Rolling Stones Southern Quotations

Rolling Stones Southern Quotations b

Most copies found are either two red, one red/one blue or two blue discs but just like with the L’Ange Gabriel release,

Genesis L'Ange Gab mcv

which most likely was produced around the same time and at the very end of Smilin’ Ears’ existence in late 1978/early 1979, there were a number of variations:

Rolling Stones Southern Quotations d redRolling Stones Southern Quotations blu orRolling Stones Southern Quotations greeRolling Stones Southern Quotations blu ttRolling Stones Southern Quotations mcv 2Rolling Stones Southern Quotations mcv 1Rolling Stones Southern Quotations mcv 3

Subsequently, the ‘two-tone’ copies realized significantly higher eBay prices than the others. No all black copies seem to exist, unlike the Genesis title.

Side 1. Honky Tonk Women [04:06] / Star Star 05:04] / When The Whip Comes Down [07:15] / Miss You [09:37]
Side 2: Lies [05:30] / Beast of Burden [07:18] / Just My Imagination (Running Away with Me) [05:57] / Respectable [03:36]
Side 3: Far Away Eyes [07:22] / Love In Vain [07:59] / Shattered [05:16] / Tumbling Dice [04:47]
Side 4: Happy [03:22] / Sweet Little Sixteen [03:52] / Brown Sugar [03:55] / Jumping Jack Flash [05:48]

Source: Greensboro NC, War Memorial Coliseum – 26 June 1978, the 9th stop on the tour that is either called “one of the band’s greatest” or “mediocre” as below. 

“Greensboro North Carolina, was released on the vinyl boot Southern Quotations (Smilin’ Ears SE 27722).  The master cassette is lost [...].

The sound quality is fair since it is distant from the stage and contains noticeable distortion in louder passages the sound quality improves a bit with “Shattered” to the end.  It is listenable and, once one gets past the limitations, can be appreciated.  The first two songs of the show, “Let It Rock” and “All Down The Line,” are missing and “Just My Imagination” fades out in the end.

Some argue that Greensboro is the worst show on a generally mediocre tour.  While there could be some merit to the argument, listening to this tape doesn’t really support that.  It is a briskly paced show with very little interaction from Jagger and the audience.  The opening five songs on the first disc go by very quick, slowing down for a languid “Beast Of Burden” (which Jagger pronounces “beast of buuuuuuuuuuuuurden.”)

“It’s great to be back in the south” Jagger says before “Far Away Eyes.”  “It gives us an excuse to do a country number.”  His intonation suggests extreme sarcasm as he sings the song.  On “Love In Vain” Wood plays the solo with a heavy vibrato.

“Shattered” was the most popular song from the album in Greensboro judging by the amount of requests made within earshot of the recorder, and they react loudly when it comes up in the set.  The show ends with the double shot of “Brown Sugar” and “Jumping Jack Flash” which is most common for this tour.” [collectorsmusicreviews.com]

***

So, Smilin’ Ears starts and ends with a Rolling Stones title:

 

THE BEATLES AND the ROLLING STONES ‘Sing This all Together’ 2 LP – SE 7700   available from Jan. ’78

THE BEATLES ‘THE DECCAGONE SESSIONS’ – SE 7701

The Beatles ‘TWICKENHAM JAMS’ – SE 7702

Joni Mitchell & James Taylor ‘IN PERFECT HARMONY / TAKES TWO TO TANGO’ – SE 7703

Beatles ’66 – SE 7704

Sex Pistols ‘THE FILTH AND THE FURY’ – SE 7706

The New York Dolls ‘DOLLS LIVE: DALLAS ’74′ – SE 7707

BUZZCOCKS ‘TIME’S UP’ – SE 7709

Patti Smith ‘Live in London’ 2 LP – SE 2-7720

Fleetwood Mac 2LP – SE-2-7721

ROLLING STONES ‘Southern Quotations’ – SE 2-7722    early ’79?

Genesis ‘L’Ange Gabriel’ – S-E 1000     late ’78/early ’79

LED ZEPPELIN ‘THE DESTROYER’ 4 LP Box – SE 77-300   available by late ’78

Grateful DEAD ‘ GOOD LOVIN’ ‘ 4 LP box – SE 77-401   available by late ’78

 

I suspect that the reissue of the very first Smilin’ Ears release on red PVC happened around the same time as Southern Quotations and L’Ange Gabriel.

Rolling Stones STAT cv

Grateful Dead Good Lovin 2Grateful Dead Good Lovin lbl

Grateful Dead Good Lovin 3

raceway GD 77GD ticket Englishtown 77

Side 1: The Promised Land 4:33 / They Love Each Other 7:50 / Me And My Uncle 2:58 / New Minglewood Blues 4:43
Side 2:    Mississippi Half-Step Uptown Toodeloo 13:00 / Friend Of The Devil 7:34
Side 3:    The Music Never Stopped 6:46 / Bertha – Good Lovin’ 14:07
Side 4:    Loser 7:13 / Good Lovin’ 17:30**
Side 5:    Estimated Prophet – Eyes Of The World 23:11
Side 6:    Samson & Delilah 6:27 He’s Gone 12:54
Side 7:    He’s Gone – Not Fade Away 21:46
Side 8:    Tennessee Jed 8:23 / Terrapin Station 11:00

** recorded 2 July 1971 at the closing night of the Fillmore West in San Francisco

 

Date of release: 1978, available around the same time as the Led Zeppelin The Destroyer black box from Pied Piper and also offered for $22 (+ shipping).

Broadcast by WNEW New York. I assume that is the source for this box set, however several good sounding audience recordings exist as well. Smilin’ Ears’ master tape either didn’t come with source info or they tried to be coy about the date & location. This was later officially released on CD as Dick’s Pick’s Vol. 15.

http://rockindownthehighway.blogspot.de/2008/02/really-rockin-grateful-dead-concert-at.html

https://archive.org/details/gd1977-09-03.131317.mtx.dusborne.flac16

 

****

From the Columbia University newspaper; showing an emphasis of Smilin’ Ears titles.

CollectingCollecting 2

Led Zep The Destroyer 4LPGreat choice of cover art for this title and correct date and location given.

Led Zep The Destroyer detailSturdy black boxes with glued insert seem to be most common.

Led Zep The Destroyer 4LP sw

Led Zep The Destroyer 4LP lblLed Zep The Destroyer 4LP lbl 6

Led Zep The Destroyer 4LP yelLed Zep The Destroyer 4LP bluLed Zep The Destroyer 4LP Karma

Karma City? Isn’t that tempting fate?

Led Zep The Destroyer 4LP yel bluThinner printed box with a white border.

Source: Audience recording from the second night from the Richfield Coliseum in Cleveland, OH – 28 April 1977 – apparently one of the best performances on the whole tour. Released in 1978; originally sold for $22 via the Pied Piper bootleg catalog.

An eBay seller claimed only 500 were pressed. I would doubt this claim, seeing how easy it is to locate a copy 36 years later, how many different versions exist and how popular this title must have been.

THE DESTROYER
SMILIN’ EARS 77-300
Side 1: The Song Remains The Same – Sick Again (14:11)/ Nobody’s Fault But Mine (5:36)
Side 2: Since I’ve Been Loving You (17:24)
Side 3: Guitar Solo medley incl. The Star Spangled Banner – Achilles Last Stand (18:21)
Side 4: White Summer medley incl. Black Mountain Side – Kashmir (15:31)
Side 5: Ten Years Gone (8:56)/The Battle Of Evermore (5:25)/ Going To California (4:19)
Side 6: Black Country Woman medley incl. Bron-Yr-Aur Stomp (7:00)/ Trampled Underfoot (6:19)/ Rock & Roll (3:54)
Side 7: Kashmir (17:13)
Side 8: Over The Top medley incl. Out On The Tiles/ Moby Dick (16:25)
Recording: Very good mono audience. Taped on platform usually used for television camera for sports broadcasts. Source: Richfield Coliseum, Cleveland, Ohio Apr. 28 ’77. Comments: Deluxe box set. Two different covers. Two audience sources exist for this date.

One Rocco Caponi outed himself as having taped the recording that was used for this box set, meaning that the people behind Smilin’ Ears acquired the tape indirectly through trading some time after the concert.

http://www.ledzeppelin.com/node/778/230#comment-230

LZ Cleveland 28

Photo above taken from taper’s location during “In My Time of Dying”

LZ Cleveland 28 IIAnd during theOver The Top” medley.

****

Comments:

The tape for Zeppelin’s second night in Cleveland is one of the strangest.  The tapers were located a ways from the stage, they were experiencing problems with their equipment, and he and his friends were not shy about expressing their opinions throughout the entire show.  It is also obvious one of his friends attended the previous evening’s concert and liked to tell the others which song is coming next.  Despite these obstacles this is considered one of, if not the best, audience document outside of the tapes for Los Angeles.  Its reputation is due to it being very clear and powerful.  Zeppelin was the perfect band to use the Richfield Coliseum’s questionable acoustics to their advantage and the result sounds like battery artillery storming the beachhead to the delight of a packed house. 

This tape has been known as The Destroyer since it was released shortly after the event [I believe it might have been as much as a year later or more].  It was first released as a vinyl box set on the Smilin’ Ears Records label complete with the famous painting of the warriors huddled on top of one another.[collectorsmusicreviews.com]

28-Apr-77 Cleveland

“Audience recording from the Richfield Coliseum in Cleveland Ohio, on April 28 1977. [...], limited edition of a tape close to being excellent, virtually free of hiss, trebly and overloaded at times. The tape shows wear occasionally and presents cuts and edits almost in its entirety. The band is upfront and the clarity of the instruments is very detailed, the bass is a little indistinct at the end. The cuts and edits eliminate most of Plant’s comments, miss the first few seconds of many songs, cause tape disturbances when the recording resumes and interrupt two tracks in progress. Before Nobody’s Fault the taper curses as he informs he is having problems, a squeal precedes the first cut, when the recording resumes the first few guitar notes are missing. In My Time is cut briefly in the final vocal a cappella and joined to the last phrase of You Shook Me. No Quaaludes, as introduced by Plant, is cut during the second vocal theme and joined to a couple of seconds of the wha-ed guitar episode, and finally cuts out. Audience noise is minimal, a wise guy is introducing the songs to his mate! s before Plant, an irreverent yell of “this sucks!” in Over the Top ,and the taper cursing again in Stairway; there’s some mumbling in the quiet moments, but nothing really annoying. This is a superb gig, the pacing and playing, together with the very enjoyable recording, make for a listening treat. Page is precise, concise and powerful; Jonesy is all over the place; Plant’s vocal gymnastics are strong from the beginning to the end and seems genuinely touched by the audience’s response; Bonzo is frightening, he seems to destroy the drum kit in every track, the recording captures particularly well his crushing presence. Collectively is the same story, the enthusiasm does not let up a minute, every piece receives special attention and there are no lazy moments. In My Time features great introductory licks to the guitar leads; No Quarter features amazing interplay and Jonesy’s most inspired piano playing. Ten Years is overloaded by the loud twelve-string and cymbals, Achilles by the drums, even distorting the tape, but both are very clear. Tape wear is evident in Over the Top, Kashmir and Stairway; there’s a little distortion in the encores: Rock and Roll, Trampled. Despite these deficiencies, the performance is not affected at all and allows its enjoyment. This show should restore the faith to detractors of this era. (Rosina Diaz Scali Mar 99) [uuweb.led-zeppelin.us/1977.html#29-Apr-77 Cleveland]

4-28-77-tkt

Cleveland Richfield

In the 1970′s, there were two phases when rock bootlegs managed to transcend their humble existence: First, in 1969/’70 when this was a new phenomenon, satisfying the urge to hear new/live material by 1960′s icons and giving those interested a first taste of how some of the hottest new acts of 1970 sounded live. Second, in 1977 in the UK when only bootlegs were the only medium to capture the fleeting nature of a musical revolution.

“…it would be impossible to consider either the social or musical impact of English punk without considering The Sex Pistols’ Spunk and Indecent Exposure, The Buzzcocks’ Time’s Up, Siouxsie and the Banshees’ Love In A Void or Joy Division’s Warsaw – albums as central to the movement as The Clash, Never Mind The Bollocks or Pink Flag. For a brief moment, the lines were down.” [Bootleg, Heylin, p. 163]

Bands changed line ups so fast that it was all over months ago by the time fans caught up. Only the bootlegs could fill this demand for any tangible evidence of a band’s fleeting moment of brilliance.

Sex Pistols Filth + the Fury 2Sex Pistols Filth + the Fury bSex Pistols Filth + the Fury lbl 1Sex Pistols Filth + the Fury lbl 2

A copy of the UK bootleg Spunk with short intro track added (parts of Janet Street Porter interview with John Lydon). The first edition of Spunk is described in detail here: http://www.discogs.com/Sex-Pistols-Spunk/release/673946

Smilin’ Ears version released in 1978.

Spunk is one of the few bootlegs that has its own Wikipedia entry AND probably the only entry where a Smilin’ Ears title is mentioned: http://en.wikipedia.org/wiki/Spunk_%28album%29

Discussion about how to identify an original pressing and the speed issue can be found here: http://forums.stevehoffman.tv/threads/sex-pistols-spunk-original-pressing-question.289041/

***

Some images relating to the original UK release:

Sex Pistols Spunk lbl 2

Sex Pistols Spunk stenciled

“Alan Henderson: [...]  … And the first few thousand we took out into my back garden and spray painted a stencil with Spunk. [...] [Bootleg, Heylin, p. 169]

I wonder if this record store owner isn’t mistaken and they had spray painted it with the band’s name – which would have made more sense marketing-wise – and this is one of these copies?

***

Sex Pistols Spunk NF UKSex Pistols Spunk BR QF

Such is the legend of this bootleg that the Independent UK newspaper wrote in their obituary for Dave Goodman, the producer of the demo sessions immortalized here “Dave Goodman was the man behind the notorious Sex Pistols bootleg Spunk. Reviewed in glowing terms by the New Musical Express and Sounds, …” as if the bootleg had been Dave’s initiative – also making him the only individual so far to have a bootleg LP listed as their top achievement in life.

Nobody was ever prosecuted for copyright infringement, despite Johnny Rotten stating on BBC radio that he knew exactly who was behind the album and fully intended to deal with the person. Malcom McLaren, suspected by many to be behind it all, denied his involvement. It was all very punk and certainly helped the band immensely, the publicity in the press alone could not have been bought for any amount.

***

The album repressed as “No Future U.K?” with a couple of extra tracks (not to be mistaken with the live bootleg by the same name):

Sex Pistols No Future UKSex Pistols No Future UK b

No Future UK? (GD 001/002)
Studio demos, “Spunk” LP plus Denmark St. – July ’76 versions of “Pretty Vacant” & “Anarchy In The UK”, & Wessex Studios take of “No Fun”.

Side One. Pretty Vacant / Seventeen / Satellite (I’m A Lazy Sod) / No Feelings / I Wanna Be Me / Submission / Anarchy In The UK / Anarchy In The UK (Different Version)
Side Two. No Fun / God Save The Queen / Problems / Pretty Vacant / Liar / EMI / New York (Looking For A Kiss)

“Notes. Issued in 3 different coloured sleeves. Black & white labels. Also pressed as ‘Spunk 2′ and ‘Son Of Spunk’. Some copies of No Future UK? (GD 002) carry Spunk BLA-169 labels on both sides, however the contents comprise of the 15 track LP as listed above.
Another version of No Future UK? was released under the name of ‘Golden Bullet’. Plain white sleeve, with a dark yellow A4 insert with 2 pictures of Jorge Angel (Copenhagen 13/07/77). Possible Swedish repress.”

http://www.philjens.plus.com/pistols/pistols/pistols_bootlegs_vinyl.htm

 

LYN 1

Hey, if they were offering… Lyntone London (mostly known for pressing flexi singles (including the Beatles’ Fanclub Christmas Flexis) and promotional records but also many UK singles in the early 1980′s) where the original UK versions of Spunk and Time’s UP had been pressed. 

http://www.allvinylexperience.com/Lyntone.html

 

LYN 2

****

Another 1977 UK bootleg was Time’s Up by the Buzzcocks on Voto Records:

Buzzcocks Time's UpBuzzcocks Time's Up bBuzzcocks Time's Up lbl

First vinyl release in the UK in 1977 on Voto Records – LYN5333

Buzzc TU

For more details on the original, see page 12 here: http://www.buzzcocks.com/buzzcocksdiscography.pdf

Fleetwood Mac Sm Ea 1Fleetwood Mac Sm EaFleetwood Mac Sm Ea lblFleetwood Mac Sm Ea lbl 2Fleetwood Mac Sm Ea red lblPaying homage to Fleetwood Mac’s 1975 self titled album with this cover design.

Fleetwood Mac Sm Ea white lbl

Following the 1975 2 LP bootleg Will The Real Fleetwood Mac Please Stand Up? (SODD 02) Smilin’ Ears in 1978 offered another radio broadcast double set, this time from the East Coast nine months and for some fans, a rather large uncomfortable change later: The Macs in transition to a massively successful pop band with the help of their new members Buckingham and Nicks. It should be noted that their ex-member Bob Welch, by the time this bootleg came out, was heading into the exact same direction. 

 

Side 1: I’m So Afraid (4:45) / Oh, Well (2:50) / World Turning (8:32)
Side 2: Just Like You Used To Be (3:40) / Green Manalishi (4:37) / Homework (3:27) / World In Harmony (3:27)
Side 3: Station Man (5:40) / Spare Me A Little  (4:34) / Rhiannon (6:17) / Why (3:55)
Side 4: Landslide (3:23) / Over My Head (2:55) / Green Manalishi (5:42)

Is “Green Manalishi” really on here twice?

***

Original source, from a torrent attempting to reconstruct the complete performance:

Fleetwood Mac
September 23, 1975
Trod Nossel Productions & Recording Studios
Wallingford, Connecticut, USA – originally broadcast by WPLR-FM, New Haven, CT

“This is a combination of 4 different FM-sourced recordings. This show has circulated widely but all versions I’ve heard have been incomplete – missing either the beginning or the end. And because most recordings are from rebroadcasts, they do not include the opening announcer from the original broadcast. The content was rebroadcast in many forms, with and without some of the applause and spoken intros. In fact some spoken intros were re-recorded before rebroadcast to rework statements like “from our new album” when it wasn’t new anymore. The quality is very good to excellent FM, with tape hiss and minor FM transmission noise in some spots but nothing too bothersome. The minor glitches that were previously in the song transitions have been cleaned up. Some major dropouts in “Oh Well” and Green Manalishi” now are spliced from one of the alternate sources, etc.

01 [0:23] announcer intro
02 [3:59] Get Like You Used to Be
03 [6:02] Station Man
04 [4:52] Spare Me a Little
05 [6:39] Rhiannon
06 [4:06] Why
07 [3:44] Landslide
08 [3:05] Over My Head
09 [5:04] I’m So Afraid
10 [3:07] Oh Well
11 [5:34] Green Manalishi
12 [8:46] World Turning
13 [3:59] Blue Letter
14 [7:08] Hypnotized
total – 66:28

 

Smith P Live in London FARTY

Smith P Live in London FARTY 2

What a strange looking record. A trick of the light?

On the back cover:

Copyright (c) – Aresta Records
    Manufactured By – Amoeba; Label: Amoeba/ Plot of Thieves Products Farty XB 001
    Recorded At – The Roundhouse

Notes:
Produced by Rolf for Invisible Inc.

Also a mentioning of “Schizophonic Records”, could be on the labels. Back shows a topless photo of Patti. Small print on the back refers to drugs and censorship. Does anyone have an image of this (as they went with a tamer one for the 2 LP version)?

 

Live in London (Farty XB 001)

Side 1: Real Good Time Together 2:45 /Kimberly 4:00 / Ain’t It Strange 7:35 / Energy (Set Me Free) 3:35 / Pumping (My Heart)     
Side 2: Free Money 2:45 / Pissing In The River 4:00 / Strange Reprise – Gloria (In Excelsis Deo) 4:35 / Time Is On My Side 7:15

“The sound quality and performance are good to excellent. “Real Good Time Together” and “Time Is On My Side” are both from Patti’s May 16, 1976, Roundhouse concert. The rest of the songs are from her follow-up concert on May 17. Deluxe brown/white cover. “

***

Smith P Live in LondonSmith P Live in London bSmith P Live in London discsSmith P Live in London b 2Smith P Live in London red lbl

Personalized labels in black & red.

“This double album contains most of the same songs listed above (except “Real Good Time Together” and “Kimberly”). The sound quality is much worse. Deluxe brown/white cover.

    In addition, it contains the following:
    1.”Histories Of The Universe/Seven Ways Of Going” (Poetry reading at St. Mark’s Church in Oct 1975 – sound quality very good, with Patti at her best.)
    2. Hungerthon Interview (WNEW, with Harry Chapin, 11/29/76 — sound quality very good, with Patti in a grumpy mood.)
    3.”War is Over”/”Piss Factory”/”Horses” (live performance at Central Park, early 1975 — sound quality poor to fair, performance excellent.)
    4. Rare Radio Interview (with ?? Scott Muni on WNEW, in early 1976 — sound quality very good, with Patti at her best again.)” [http://www.oceanstar.com/patti/info/bootlegs.htm]

****

I do not know which of these was released first. Interesting to see that the single album London tracks supposedly sound significantly better.

 

“Alan Henderson: I [had] met up with an Italian guy who had offered the facility of being able to manufacture some records, so we did some rather awful Stones live at Earls Court, Have You Seen Keef Standing in the Shadow, one I recorded myself, Patti Smith at the Roundhouse, … ” [Bootleg, Heylin p. 174]

In the same book, Clinton Heylin mentions *a UK bootleg* called Live at the Roundhouse. I have looked for this all over and found no confirmation of its existence. It’s also not mentioned on the oceanstar Patti Smith bootleg website or in HOTWACKS, so he must be mistaking these US products for UK product.

 

pattismith RH 76

PSmith 76

 

 

NY Dolls Dallas 74NY Dolls Dallas 74 detailNY Dolls Dallas 74 b

Sometimes offered as “signed”, incorrect as the signatures are printed and present on all copies.

NY Dolls Dallas 74 spine

I have only ever seen these with pink labels.

 

From a review:

Obviously recorded with a handheld cassette player, this bootleg recording documents a show at the legendary Mother Blues club in Dallas, Texas [incorrect, it was at Gertie’s] during their final 1974 tour [incorrect, it was in 1973], featuring the original line up. The Dolls were supporting the popular Texas band The Werewolves [incorrect, it was the other way around] and facing a hostile/apathetic crowd. The band sounds discouraged, as the audience taunts them with cries of “We want the a Werewolves!” through their show, but gamely perform their set. The very poor sound quality of the recording and the “end of the line” feel of the performance-supporting a band most listeners have never heard of-make this a hard recording to recommend. I have no idea whether this was one of the shows performed in red leather & Soviet paraphernalia but it would go a long way towards explaining the audience’s hostility; Dallas in 1974 would have been the worst possible venue for such gear. Fantastically rare, this live album has practically nothing else to offer.

 

HOTWAX rating: Vgm – sounding “sound much better than alleged.” on the official release mentioned below.

 

“Setlist: (one of the 4 shows) Courageous Cat Theme (*)/ Personality Crisis/ Vietnamese Baby/ Bad Girl/ Looking For A Kiss/ Great Big Kiss/ Pills/ Frankenstein/ Lone Star Queen/ Don’t Start Me Talking.

Note: These shows are often wrongly listed as having happened in 1974 as well. One of the shows is available on the “Dolls Live: Dallas ’74″ bootleg LP (Smilin’ Ears 1978), except for (*). Also released as part of the “From Here to Eternity: The Live Bootleg Box Set” 3CD (Sanctuary/Castle 2006).
Arthur’s arm is still in a cast so roadie Peter Jordan continues to replace him on bass.” [http://www.fromthearchives.com/nyd/chronology.html]

http://blogs.dallasobserver.com/unfairpark/2011/10/for_your_weekend_listening_ple_73.php

 

NYD17_Sep_73

****

This was the bootleg my school pal Walter really wanted to have after he found it on a catalog I had received from the US. Walter always liked the more on the edge stuff, while I had and have my pop taste. We, or rather he, graduated from Queen and Pink Floyd to heady stuff stuff like Patti Smith, Pere Ubu and John Cale Paris 1919 and the Velvet Underground. He also had the Boomtown Rats though and that was more my territory and most importantly, he, like me, could see the late 1970′s brilliance of Cheap Trick.

Coming to think of it, most of my deeper school friendships were anchored by a shared interest in music and here I am, 35 years later, still talking about it.

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