Monthly Archives: December 2012

Rolling Stones Madison 2

Date & source: 1972-07-26: Madison Square Garden, New York City, NY

A1. Band intro [00:49] 
A2. Bye Bye Johnny [03:12] 
A3. Rip This Joint [02:24] 
A4. Jumping Jack Flash [03:23] 
A5. Love In Vain [06:34] 
A6. Sweet Virginia [04:45] 
B1. You Can’t Always Get What You Want [08:00] 
B2. All Down The Line [04:30] 
B3. Midnight Rambler [12:47] 

Recorded Matrices: HH ST M56 & HH ST MSG SIDE A / HH ST MSG SIDE B

This is supposed to be available on CBM as well but all I can find are the Herbie Howard versions. I do not believe that Howard and the East Coast based CBM label collaborated on this release.

See the all the facts surrounding this amazing soundboard recording here:

RS Madison

This version is not the preferred source as the sound “lacks clarity” and there are potential mis-pressings as well that have Led Zeppelin on the BBC in 1969 on side 2.

This is what one of the preferred “Wide Breath-Taking Stereo” versions with the RS-546-A/B REI matrix look like (also available in green, red, black and possibly other colors):

Rolling Stones WtNY

Rolling Stones WtNY back

Rolling Stones WtNY disc

johnny_winter_hollywood paladium



Track list:

    S 1-Rock Me Baby
    Can You Feel It
    Rock’n’Roll Hootchie Coo
    Black Cat Bone – part 1
    S 2-Black Cat Bone – part 2
    Too Much Seconal – part 1
    S 3-Too Much Seconal – part 2
    Jumpin’ Jack Flash
    Johnny B. Goode
    Crossroads – part 1
    S 4-Crossroads – part 2
    Roll Over Beethoven

May 25th, 1973 at the Hollywood Palladium; Sound quality described as ‘Poor mono’

1973_05_25 Winter J


Yes LBA 74 2

Side 1: Close To The Edge (21:00)
Side 2: The Revealing Science Of God (23:00)
Side 3: The Ancient (20:00)
Side 4: Roundabout (8:30)/ Starship Trooper (11:00)

Long Beach Arena, Long Beach, CA – March 19th, 1974

Set list:  Opening (Firebird Suite), Siberian Khatru, And You And I, Close To The Edge, The Revealing Science Of God, The Ancient, Ritual, Roundabout, Starship Trooper

An alternate tape source (not [Mike] Millard’s) was used for the vinyl 2LP set Live At Long Beach (Pig’s Eye PE-YES) containing only parts of the show:  “Close To The Edge”, “The Revealing Science Of God”, “The Ancient”, “Roundabout”, and “Starship Trooper”, and is not very good.

Yes LBA 74 orig lbl

Original issue & labels.

A review:

“Yes – “Live at the Long Beach Arena, Calif. 3/19/74” (Pig’s Eye 1974)

I’ve never been a big fan of bootlegs as I think it’s natural to assume that the best live-recordings of a band are to be found on their own official live-albums. However, I’ve always been curios about how Yes performed “Tales from Topographic Oceans” on the tour for that LP. This double album recorded at the Long Beach Arena in America early in ’74 gives us half the answer, as it features both “The Revealing Science of God” and “The Ancient”. You’ll have to tolerate some typically rotten bootleg-sound to be able to enjoy this, but if you get past that you’ll have a rare opportunity to hear vintage performances of something else from “Tales from Topographic Oceans” than “Ritual”.

But the bootleg opens with “Close to the Edge”, performed pretty much the same way as on “Yessongs”. Funny to hear the talk among the audience during “I Get Up, I Get Down”, revealing that the guy who taped this were standing far away from the stage. But we get over to the most interesting sides of the album when we reach “The Revealing Science of God” on side 2. Just to hear Anderson introduce the song above Wakeman’s floating and dreamy sounds is enough to open the astral gates in my mind. The song is performed slightly more loose and energetic than in the studio. You’ll also notice some more Mellotron, and also an interesting rhythmic synth on the “Starlight, movement” part. Weirdly enough, even if Wakeman hated both the album and tour, he still delivered some of the most interesting new aspects to the material on these live recordings. “The Ancient” is like a burst of cosmic energy, often much faster and more raw than in the studio. Howe’s solo is extended, although not as much as you perhaps had hoped or expected. Still, he adds some new cosmic passages that give further strength to this, Yes’ most experimental track. The extra Mellotron on the acoustic part known as “Leaves of Green” to fans is also a nice addition. The last side is made up of typically solid versions of “Roundabout” and “Starship Trooper”. Not very different from the other live recordings I’ve heard of the songs, although perhaps a slight stronger input of synths on the latter one, as well as a brief Mellotron-flute solo on “Würm”. So, SUPERB music and performances, but poor sound. “

A second review:

“Long Beach Arena, California, USA March 19, 1974

Another Tales Tour bootleg, this one has clear strengths and weaknesses.

One of the few Tales Tour boots of good sound quality.
Steve is in a great day and his guitar is very high on the mix.
Starship Trooper (not such a common song on that tour) is played very dynamically.

Siberian Khatru, And You And I and Ritual were played but don’t feature in this bootleg. Were they ever recorded? I don’t know.
In some moments sound quality is not that good.”



Later reissue with POD labels.


Emerson, Lake & Palmer – The 1972 American Tour on Pig’s Eye has been added to the Aftermath / Phonygraf listing of this recording.

Rolling Stones Honolulu large

Source: Hawai’i International Center/ H.I.C. Arena, Monday, January 22 ’73, 6 p.m. show; this is referred to as the “Original Tape”, source for the early LP boots. [ Unfortunately, the worst of the three shows, playing wise. ]

A1  Brown Sugar [03:33]
A2  Bitch [04:19]
A3  Rocks Off [03:56]
A4  Gimme Shelter [05:26]
A5  It’s All Over Now [02:50]
B1  Tumbling Dice [04:36]
B2  Dead Flowers [03:45]
B3  You Can’t Always Get What You Want [07:36]
B4  Rip This Joint [02:16]
B5  Jumping Jack Flash [03:28]
B6  Street Fighting Man [00:13]

Matrix: PE HONOLULU-1/2, released around 1974

RS Hawaii 73

Rolling Stones Honolulu 1973

Riolling Stones  Honolulu 1973 black

A1  Brown Sugar [03:33] 
ABitch [04:18] 
ARocks Off [03:50] 
AGimme Shelter [05:24] 
AIt’s All Over Now [02:55] 
BTumbling Dice [04:36] 
BDead Flowers [03:43] 
BYou Can’t Always Get What You Want [07:35] 
BJumping Jack Flash [03:30] 
BRip This Joint [02:13] 
BStreet Fighting Man [00:12] 

Almost identical banding, except for “Rip This Joint” and “Jumping Jack Flash” having traded places. Matrix: HONRS A/B; released ca. 1975

The Pig’s Eye version saw a number of re-releases through the years. As K&S 049 from the original Pig’s Eye plates on mcv [spot the carefully removed pig’s eye in the 2nd ‘O’]:

Rolling Stones Honolulu 2

On either blue or yellow vinyl with Ruthless Rhymes labels after that:

Rolling Stones Honolulu RR lbl

Rolling Stones Honolulu cv

Rolling Stones Honolulu cv 2

In the early 80’s with POD labels:

Rolling Stones Honolulu POD

These three shows were a big deal, Mick Taylor’s last gigs in a U.S. territory – although nobody knew it at the time – the end of the 1972/3 Tour of the Americas. 8,500 tickets were available for each of the three shows, ZZ Top were the opener.

“Once again, the gathering madness. Chartered flights from San Francisco, Los Angeles and Denver. Stories in the local papers about kids waiting in line through Christmas Eve and Day for tickets, about how Don Norton, manager of a gas station in Pearl City, left his line Sunday morning at 2:30 AM because his wife Maria was having their first child. He got someone to save his spot, and he was back in line at the Honolulu International Center within two hours. A couple flew in from Boston to see the concert, explaining, very simply, “It’s the whole Mick Jagger thing.” “

The band had just found out that their planned Japan dates are not going to happen due to rejected visas based on past convictions for drug possession; the same issue Paul McCartney would run into two and a half years later. But while he allowed a Japanese TV station to record one of his Pacific Rim shows, the Stones would not: “Japanese television is here to interview Mick,” he says. “They wanted to film the concert. Absolutely not. We still intend to go back to Japan. Next? Probably Europe next summer. Celebrate the Common Market, you know.”

Read all about these three shows here:

The Rolling Stones article from the March 1, 1973 edition can be found here:

WHO Live in Munich

A copy of this European bootleg:

Who Is This

Who Is This b

Although “Mr. Rubber Dubber” traveled to Germany in the fall of 1970, recorded the Rolling Stones at the Essen Grugahalle and pressed the reels as the 2LP set EUROPEAN TOUR LIVE 1970 upon his return, I doubt he recorded this as well and stayed to have it pressed and distributed in Europe (but never in the US).

The Who Munich 72

who museum 72

As there were only 2400 seats, tickets were rather expensive (normal prices in the larger halls were 12,50 to 14 DM).

Notes from a remastering project of this LP done by “Prof. Stoned:”

THE WHO – Kongresssaal, Deutsches Museum, Munich – September 4 1972 [a fateful night, just hours before the attack on the Olympic Village]
“Who is This ?” Remastered From Original 1st LP Pressing

01. Can’t Explain
02. Summertime Blues
03. My Wife (tiny cut within)
04. Baba O’Riley
05. Behind Blue Eyes
06. Magic Bus
07. The Relay

Time: 47:06:56   Sound: B+/B

“It’s a good “stereo” audience source for this era. There’s a great balance between the instruments and voices and the energy of this show is very well captured. The recording starts out a little bassy, because the “mix” is like that, but improves quickly during the 2nd track.

Though not a sonic masterpiece, this new version is among the best sounding 1972 whoboots.
It’s comparable to the 21/08/72 KB Hallen, Copenhagen (DK) bootleg (a.k.a. Danish Treat).
This may sound a little “harsher”, but then again the vocals can be heard better on this one.

I’m aware that a completer source of this show available, compiled from 3 different sources.
This recording captures the best sounding source of those three in its entire, and is an upgrade to what’s out there until now. I leave it to others to splice the sources together again.

***About the LP ***

The original mastering of the LP is quite amaturistic [sic]. Inbetween songs, the volume was raised, and some weird panning was done. Probably to convince the listener that this was a “real stereo” live LP. The sleeve says the following about this: “world white super pop trade mark of peace quality hell and heaven STEREO records can be safely played on today’s monaural phonographs to the maximum sound capabilities of your equipment, yet will reveal full stereo listening”

There are two minor cuts in the original recording. One notably in “my wife”, resulting in a couple seconds missing. The other one is between “Summertime blues” and “My wife”, and abruptly cuts off the public response to the former song.

My copy visually strictly rates VG++. But it plays with more crackling than you might expect. This has probably to do with the quality of the pressing itself. […] I corrected the speed of the recording with +0.15 semitones. I tuned the music of “Can’t Explain” with great precision, comparing to an exact E (330, 660, 1320 Hz), bringing down the playing time from 47:31 to 47:06.” 

“I have the original bootleg too and The Professor’s version is really clearly superior to the album because he successfully eliminated the – occasionally – heavy surface noise that clearly does not derive from scratches (my copy is almost mint) but from an obviously sub-par pressing and/or mastering.

Just too bad that Rubber Dubber – or the bootlegger who may have used his label as a disguise – decided to cut down the show to a single album, as this is simply one of the best sounding shows of this tour.”

The Who Hamburg 72

The Who on stage in Hamburg, August 13th ’72. When Pete smashed his Gibson SG Standard at the end of the show, the photographer ended up getting hit in the face by one of the splintered parts.

Winter J Hot

Winter J HOT 3

A1  Help Me (Williamson) 4.18
A2  Leland Mississippi Blues (Winter) 4.22
A3  Mean Town Blues (Winter) 8.42
B1  It´s My Own Fault (King/Taub) 11.24
B2  I Hate Everybody (Winter) 4.50
B3  Tell The Truth (Winter) 7.09
B$  What’d I Say (Charles) 4.28

Source:  Hollywood Bowl, August 1, 1969       Quality listed as: Satisfactory mono

Tommy Shannon (bass)
John Turner (drums)
Edgar Winter (keyboards)
Johnny Winter (guitar, vocals)

Winter J HOT 2

Matrix # for the above version is 1886 A/B

Winter J Hot S Pig

as TMOQ 73027

Question posted January 2nd 2013: You did the original artwork for this Pig’s Eye release. Ken has stated that Herbie Howard was behind Pig’s Eye but others believe it was Dub, since you usually did covers for the classic TMOQ releases. So, whose label was Pig’s Eye?

William Stout: “It was Dub. Trademark of Quality was getting ripped off so much that Dub decided to retaliate with Pig’s Eye. Pig’s Eye issued the best recordings of the bootleggers who were stealing from Trademark..”


Beatles OSiJ 1966

Not an original Pig’s Eye release but a North Asian copy, designated by printed b&w covers and having L 5xx or JL 5xx printed in small writing hence the designation as ‘JL label’.

I wonder how Holy Grail Records and Dr. Uriah Lucas felt about seeing their labels used in this manner. This label exists in no less than 3 different colors: light pink, pink and brown.

Holy Grail dark label

More variations:

Beatles OSiJ 2

Beatles 1 label small

Beatles OSiJ 3

Beatles 1 label big

Beatles OSiJ 4

Jeff Beck Gr

Jeff Beck Gr disc

Bowie Dollars in Drag

Blind Faith Pigs Eye copy

Bob Dylan re-releases that have been spotted with Phonygraf labels:

Dylan DLB

Originally released in 1973 on the classic TMOQ label (Matrix: BD 524 / 1862), it’s re-release didn’t just limit itself to one label but went the whole hog. “There was a new insert with pics of 13 CBS LPs Vinyl was clear yellow, orange, or red. LP labels were blank, Phonygraf, original pig, or smoking pig. Jackets were white or yellow. Several combinations of the above exist, as well as combinations from the original packages. Matrix: 1862 A/B”

Dylan VD Waltz

Dylan VD Waltz 2

Re-release of this 1971 TMOQ title: Smoking pig or Phonygraf labels; Black or color vinyl; White or yellow jacket. 
Several colored inserts with various logo combinations. a live ’74 photo, S-108 or 1854 catalog #’s. Matrix: #BD 508 or #1854