Monthly Archives: November 2012

Queen Free In The Park

Queen FITPark b

The above image shows the back insert and also gives it away as a non-ZAP release as this was very un-ZAP-like, nor would the label list the number of the LP as it does here. This is in fact the second pressing of a Japanese bootleg.  Which would also explain why this title goes for considerably more than the usual ZAP title at auction (the pictured copy sold for $180 in October 2012).

Also available in red:

Queen FITP red 2nd

Track list:

Bohemian Rhapsody (tape & rock part), Sweet Lady, You’re My Best Friend, Bohemian Rhapsody (verses), Killer Queen, The March Of The Black Queen, Bohemian Rhapsody (reprise), Bring Back That Leroy Brown, Brighton Rock, Son And Daughter, ’39, You Take My Breath Away, The Prophet’s Song, Stone Cold Crazy [cut], Liar, In The Lap Of The Gods…Revisited

Not included: Ogre Battle, White Queen, Flick Of The Wrist, and Keep Yourself Alive

Quality described as “not too great / B ” due to some distortion and the distance from the stage it was recorded from but still an improvement over the video soundtrack due to better vocal balancing.

First pressing had a grey cover:

Queen FITP grey 1st

Queen FITP grey 1st back

Ronstadt Take 2 before bedtime

The source is a bit of a mystery. This matches what was uploaded to EZT in 2006 as:

Linda Ronstadt
The Filmore
Sept. 21,1975

As promised here is another Linda Ronstadt torrent. The info I have with this is
that it was recorded at the Filmore West. I know someone will tell me that the
Filmore West closed in 1971 I have checked with several data bases and they all
refer to the venue as the Fimore West so thats what I will go with. This is an
audience recording and I would rate it as a “B” as far as quality goes, if you
want a studio quality show don’t waste your time downloading this. If on the
other hand you enjoy just listening to the Lindas’ music this is for you.

1) Colorado
2) Silver Threads and Golden Needles
3) I Can’t Help it if I’m Still in Love With You
4) Desperado
5) When Will I Be Loved
6) Long Long Time
7) You’re No Good
8) Heatwave
9) Heart Like A Wheel
10) It Doesn’t Matter Anymore
11) Hey Good Looking

On the other hand, wolfgangsvault lists a show at the Greek on that day but the tracks do not match:

01 That’ll Be The Day (Partial) 0:59
02 Love Has No Pride 4:26
03 Silver Threads And Golden Needles 2:36
04 Willin’ 3:36
05 It Doesn’t Matter Anymore 5:15
06 Hey Mister, That’s Me Up On the Jukebox 4:21
07 When Will I Be Loved? 2:53
08 Lose Again 3:51
09 Faithless Love 3:31
10 I Can’t Help It (If I’m Still In Love With… 3:41
11 Desperado 3:29
12Love Is A Rose 3:16

I have also seen this listed as Linda Ronstadt-1975-04-13-Berkeley Community Theater but the tracks do not match either:

01-03 KBFH intro & commercials
05-Silver Threads & Golden Needles
06-I Can’t Help It If I’m Still In Love With You
08-When Will I Be Loved
09-Long Long Time
Scotch tapes commercial
10-You’re No Good
12-Heart Like A Wheel

A collector rates this LP as having “excellent sound quality”, so that would point towards the source being a radio broadcast.


I can’t help but think that one of Ken’s kids designed this cover.

Side A
Come Together
Give Peace a Chance

Source: Madison Square Garden, NY – KBFH broadcast of selected songs from the evening show.

Side B
Yer Blues          (‘Rock’n Roll Circus’ Outtake)
John Sinclair    (‘the david frost show’, recorded December 16, 1971)
It’s So Hard       (‘the mike douglas show’ rec. January 14, 1972)
The Luck of the Irish  (‘the mike douglas show’, rec. January 28, 1972)
Johnny B. Goode  (‘the mike douglas show’, rec. January 20, 1972)

Lenno J  JTT


After CBM, Wizardo and Dub had already had a stab at this material in releases that varied from absolutely dreadful to pretty good in audio quality (Houndog CBM 5040, Lennon/McCartney CBM 3665, One To One & More WRMB 301 and Telecasts TMOQ 71046 & CBM 3711) Ken put out his own version as well.

I guess know we know where U2 got that album title inspiration from… <just kidding>

Released ca. 1976; ’75 Ken Regan photo of Dylan in the studio; 5 – 6 stars on

Municipal Auditorium
Bangor, Maine
November 27th 1975

Very Good plus Incomplete Audience Recording


09. SARA  

  * Duet with Baez
** Acoustic says: “Hammersmith Odeon, London, England – December 24th, 1975 “Brighton Rock,” “Son And Daughter,” “Keep Yourself Alive” and “Liar” appear on Tokyo Rampage (TKRWM 1801)

Side 1 consists of: Intro: Procession (taped)  / Father To Son / Ogre Battle / Son And Daughter / Modern Times Rock’n Roll is from the Rainbow Theatre, London, March 31st. ’74


Bad quality inserts on almost every copy showing Queen as a trio. At least the music sounded good (unless you already owned Command Performance or Royal Rock Us and Sheetkickers and felt duped for getting parts of what you already had).

Side A:

    Highway Star (from “Made In Japan”)
    Smoke On The Water (from “Machine Head”)
    When A Blind Man Cries (from B-side “Never Before”)
    Help (from “Shades Of Deep Purple”)

Side B:

    Woman From Tokyo (from Single WB 7672)
    Black Night (from Single HAR 5020)
    River Deep, Mountain High (from “The Book Of Taliesyn”)
    We Can Work It Out (from “The Book Of Taliesyn”)
    Strange Kind Of Woman (from “Fireball”)


Quite a disappointing start of yet another Ken label with a 100% pirate content release.

Side 1: Heartbreaker medley incl. Bouree* / Thank You* / Minnesota Blues** / The Lemon Song** (24:25)
Side 2: Stairway To Heaven** / Travelling Riverside Blues*** / Whole Lotta Love* (18:06)
Recording: (*)Excellent mono professional FM broadcast; (**)Excellent stereo professional pre-FM soundboard radio recording; (***)Excellent mono professional pre-FM soundboard radio recording. Source: (*)Pacific Coliseum, Vancouver, Canada Mar. 21 ’70; (**)In Concert, Paris Theatre, London, England Apr. 1 ’71; (***)Maida Vale Studio 4 (BBC – Top Gear with John Peel), London, England June 24 ’69. review (I cut their usual hand wringing that no sources are listed on the cover): “Hiawatha Express boasts generally excellent sound quality, and Zep is in fine form on favorites that include “Whole Lotta Love,” “Heartbreaker,” and the great, if overexposed, “Stairway to Heaven.” So even though vinyl collectors were, in 1975, cursing ZAP for not giving any recording dates, they applauded the sound quality and the performances. Although not for casual listeners, Hiawatha Express is a bootleg that hardcore collectors were glad to get their hands on in the 1970s — regardless of how much the lack of recording dates infuriated them.”

Side 1 & 2: A rerelease of ON STAGE IN EUROPE 1975 (Ze Anonym Plattenspieler ZAP 7867).
Side 3 & 4: A rerelease of HIAWATHA EXPRESS (Ze Anonym Plattenspieler ZAP 7980).
Comments: US bootleg. Deluxe black & white front. Deluxe color back. 


Very nice ZAP cover idea and execution. Regarding the Toasted release, I understand that “Absence” is a wordplay on Led Zep’s seventh studio album title but i.m.h.o. this should have exchanged titles with the Beatles Toasted LP “Renaissance”. Makes you wonder, did all Toasted titles end in “…nce”?

And that was it for the ZAP label. Next up: TKRWM

Although the Doobie’s played in Japan in January of ’76:

DATE           VENUE           LOCATION
January 11           Osaka Koseinenkin Kaikan           Osaka, Japan
January 12           Kyoto Kaikan Grand Hall           Kyoto, Japan
January 13           Festival Hall           Osaka, Japan
January 14           Kyuden Memorial Gym           Fukuoka, Japan
January 16, 17    Nippon Budokan           Tokyo, Japan

Here is the set list of the opening night in Osaka:

2.Jesus Is Just Alright
3.Rockin’ Down The Highway
4.Road Angel
5.I Cheat The Hangman
7.Slat Key Soquel Rag
8.South City Midnight Lady
9.Double Dealin’ Four Flusher
10.Nobody 11.New Orleans
12.Neal’s Fandango
13.Eyes Of Silver
14.Take Me In Your Arms
15.Takin’ It To The Streets
16.Black Water
17.Sweet Maxine
18.Long Train Runnin’
19.China Grove
20.Without You
21.Listen To The Music

I doubt that this album is really from any of those shows.

SIDE 1: (24:25)
Eyes Of Silver / Black Water / Long Train Running / Jesus Is Just Alright
SIDE 2: (18:30)
China Grove / Rockin’ Down The Highway / Road Angel / South City Midnight Lady

I suspect this is just a re-release of the Memphis ’75 KBFH recording from SODD 004: The Doobie Brothers What A Long Strained Trip It’s Been

The Great Elusive “Get Back” Radio Search: Part VII

The WBCN Branch, Chapter 3: Final Contact

A month and a half passes — nothing from Joe Rogers. All leads have gone cold, the hunt stalled.

Then, the evening of February 2, I got an IM from Charles. He’d like me to check out how accessible something is in his web site. I obliged, then mentioned to him that Joe had never returned my e-mails. Charles wrote that he’ll “nudge” Joe a bit.

Sure enough, four days later, Joe finally wrote back and asked me to elaborate what I’m looking for. At last! Direct contact with the one person everyone else had claimed as the source, the keymaster, if you will (sorry — one too many Matrix allusions, or maybe that was Ghostbusters).

By now I’d acquired enough background information from all of the parties previously located and contacted — Andy, Charles, and Sam from the East and Ted from the West — that I now began to appreciate the processes involved. So I fed all this to Joe, finally putting him at some ease that he wasn’t dealing with a fish completely out of water.

He responded the following day (Feb. 7):

– “By golly you do seem to be in earnest. I don’t believe I can really help, but I will give you what few clues that I can.

“I don’t remember the [9/22/69] broadcast, but Steven [Segal] was a well connected dj at the time and might have gotten the material from a wide range of sources. Yes it might have come from KPPC, but he also knew nearly everyone in radio on the west coast including Tom Donahue.

[This was the second reference of Steve’s association with Tom. Sam Kopper had mentioned this in December.]

“Could it be relevant that Steven was from Buffalo and traveled there regularly?

[subsequent answer to this possibility: not all that much]

“We will have to find Steven.

“I have tried before and failed, but I will try again. The last time was a lengthy process that began with tracking down his brother and then his ex wife to get a phone number for Steven that he never answered.

“Maybe you can track down a person named Rob Barnett who (within the last two years) was a pretty big shot at VH1 making music videos and a music documentaries. He and Steven had many plans and projects for working together that never quite happened, but Rob may know where Steven is.”

Joe then gave me the last address and phone number he had for Steve, but he said that this was long ago and may not be valid now. He then ended his e-mail with this:

– “I will do what looking that I can. I would dearly love to find him.”

I called the number Joe gave me. Got an automated operator message that told me that the number had changed to another. Hmm. So I called the new number. Got an answering machine from someone who addressed himself only as “Steve,” that he wasn’t in but left his cell phone number. So I called the cell phone number. A man answered.

I ask, “Is this Steve?”

He says, “Yes.” I continue, “Steve Segal?”


I apologized for the evident wrong phone number and explained how I had gotten it, then asked if he knew of a Joe Rogers or a “Steve Segal.” Again, “Sorry, no.”

Ooh, so close and yet so far away. The door cracked open, then slammed shut.

So I tried the other route: who was this Rob Barnett and where could I find him? Googling an answer came quickly this time — Rob is presently Senior Vice President of Original Programming at Infinity Broadcasting, whose offices are right here in NYC.

The next morning I called the main office line at Infinity and asked to be connected with Rob. Immediate transfer. Phone rings. No answer. Get an answering machine. Left a message
mentioning only that Joe Rogers had suggested I contact him regarding the possible present whereabouts of Steve Segal. Gave him my phone number and hung up.

Two minutes later Rob called back. I’m finding that name-dropping helps in ways I never appreciated before. We talked as old friends, relating our non-shared experience with all of the folks with whom I had recently communicated. Rob even mentioned Norm Winer, with whom I had e-mailed only briefly (see Part V). When the neurons begin to interact with each other, the world is indeed a small one.

Rob leafed through his personal pocket phone booklet and found the last phone and e-mail address he had of Steve’s but warned me that this information was 2 to 3 years old. Most
encouragingly, the phone number he had was different from the one Joe had. Rob also warned me that even if I _did_ find Steve, he might not remember a thing. I thanked him and we said our goodbyes after I promised I’d e-mail him with any new developments.

So I called the number Rob gave me. Man picked up the receiver: “Hello?”

“Hi; is this Steve Segal?”

“Yes; yes it is.”


The concluding Part VIII is next.*

Flamin Groovies No Candy big

Side 1: She Said Yeah/ Let The Boy Rock ‘N’ Roll/ House Of Blue Light/ Lover Not A Fighter/ Please Please Me/ Please Please Girl/ Ups And Downs
Side 2: Shake Some Action/ I Wanna Be Your Man/ Don’t Lie To Me/ I Can’t Hide/ Miss Amanda Jones/ Hey Hey Hey

BOOTLEG(S) OF THE WEEK!: The Flamin’ Groovies-NO CANDY (ZAP)

Now that the weather is getting warmer and the sun shinier I feel it safe to once again take a trip down into the basement and mingle with my vinyl friends (who have given me more hours of downright happiness and pleasure than any of my real flesh and bone ones ever have!). And since I just “happened to get hold of” a load of those great (once) clandestine bootleg albums that sure zone me back to the days of those long-gone outta-the-way budget record shops, I thought I’d make it a PROJECT to review for you each and every weekend a bootleg album (or Cee-Dee if the moment arrives) perhaps to reminisce about record buying adventures past or to further document a portion of a seventies/eighties-era piece of rockism that really hasn’t been discussed to the utmost. Naturally I’m only doing this mostly to help pad out these weekend posts and make ’em look a lot meatier than they have the past few weeks so don’t say I have an ulterior motive doin’ this!

Here are a couple oddities from the now-distant and much-missed (in some respects) seventies, Flamin’ Groovies bootlegs that weren’t put out by Skydog Records! Really, one would gander that only a Skydog or some other small specialty bootleg company would have dealt with a group the cult status of the Groovies, but it looks as if the big timers in the underground biz took a shine to our San Franciscan heroes as well. The first offering up for today, NO CANDY, was released by the “Ze Anonym Plattenspieler” label who I guess fell for the SHAKE SOME ACTION album a lot harder than the rest of the music buying populace. I mean, why else would they issue this live recording from August of 1976 featuring our heroes in the middle of a grueling tour kicking out the jams for a rather rabid and appreciative audience when they could have used the vinyl cranking out yet another nth-generation Beatles platter? Sound quality is good enough mid-seventies cassette job about as clear as many of the similar items that were cluttering up the bootleg bins back in the day, while the performance is, er, action-packed as well with the Groovies at the outset of their “power pop” period bridging the energy of the pre-hippie sixties with the budding new underground that somehow caught everyone by surprise during those hard-thrust times. Funny, but I don’t recall seeing this one in any of the bootleg bins or catalogs of the day. My guess is that this was so desired that it actually sold out before I could get to the store.

[Source: BLOG TO COMM]


I find this a bit puzzling, a band I had never even heard off, no hits, no radio play, yet bootleggers obviously liked these guys enough to take the financial risk (there is a Wizardo title – LIVE AT THE ROXY – as well). On the other hand, a band like America’s finest prog-rock group, Kansas, who were fairly big by 1976, never had a vinyl bootleg out. It is interesting how bootleggers had an influence on tastes and artist visibility that way.

“The formation of TAKRL also marked a shift in the scope of artists who could be bootlegged. Dub had kept to the ‘old guard’. Though Ken’s love of Dylan meant that he monopolized American Dylan bootleg product throughout the seventies, his partners were much more willing to test ‘new’ markets. TAKRL was responsible for some of the most unusual artists to be bootlegged in the vinyl era – everybody from Mott the Hoople, Procul harum and The Bonzo Dog (Doo Dah) band to Gentle Giant, Sparks and a particularly inspired compendium of quips from Marx Brothers’ movies, Groucho Marx’s I Never Kissed an Ugly Woman. Though TAKRL’s experiments’ were not always successful, aesthetically or commercially, only they were issuing something other than standard bootleg fodder, even coming up with a handful of superb radio broadcasts of two of America’s best new live acts – the Patti Smith Group and Little Feat. […] By this point, TAKRL could not contain all the product Ken wanted on the streets. HHCER, TKFWM and SODD all took on some of the burden [I really would not have worded it like that], soon folowed by Flat Records […], but it was still not enough. [Heylin, Bootleg pp 107-108]

“Ken’s multiple labels were not simply a ruse to confuse the authorities. Dr. ‘Telly’ Phone was not entirely convinced about the sheer scale of product being churned out. The doctor and Ken did not always see eye to eye about what exactly they should be putting out. Indeed it was a disagreement over content that resulted in the formation of The Kornyphone Records for the Working Man. David [the “Doctor”?] was not enamoured by Paul McCartney in any post-Beatles incarnation, nor by any new American pretenders like Aerosmith, Bachman Turner Overdrive or Lynyrd Skynyrd. If SODD was a bona-fide TAKRL spin-off, and HHCER was phased out as TAKRL went into overdrive, ZAP and Flat – both started in 1976 – were clearly intended by Ken as alternatives to TAKRL. The tension between Ken’s workaholic methods (and occasional dubious quality standards) and someone like the Doctor, committed to ‘approving’ material for ‘his’ label, was bound to lead to a permanent rift.” [Heylin, Bootleg, pp 110-111]