the 15th of July.
In any case, yes we would like to warn that these editions in these three formats, and which are based on a s,all lie, over time will turn into a collector's item. It may be in the part of the record collection labeled "bizarre" or "Made in Spain", If you like, but nonetheless collectible. Oddities, ' bootlegs " which in all likelihood will rub discographers given its strange origin, and the value that is placed upon pieces related to the Beatles discography.
For the time being, we have withdrawn the albums from sale, but we are thinking, for this collector's market, we will keep selling the units that we have got in stock. But, of course, while warning of their falsehood.
As vendors, we want to apologize to all those shoppers who have felt cheated and the inconvenience that all this can entail. It has not been our intention.
The store of Efe Eme
MY RECORDING OF THE CONCERT OF "THE BEATLES" IN MADRID, JULY 2, 1965
It has sparked a fierce criticism against me and my work, casting doubt on the authenticity of the recorded concert by me that day. I assure you that the recording that I did was REAL, although I can not guarantee is that "someone" might have the handle, and I´m going to try to tell you why.
When I recorded that live show, the tape was saved (not too well) in my recording studio PUBLI / VOX, where passed many people, groups, artists, advertising agencies, broadcasters, and good friends of mine and also “the other friends”, and I was just not much there, because my dedication to my magazine Fonorama was absolute, ie, I did not have much time to make productions, although I did a lot of them.
Though you do not believe it, I did not give too much importance to what happened in 1965, because for me it was just another job and for many years I did not worry about that tape. In fact, in the mid-70's, when we close the recording studio, all my personal things were stored in the garage of my parents' house, where those things were keept for a long time until I could bring these things back to my house in the late of 80´s (and thank goodness, because many of my things went away to the litter when my brother Paco went to live in that house; toys, books, tapes and even hundreds of numbers of my magazines Fonorama and Acordes para Guitarra (“Guitar chords”), with a lot of numbers dedicated to The Beatles by the way, went away).
A bit earlier, in the early 70's, when I started working at Spanish National Radio, I used that old tape for programming some fragments in my various programs in Peninsular Radio and Radio Juventud (“Youth Radio”) and, frankly, that thing did not have much significance, passing unnoticed, the opposite of what might today seem …after all these previous events, it´s just now when I have reasonable doubts about if anyone could change the tape time before in my studio. What I had clear is that I never had manipulated it and, for me, it was the same as it was recorded. Moreover, as it was still something that I did not really matter and that also could not be used seriously due to my contract or paper signed with Brian Epstein (that recording could not be used in 25 years, as stated in that document), then I didn´t think about checking if the concert that I recorded myself years before was the containing of the tape that I kept and still have in my possession. Anyway, this possibility surprises me a lot and I think the real explanation is a different one as I'm now investigating…
Taking up the theme, was a result of the releasing of several Lp´s containing similar concerts of the European tour of The Beatles of 1965 during the mid-80's when people became interested again for what happened in Madrid that July 2, 1965 and apparently, people contacted Tony Luz, guitarist of PEKENIKES group, who was asked if he knew something. I was told, he said that maybe I had recorded something. I do not know if he would see me when I recorded it, but the fact is that from that moment a lot of people started asking for that record and I said who is interested that I had it, but did not know where the tape was.
As the 25 years after the show was approaching, then I thought of doing something with the recording and searched and founded my tape, especially to please all the fans and friends, and I tried to contact those who may be interested in rescuing this document: Paul, Ringo, George, Yoko, or EMI, Apple or even Michael Jackson himself, who had bought the publishing rights of The Beatles …but nobody answered me. A little later, on a business trip to Miami, I met at the airport of Barajas (Madrid) with my friend Manolo Diaz (Los Bravos), who at that time was the director of EMI in Madrid, and I discussed the idea. He was very interested in that and we agreed to meet when the two come back to Madrid, but when I went back and try to talk to him again, I knew that he had change to live in Miami and had left the company, so I gave up and again forgot about the story.
Not much later, in the early 90's, TVE (Spanish National Television) found several movies made during the Spanish live shows of The Beatles in 1965, although without audio, and then I lent some fragments of my recording to be used to enrich this documentary. Nobody then doubted that my master was not good in that film…
Then, the tape returned to a shelf in my office, extracting several parts of the concert in few CD's and with them I was invited to several radio programs over that years for talk about this, but no one heard the entire content of my master. I must confess that I have never been a specialist in The Beatles and therefore I would not know differentiate recordings of the group from different shows and also unknown whether there were recordings in places such as Tokyo or if there was any record of the shows of Paul in Spain … that is, in the 90's I had no need to show false recordings on radio programs where you could hear fragments of it all.
In short, all this I find it very strange… it may be that for decades I was fooled with a changed tape of what I had recorded and I didn’t realize for years, but I find very hard to believe that, as I said, no one had realized before with the fragments that I leaked for years or with the TVE movie about that Spanish shows, so I'm actually investigating right now is what has been happening with the master that I gave recently in connection with what has finally appeared on sale and the master that was returned to me. In addition, you have to take into account that I have been working for decades in this musical business and I have always offered very interesting things and I don´t need to edit something that would be questionable or false.
I also know that there are people who have always defamed me and also my work and serve as an example that there are people who reached to doubt that I had been with the Beatles in those days, or that the pictures that were made by my friend Paco Barahona where I was with them were false when at that time it was impossible to falsify, and so on…
My conclusion is very clear to me: the album has to be authentic. If it weren´t, it shall be for reasons beyond me and I insist on that, right now I am investigating about this matter. If anyone has the slightest doubt that the project would not be what it is, I recommend you just do not buy it, please !. I've never pretended to fool anyone absolutely. At least a bit of interest and joy has taken place for a few hundred of friends who will possess a document made with love, good faith and enormous graphic documentation. To those who slander me whatever I do, I can not tell them anything other than pursue their things and just leave me alone. And for those that besides criticizing have been using my stuff for years without permission to their books and their fan clubs of the group and without even giving me no thank you, I wish you continue to use it well.
JOSÉ LUIS ÁLVAREZ
I don't believe a word
What a load of bollocks, Jose.
Been caught red handed eh… You should be ashamed. There are too many knowledgeable Beatle fans out there. What did you expect trying to pass this piece of garbage off as authentic.
Jose Luis Alvarez, you are a Pathetic, liar old man, you're explanation makes no sense at all, and it sound more like a justification than other thing, your statement of "i am not Beatles expert" sucks frankly, if you were not sure of something, you should had made your homework… do not try to justify yourself now with this pathetic explanation, you do not cheat with Beatles fans/Scholars, we been for years searching the truth, and actual facts on the Beatles, fortunately this cheat from you is now public domain, not only here, but with all the Beatles fan and scholar community, as Andy Harris said and i quote: "You should be ashamed. There are too many knowledgeable Beatle fans out there. What did you expect trying to pass this piece of garbage off as authentic", if you were expecting to cash in on a lie to spend the last years of your life on a lie, well… good luck on storing those all fake records and "special" editions on your house.
Clearly the reel is post 1989 because of Paul's Solo concert material, so the story of a historic switch just doesn't wash.
Looking for closure on this one now, has anyone located the older TV footage that he says was synced with his tape? If so would it be fair to assume that it is also French/Japanese audio?
The pictures in the digipak book, do not look good to me, but I have not done a comparison with 'google images'.
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Does anybody have made the comparison between Paris and Madrid concert? As far as I have read it seems nobody had done this……
JOSÉ LUIS ÁLVAREZ:Eres un farsante.
Además demuestras que eres medio lelo si piensas que ibas a engañar a los fans de Los Beatles con esa chapuza que has sacado.
Lo que has hecho puede ser calificado de estafa.
Has quedado retratado para toda tu posteridad, si es que alguien no te conocía ya.
Yo no he insultado a nadie, y soy el primer sorprendido al ver lo que ha pasado es muy facil insultar cuando NO SE HACE NADA DE VERDAD POR LA CULTURA<, COMO ocurre ahora con las empresas discografica que guardan los masters en sus almacenes , y los reclaman y amañanan las leyes para tener mas tiempo el material INTERESANTE< BAJO CUERDA Y SIN QUE NADIE PUEDA USARLOS O DISFRUTARLOS, YO AL MENOS ACERCO, EN LO QUE PUEDO, LAS COSAS PARA EL GOCE DE TODOS, QUE SE APLIQUEN DE FRAUDE todos esos que dejan que el mundo se vea privado de esas joyas que son parte de la historia de cada uno, Y QUE UNA PARTE MUY IMPORTANTE DE LA CULTURA, no se ha demostrado, TODAVIA, FEACIENTEMENTE, QUE LO MIO haya sido intencionado y provocado por mi directamente….y repito EL DISCO Y TRABAJO QUE SE HA REALIZADO ES PERFECTO LUJOSO, CON TODO TIPO DE DETALLES, con una buena profucion de fotos (y hay alguno que hasta duda de su realidad YA ES DE RISA no quiero entrar en mas discusiones INSULTAR ES FACIL, PERO SOLO HACE DAÑO EL QUE PUEDE ,NO EL QUE QUIERE.
No es mala persona, ha perdido el juicio o casi.
José Luis, en una entrevista radial trataste de imbécil a todo aquél que creyera que la grabación fuera un fraude… creo que con eso no da para defenderse.
Las pruebas auditivas están en todo internet, deberías reconocerlo y ya. Nadie juzga la edición que viene en buenos formatos, solo juzgan la grabación y la sucia forma en la que fue promocionada, como "la única grabación existente" del show de los Beatles en Madrid. Creo que es un bonito souvenir para este aniversario, pero debes dejar en claro que es solo una reconstrucción del show de los Beatles.
En España eres defendido como un gran referente periodístico del rock en España, pero debes asumir tu error y ya.
Espero que se aclare todo de mejor forma.
I've got the bootleg vinyl THE PARIS MATCH ( Beat Riff Records / Lounging Records ) recorded live at Paris Sport Palais June 20 , 1965. I don't know if it's the afternoon or the evening show.
Any way I listen to Twist and shout and compare to the Twist & Shout Madrid gig and the difference is really clear ( John's voice sounds thick in the Paris concert than the Madrid and the oooh's from Paul & George also sounds different).The music seems to be played faster in Madrid than in France for this track.
Long tall Sally is more clear : Paul in Madrid concert shouts two yeh! yeh! on the final climax and in Paris he shouts five yeh!….
I'm just listening comparing both albums , even if two shows in Paris could led to confuse things seems that there are big differences between the songs….I'll keep investigating but I find that differences are really big so far fomt the Paris show to the Mdrid one
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The Paris Match is a LQ copy of the Afternoon show in Paris.
If you want to compare the FAKE Madrid, the easiest track is the 12 -Ticket to Ride
Concierto En Madrid on the Digipak CD Track 12 consists of
Paul Intro (Incomplete) Paul Solo Concert Madrid 2 Nov 1989
George Intro (Incomplete) Beatles' Paris Concert 20 June 1965 Evening Show
Ticket To Ride Beatles' Paris Concert 20 June 1965 Evening Show
The Paul Intro is just so obviously not a 1960's intro "OK" "OK Listen first of all"
Complete Intro at Paris Evening Concert
"The next song is going to be our last one and it's our latest record in France …and it's called Ticket To Ride"
Madrid Fake Intro part 2 The next song …and it's called Ticket To Ride
The Paris concerts , first became available in the early 70's. The Evening show can be located on dozens of Bootlegs and some 1980's protection Gap releases , the majority of which retain the Intro's and Outro's clearly identifying the shows as French. oh! and did I mention that there is also video footage to verify the location.
I don't know why or how this composite came about and I have no intention of pointing fingers, as a collector it is irrelevant. I would love there to be a 'stereo' recording of the Madrid show. All I know is what is being sold on this CD and LP is NOT Madrid.
There is no comparison needed. The Madrid tape I heard a few days ago was Paris 1965 with a slightly faster speed and higher pitch. I read that the recording was made with 4 AKG microphones. I have been looking at photos and the available film and no where do I see AKG microphones. What I do see are 3 Philips gooseneck type microphones model 6031 and no microphones on the guitar amps. So, where could those 4 AKG microphones be placed?
Texte originale en français. A chacun de le traduire dans sa langue.
Bonjour à tous les fans des Beatles de la planète,
En tant que fondateur de Swiss Beatles Fan Club, je condamne José Luis Álvarez Sánchez de tromperie, d'escroquerie. Non, Monsieur Álvarez Sánchez, vous n'êtes pas en droit de nous faire la morale sur toute idée de culture et encore moins en matière Beatles. Parce que cette histoire, vous l'avez bafouée. Soit vous êtes une personne responsable et vous assumez un projet de grande ampleur ou soit notre conseil, vous ne faîtes rien ! En tant que rédacteur en chef d'une publication musicale, vous aviez l'expérience suffisante pour mener à bien votre projet. Mais la réalité démontre que vous êtes finalement un incapable. J'espère que la société Apple Corps trouvera des éléments à charge pour vous traîner en justice. La communauté des fans des Beatles a suffisamment de fake dans sa collection, c'est de l'authenticité que nous voulons, mais surtout des gens qui savent honorer la culture et respecter l'histoire authentique, oui respecter l'histoire de la musique! Désolé pour vous, mais vos explications n'arriveront pas à nous convaincre. Vous aviez la possibilité de comparer votre bande originale (à vous de démontrer qu'elle existe vraiment!) et le pressage du vinyle et cd. Voilà, c'est simple, c'est cela être responsable ! ! ! Et pas besoin d'être un fan des Beatles ou spécialiste de la musique pour savoir dissocier le vrai et le faux. Il y a des évidences qui ne trompent pas. Mais vous, vous nous avez trompés! Désolant et le mot est faible de n'avoir même pas pris le temps de comparer, d'avoir un avis critique, de vous responsabiliser… C'est cela aimer la musique, bien au-delà des retombées financières… Vous voulez encore être crédible? Alors à vous d'envoyer votre bande à WogBlog. Sinon, vous avez encore la possibilité de contacter Mark Lewisohn. Sans doute avec ces deux références, nous aurons peut-être la vérité!? Sans cela, Monsieur Álvarez Sánchez autant vous taire pour l'éternité. Franchement et vraiment ! ! ! Je m'engage à vous présenter mes sincères excuses le jour où votre enregistrement sera publié et certifié par les spécialistes Beatles.
J'ai fait annuler ma commande via disc-order.com. Selon les premières informations transmises par Wogblog, j'ai expliqué que cela était une arnaque. Malgré mes explications, voici la réponse que j'ai reçue. A méditer…
Buenos días Michel.
He anulado tu pedido tal como solicitas, no hay problema.
No entiendo tu critica, tengo el vinilo en la mano, una edición 220Gr HQ con el CD y un libro lleno de fotos inéditas, es una edición mas que Notable.
Un cordial saludo.
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is amazing how this dirty old man, keeps defending what is clearly an scam, this guy is so pathetic, let him root in his house with all his records and his fake tapes, poor guy i feel so sorry for you Jose Luis Alvarez, i hope someone (Apple anyone) would find a way to indict you for this fraud… shall we move to other things?, real and interesting things about the Beatles? lets just forget about this loser…
À Swiss Fan Club : je vois beaucoup des critiques mais j'aimerais plus de details sur les chansons elles mêmes. Comme j'ai dejà dit j'ai un bootleg du concert du 20 Juin à Paris et sur Long tall Sally la difference l'interpretation est brutale sur les yeh yeh à Madrid il chante deux et à Paris 5….j'ai juste un concert sur les deux que les Beatles ont joué à Paris ce jour là. Il me manquerait ecouter l'autre concert.
Le solo de George n'a rien à voir aussi…y'a t il la possibilité d'ecouter Long tall Sally sur les trois concerts pour voir lequel est copié , celui du afternoon show ou celui de l'evening show?
À Swiss Fan Club : je vois beaucoup des critiques mais j'aimerais plus de details sur les chansons elles mêmes. Comme j'ai dejà dit j'ai un bootleg du concert du 20 Juin à Paris et sur Long tall Sally la difference l'interpretation est brutale sur les yeh yeh à Madrid il chante deux et à Paris 5….j'ai juste un concert sur les deux que les Beatles ont joué à Paris ce jour là. Il me manquerait ecouter l'autre concert.
Le solo de George n'a rien à voir aussi…y'a t il la possibilité d'ecouter Long tall Sally sur les trois concerts pour voir lequel est copié , celui du afternoon show ou celui de l'evening show?
@Alf
The main article confirms where each song comes from :
From the June 20, 1965 Paris afternoon concert:
"Twist & Shout", "She’s a Woman", "I’m a loser", "Can´t Buy Me Love", "I Wanna Be Your Man" and "A Hard Day´s Night"
From the June 20, 1965 Paris evening concert: "Everybody´s Trying To Be My Baby", "Ticket To Ride" and "Long Tall Sally"
From the June 30, 1966 Tokyo concert: "Baby´s In Black", "Rock And Roll Music" and "I Feel Fine".
From Paul McCartney's 2 November, 1989 Madrid concert:
Song introduction in Spanish.
SIN COMENTARIO, ¡NO SERAN LOS OTOS LOS QUE HAN PERDIDO EL Juicio…estan haciendo una gran colo de nada, y lo que van a cponsegui rs, JUSTO; LO QUE YO NO QUERIA, que este modesto disco con una tirada minima se comnvierta en TODO UN EDITO….bien seguid asi, y GRACIAS
Jose
El CD + LP que han sido puestos en libertad se editan con claridad, ya que hay fades.Yo originalmente dijo que le proporcionará un enlace en línea para que la gente escuche.
¿Puede usted proporciona un enlace a la bobina sin editar como estoy seguro de que hay muchos expertos que pueden ser capaces de ayudar con la "historia" de lo que ha sucedido. Con el concierto de fantasía lanzado creándose puesto 02 de noviembre 1989.
Las imágenes de televisión del espectáculo que he visto tiene Paris audio, pero esto puede no ser el espectáculo yo ayudó.
Suponiendo que no son lo que algunas personas que están llamando. Ayude a los aficionados y que le ayudará a, si ha grabado el concierto. Por ejemplo yo puede responder a la consulta con respecto a las posiciones micrófono.
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The CD + LP that have been released are clearly edited as there are fades.Yo originally said you would provide an on-line link for people to listen.
Can you provide a link to the unedited reel as I am sure there are many experts who may be able to help with the 'history' of what has happened. With the released fantasy concert being created post 2 Nov 1989.
The TV footage of the show I have seen has Paris audio, but this may not be the show yo helped.
Assuming you are not what some people are calling you . Help the fans and they will help you, if you recorded the concert. For example can yo answer the query with regards to mike positions.
Calm down and let's celebrate Ringo Starr's 75th birthday with peace and love.
@ P Best
Well I don' t find similitudes on Long tall Sally between Madrid and Paris concerts. I listened to my Paris bootleg and also what I can find on internet and the song is really different on the three concerts ( evening and afternoon Paris show and Madrid ).
I will need some more days listen track by track and comparing to these concerts to get myself a final conclusion anyway…
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@Alf Lopez
You need to get a good quality bootleg of the Paris Concerts, the vinyl you have is really outdated clarity wise, there is the City of Lights bootleg which contains the best version or the Versions from purple chick.
If you need them, you just need to ask for them, i have made a comparison with several other experts in U.S. and Germany, using the bootlegs i mentioned as well as other bootlegs (the banzai box even), even Doug Sulpy one of the top experts in Beatles stuff had made the comparision, and the conclusion is the same, the Madrid Concert is a fake.
Don't forget that this is the second FAKE/Fantasy Concert of Madrid made up from different shows.
Maybe Alf Lopez is listening to the alternate release. I agree with your choices for a good audio source, but don't forget the evening show is from a video source, so why not watch the FAB4 rather than just listen.
Youtube has the show in reasonable condition.
As a thought on copyright , as this does not expire until 31st Dec 2015 , if Apple use Paris in part or full in their 'Live Project' , Jose may have a few problems.
@P Best… oh i am fairly sure Apple will use the Paris shows as part of the project 😉
Well Apple always goes very slowly….let's wait and see…..
Realmente es muy SORPRENDENTE, lo que se ha descubierto con la fecha de ese documento, presunto contrato de Epstein con Bermudez, yo no me inventado nada, es mas deberia ser MUY ESTUPIDO DE HABER INCLUIDO EL MISMO DOCOMENTO, INOCENTEMENTE, EN MIS ARTICULOS Y EN EL LIBRO QUE ESCRIBI, A pesar de poner una fecha IMPOSIBLE, buen, vamos con la aclaraciones, NO SE NADA D ESO; DEBE DE SER UN ERROr O ALGO INTENCIONADO de la oficina de Epstein, quizas para ocultar algo del fisco, quizas por un error, es igual no me importa los motivos, afortunadamente tengo testigos de las fechas y los datos, VEAMOS, YO A LA PRIMERA REUNION CON EPSTEIN NO FUI solo, venian tres personas,el fotografo que "dijo" haria las fotos, que nunca aparecieron, Alfonso Eduardo Perez Orozco que dijo que grabacia toda la entrevista, las cintas nunca aparecieron(misteriosamente desaparecieron o el aparato no grabo) asi lo conete en mi libro y mi amigo Alfonso nunca me dijo nada ni me pidio explicaciones por si yo habia contado mentiras sobre el,hemos estado muchas(NO CABE MAS SEGUIRE MAS ADELANTE)
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Cómo mola echarle la culpa a los muertos que no pueden defenderse… ahora la fecha del contrato entre Bermúdez, fallecido, y Brian, fallecido, es un error/timo/acuerdo… venga ya, con lo pulcros que sí eran ellos… como no pueden hablar les culpo a ellos… Es como lo de "la cinta original se la ha comido el perro' …… FRAUDE!
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Es muy fácil:
– Fotos o grabación de la entrevista con Mr. Epstein en la Feria de Abril del 65
– Contrato firmado con Mr. Epstein autorizando la edición del concierto 25 años después de la grabación
– Peritaje de la bobina original del concierto, cuya foto aparece en el libreto del LP
José Luis, lo tienes a huevo para quedar como un señor… a no ser que todo sea mentira…
Realmente, lo triste es la mentira. Si yo poseo un documento donde Mr. Epstein me autoriza a editar un directo de Los Beatles en Madrid el 2 de julio de 1990 (25 años después, 10 años antes del "Anthology") y no lo haces, o eres muy tonto o EMI no te da los permisos, porque te recuerdo que la discográfica que tenía en aquel momento en España los derechos discográficos de la banda era EMI, no Brian Epstein (sí, en 1965, también). No hay ningún concierto autorizado por el Sr. Epstein que no haya visto la luz (de los piratas, mejor ni hablamos). Reconozcamos que no era muy buen negociante pero el concierto del Shea Stadium está en el mercado gracias a su emisión por TV. Te recomendaría leer (hay mucha bibliografía sobre ello) porque no fue editado el concierto del Hollywood Bowl hasta bastantes años después, cuando The Beatles ya no existían. Y espero que la editorial Sony/ATV, poseedora de los derechos de edición en cualquier formato de las letras de Lennon/McCartney no te meta un pleito. Y aquí lo dejamos…
Vamos a ver…
Jose L. Álvarez te lo repito:
Has quedado como un farsante, y mientras no pidas perdón y reconozcas tu fraude, pasarás a la historia como la persona que intentó timar al mundo con el concierto inexistente de Madrid.
Aparte,deberías hacértelo mirar. ¿No te das cuenta del ridículo que haces?
Todo el mundo Beatle, ha comprobado y tiene pruebas de que no se trata del concierto de Madrid, sino de París y Tokio. Y tú sigues insistiendo…
Tenemos la prueba de que hablaste con Torrebruno en el 92 para que grabara una supuesta presentación del concierto.Y eso fue lo que nos quisiste colar, pero por lo visto eres corto, y no pensaste en los millones de fans que SÍ distinguimos un fraude, de lo que es un trabajo honrado.
Insisto, deja de hacer el ridículo mundial, y reconoce el fraude. Pide perdón y a otra cosa.
Sería como una forma de morir con dignidad
This is getting to become a nasty namecalling scene, so I'm closing this post for further comments.