Martin and recording engineer Geoff Emerick came up with the solution of blowing cold air from a vacuum cleaner to keep the tape deck cool whilst the recordings were transferred to 16-track tape for filtering, equalization, editing, and mixing. Once he found one, he discovered that the machine overheated when it was running. The first difficulty was finding a working three-track machine with which to play back the master tapes. In working on the three-track Hollywood Bowl concert tapes, Martin discovered quite a challenge. He was impressed with the electric atmosphere and the raw energy of the recordings and set to work in January 1977 enhancing and transferring the performances to modern multi-track tapes. Beatles’ producer George Martin was handed the tapes and asked to compile a listenable “official” live album. Finally, with a rival record label’s impending release of the Live! at the Star-Club in Hamburg, Germany 1962 album consisting of a fifteen-year-old, poor-quality concert recording of the group performing in the Star Club in Hamburg, Capitol Record’s parent company, EMI, decided to revisit the Hollywood Bowl recordings. Either Spector did not complete the job or his production was unsatisfactory, and the tapes continued to sit unreleased for another half a decade. In 1971, following his salvage project of the “Get Back” sessions, which was released as the group’s Let It Be album, the Hollywood Bowl tapes were given to famed American record producer Phil Spector to see if he could fashion an album out of the material. But the results were technically disappointing because of the noise from 17,000 continuously screaming fans resembled a jet airplane as a layer under the music, and the idea of releasing a live album was shelved. Both recordings were produced by Voyle Gilmore under the supervision of George Martin. The 1964 concert recording engineer was Hugh Davies, and the 1965 was Pete Abbott. Capitol did, however, utilize a 48-second excerpt of “Twist and Shout” from the 1964 Hollywood Bowl concert on the 1964 documentary album, The Beatles’ Story. The sound quality of the 1965 recordings was equally disappointing. The sound quality of the tapes proved to be inadequate for commercial release and, when The Beatles returned to the Hollywood Bowl a year later during their 1965 American tour, Capitol recorded two performances by the group at the same venue. Six months later, Bob Eubanks booked The Beatles’ Augperformance at the Hollywood Bowl in Los Angeles where Capitol recorded their performance with the intent of releasing a live album in America. Initially, Capitol Records considered recording The Beatles’ February 1964 concert at Carnegie Hall in New York, but it could not obtain the necessary approval from the Musicians Union to record the performance.
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