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History 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. Six months later, Bob Eubanks booked The Beatles' August 23, 1964 performance at the Hollywood Bowl in Los Angeles where Capitol recorded their performance with the intent of releasing a live album in America. 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. The sound quality of the 1965 recordings was equally disappointing.[2] 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 Beatles were among the few major recording artists of the 1960s to not have issued a live album. Consequently, among Beatles fans, pent-up demand for a concert album continued to build. In fact, John Lennon set off a minor frenzy when, in a 1971 Rolling Stone interview, he incorrectly identified an obscure Italian compilation album, The Beatles in Italy, as a live recording ("There's one in Italy apparently, that somebody recorded there"). Despite the obvious demand for a live album, however, the tapes from the three Hollywood Bowl performances continued to sit untouched in a Capitol vault for more than five years. 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. Either Spector did not complete the job or his production was unsatisfactory, and the tapes continued to sit unreleased for another half a decade. 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. Beatles' producer George Martin was handed the tapes and asked to compile a listenable "official" live album. When Martin was asked by Capitol Records president Bhaskar Menon to hear the tapes in the mid-1970s, he was impressed with the performances, but disappointed in the sound quality. In working on the three-track Hollywood Bowl concert tapes, Martin discovered quite a challenge.[2] The first difficulty was finding a working three-track machine with which to play back the master tapes. Once he found one, he discovered that the machine overheated when it was running. 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. Martin found the August 29, 1965 recording virtually useless, and, except for a few dubs taken from the August 29 performance to augment other performances, the album compiled by Martin consisted entirely of songs recorded on August 23, 1964 and August 30, 1965. (The album cover somewhat blundered by showing the almost completely unused August 29 as the second date used.) In editing together the two performances, Martin successfully captured the excitement of a live Beatles concert with 17,000 screaming fans in this album. Despite the fact that the recordings on The Beatles at the Hollywood Bowl were between twelve and thirteen years old, the album reached No. 1 on the New Musical Express chart in the United Kingdom and No. 2 on the Billboard chart in the United States. As of 2009, however, the album has yet to be released on compact disc in either country. Bootleggers do circulate needle drop transfers of the LP across the internet. Because The Beatles at the Hollywood Bowl was a compilation of two shows recorded a year apart, a number of songs performed at the two concerts were not included on the album. Songs from the 1964 show not included on the album are: "Twist and Shout", "You Can't Do That", "Can't Buy Me Love", "If I Fell", "I Want to Hold Your Hand", and "A Hard Day's Night". Songs from the 1965 show not included on the album are: "I Feel Fine", "Everybody's Trying to Be My Baby", "Baby's In Black", "I Wanna Be Your Man", and "I'm Down". "Baby's in Black", from the 1965 Hollywood Bowl concert, however, was issued as the B-Side of the 1996 reunion "Real Love" single. One unintended consequence of the mixing of dates is the inconsistent dialogue between songs, in which band members recorded a year apart refer to both A Hard Day's Night (1964) and Help! (1965) as their latest album.

The Doors is the self-titled debut album by the band The Doors, recorded in 1966 and released in 1967. It features the breakthrough single "Light My Fire", extended with a substantial instrumental section mostly omitted on the single release, and the lengthy song "The End" with its Oedipal spoken-word section. The Doors credit the success of their first album to being able to work the songs out night after night at the Whisky a Go Go or the London Fog. "Alabama Song" was originally written and composed by Bertolt Brecht and Kurt Weill for their opera Aufstieg und Fall der Stadt Mahagonny (Rise and Fall of the City of Mahagonny); "Back Door Man" was a Howlin' Wolf cover. "The End"'s Oedipal climax was first performed live at the Whisky A Go Go and The Doors were thrown out as a result of lead vocalist Jim Morrison screaming "Mother...I want to **** you!" near the climax of the song. The album was a huge success in the band's native US, peaking at #2 on the chart and has gone on to achieve multi-platinum status. In Europe the band would have to wait slightly longer for similar recognition, with "Light my fire" originally stalling at #49 in the UK singles chart and the album failing to chart at all. However, in 1991, bouyed by the high profile of Oliver Stone's film "The Doors", a re-issue of "Light my fire" made #7 in the singles chart and the album made #43. It eventually spent more time on the UK chart than any other Doors studio album.

Highway 61 Revisited is singer-songwriter Bob Dylan's sixth studio album, released in August 1965 by Columbia Records. It is Dylan's first album to be recorded entirely with a full rock band, after he experimented with the approach on half of Bringing It All Back Home. It is commonly tagged as documenting the "angry young man" period in Dylan's career, in-between the playfulness of its surrounding albums; many of the songs on Highway 61 Revisited are of an accusatory nature and feature rough, loud takes. Featuring hits and concert staples such as "Like a Rolling Stone", "Desolation Row", and "Ballad of a Thin Man", it is also generally considered to be among the artist's best and most influential efforts. Dylan himself commented, "I'm not gonna be able to make a record better than that one... Highway 61 is just too good. There's a lot of stuff on there that I would listen to." The album peaked at #3 on Billboard's Pop Albums chart and #4 in the UK, while "Like a Rolling Stone" reached #2 on the US Pop Singles chart and #4 in the UK, also receiving the accolade of being placed #1 on Rolling Stone's 500 Greatest Songs of All Time. The album itself was ranked #4 on Rolling Stone's 500 Greatest Albums of All Time.

John Wesley Harding is singer-songwriter Bob Dylan's eighth studio album, released by Columbia Records in December 1967. Produced by Bob Johnston, the album marked Dylan's return to acoustic music and traditional roots, after three albums of electric rock music. John Wesley Harding was recorded around the same time as (and shares many stylistic threads with) a prolific series of home recording sessions with The Band, finally released in 1975 as The Basement Tapes. John Wesley Harding was exceptionally well received by critics and enjoyed solid sales, reaching the number 2 slot on U.S. charts and topping the British charts. The commercial performance was considered remarkable considering that Dylan had kept Columbia from releasing the album with much promotion or publicity. Less than three months after its release, John Wesley Harding was certified gold by the RIAA. Although Dylan also decided against releasing a single, "All Along the Watchtower" became one of his most popular songs after it was covered by Jimi Hendrix the following year. In 2003, the album was ranked number 301 on Rolling Stone magazine's list of the 500 greatest albums of all time.

John Wesley Harding is singer-songwriter Bob Dylan's eighth studio album, released by Columbia Records in December 1967. Produced by Bob Johnston, the album marked Dylan's return to acoustic music and traditional roots, after three albums of electric rock music. John Wesley Harding was recorded around the same time as (and shares many stylistic threads with) a prolific series of home recording sessions with The Band, finally released in 1975 as The Basement Tapes. John Wesley Harding was exceptionally well received by critics and enjoyed solid sales, reaching the number 2 slot on U.S. charts and topping the British charts. The commercial performance was considered remarkable considering that Dylan had kept Columbia from releasing the album with much promotion or publicity. Less than three months after its release, John Wesley Harding was certified gold by the RIAA. Although Dylan also decided against releasing a single, "All Along the Watchtower" became one of his most popular songs after it was covered by Jimi Hendrix the following year. In 2003, the album was ranked number 301 on Rolling Stone magazine's list of the 500 greatest albums of all time.