- Twist and Shout (Medley-Russell)
- She’s a Woman (Lennon-McCartney)
- I’m a Loser (Lennon-McCartney)
- Can’t Buy Me Love (Lennon-McCartney)
- Baby’s in Black (Lennon-McCartney)
- I Wanna Be Your Man (Lennon-McCartney)
- A Hard Day’s Night (Lennon-McCartney)
- Everybody’s Tryin’ to Be My Baby (Perkins)
- Rock and Roll Music (Berry)
- I Feel Fine (Lennon-McCartney)
- Ticket to Ride (Lennon-McCartney)
- Long Tall Sally (Johnson-Penniman-Blackwell)
Alvarez was editor of the Spanish music magazine "Fonorama", and had met up with Brian Epstein in April 1965 on one of Epstein's frequent visit to Spain, a country he was very fond of. To Alvarez' surprise, Epstein was aware of Fonorama, which had started publication in 1963. Alvarez wanted to know if The Beatles would perform concerts in Spain that year, to which Epstein replied "No." Brian Epstein was a numbers man and had thought that since The Beatles sold so little records in Spain that they weren't very popular there. The Beatles had sold only around 3 800 records in Spain, according to Epstein, whereas their records were selling in hundreds of thousands or millions in other countries. Alvarez then told him that under the current Franco regime, the number of gramophone players in the country was just around 2 000, but these players were put to good use. Putting up speakers in windows, owners of record players would put on records and street parties would form. Alvarez was able to convince Epstein that each copy sold in Spain would be enjoyed by a large audience due to these street parties. Long story short, Epstein relented and The Beatles added Spain to their European tour.
|Fonorama, the magazine Alvarez edited. This is #6 from April, 1964.|
After the interview, Alvarez told Epstein that he wanted to record the concert. He had yet to set up his independent Cocodrilo Records label, but thought that other companies might be interested in releasing the recording. Unusually, Epstein agreed to this, and the pair borrowed the hotel's Olivetti typewriter and drew up a contract with only six lines. Since then, the taped performance has been gathering dust in Alvarez' archives. After the death of John Lennon, Alvarez had talks with then president of EMI records in Spain, Manolo Diaz about releasing the recording, but the two lost touch after Diaz went to Miami and then went on to live in USA.
|Interview album from Cicadelic Records.|
|Alvarez has also written a book about The Beatles' visit to Spain.|
Life then got in the way, but the upcoming fiftieth anniversary of the concert sparked renewed interest and the project looks like it's finally coming to fruition. And with the current copyright situation in Europe still untested (recordings unreleased after fifty years are entering the public domain), the independent release may prove difficult to stop (see our earlier article about Peacock Records).
Since the recording was semi-professionally made, in stereo, using four microphones and with a relatively small audience (who was described by the Madrid press at the time to have been "sober and serious"), this recording may prove to be an important historical document. Depending on the actual performance by the band, it may actually be an improvement over the 1965 "Hollywood Bowl" numbers that were officially released in 1977.