Let’s take a look at the Aftermath label. I wouldn’t be surprised if Ken was behind this one as well. It gets intriguing and confusing at the same time as 2924 is listed as the TAKRL release number for Celestial Doggie, yet this was released under Phonygraf and Part 2 in the Aftermath series has the matrix numbers TAKRL 2-A/B
An early edition duo-colored insert.
These first two volumes were a copy/re-issue of sides 1&2 and 3&4 of Phonygraf’s imaginatively titled Celestial Doggie: The Lobster Quadrille
Source: Long Beach Arena, July 28th 1972
Although based on the recording date alone, this could have been released as early as 1972, the fact that the first Phonygraf bootleg 1101 America / Eagles Live On The Road could only have appeared in late August 1974 at the very earliest, places this into 1975.
And if you stared at any of these covers long enough back in 1975/76 under the influence of LSD it…
collectorsmusic.com wrote: “Celestial Doggie: The Lobster Quadrille is an excellent audience recording remarkable in its clarity and presence. It also is one of the most popular ELP bootlegs seeing many releases in different formats over the years. Two vinyl titles were produced in the seventies, 1972 America Tour (Pig’s Eye), the 3LP Tour Of The Americas Part 1 (An Aftermoth [sic] Record) and of course Celestial Doggie : The Lobster Quadrille. ”
[It should be noted that part 3 of Aftermath’s trilogy was not from this concert as it was a re-issue of the TAKRL 1911 title Callow, Crash And Idle Eyes. I could not find a cover image for the Aftermath version, so it will not receive an entry.]
Review from allmusic.com: “This is one of the first bootleg albums to emerge after Emerson, Lake & Palmer began to get well known. Recorded from the audience during a concert in Long Beach, CA, this two-record set compares favorably to similar illegitimate releases of the era. The audience noise doesn’t drown out the music, the instruments are reasonably well balanced, and there aren’t breaks in the middle of songs, as on most bootlegs. However, the sound is somewhat muffled and does not begin to match that of any live commercial issue by ELP.
The program is an ambitious one including the entire “Tarkus” suite; the difficult and rarely heard medley of “Endless Enigma, Parts 1 & 2” with “Fugue” inserted in between; a version of “The Sheriff” in which Lake goofs up the order of the lyrics; the second half of their interpretation of Mussorgsky’s “Pictures at an Exhibition”; a rather conservative take of Aaron Copland‘s “Hoedown” (which is much faster on the commercial live versions); and an extended ferocious finale of Dave Brubeck‘s “Blue Rondo à la Turk,” which was a carryover from Emerson‘s days with the Nice. The playing of the trio is pretty consistent with any of their live releases, but since almost all of these tracks are available with far better sound from other concerts, only the fanatical collector of ELP will search high and low for this long unavailable set.”
K&S re-issued the Phonygraf double on multicolored vinyl as # 042. [Note: Many bootleggers have a hard time spelling “American” for some reason – see the David Bowie category.]
Almost overlooked as it is listed in the Hot Wacks appendix only: The Pig’s Eye version. The question now is, which one came first?
Text from the eBay listing:
PIGS EYE RECORDS
Super Rare …ages old Original first pressing on the legendary PIGS EYE label… a giant TWO-LP set featuring July 28th 1972 Long Beach Arena exclusive versions found only on this album. Essential progressive rock/ELP collectible…very, very hard to come by….
ELP took May off before resuming touring with dates in Europe in June and July. They played their first and only two concerts in Japan before returning to the states for their second month long tour. The first date was on July 27th in San Francisco with Long Beach being the second night. Here the collector will find the audio playback to be “excellent” remarkable in its clarity and presence.
It also is one of the best, most popular ELP albums in the genre…
Surprisingly beginning with “Tarkus” — They deliver an extremely aggressive and militaristic version of the fantasia and in “Aquatarkus” they get into the melody that would be used later for “Karn Evil 9 1st Impression Part 2.” The ending of the piece delves into a strange melody that sounds like a carnival organ set to military snare beat. Lake begins the song alone with his acoustic guitar but Emerson and Palmer follow him in to complete the song. “Take A Pebble” continues with Emerson’s frantic keyboards.
They follow the “Endless Enigma” with “The Sheriff,” something Emerson claimed they never tried out on stage before. The claim is untrue since they played it since their spring tour. “Take A Pebble” has the normal construction with Emerson’s piano fugue following the first verse. “It’s drastic” Lake jokes when he comes in to sing “Lucky Man.” Lake begins the song alone with his acoustic guitar but Emerson and Palmer follow him in to complete the song. “Take A Pebble” continues with Emerson’s frantic piano.
“Pictures At An Exhibition” is sixteen minutes long and “Hoedown” follows almost as an afterthought. The gig ends with a wired version of “Rondo.” There is a mechanized moog beginning before the steam train engine starts off the song. Emerson gets into the “Star Spangled Banner” before Palmer has his long drum solo in the middle. The song comes to a crashing halt twenty minutes later. It’s one of the most thrilling versions of a song that can sometimes be hard to take.
Stone Of Years
Battlefield (inc Epitaph)
The Endless Enigma, pt.1
The Endless Enigma pt. 2
Take A Pebble
Take A Pebble (reprise)
Pictures At An Exibition
The Hut Of Baba Yaga
The Curse Of Baba Yaga
The Great Gates Of Kiev
This recording has now been officially released by the band themselves as part of the box set The Original Bootleg Series From The Manticore Vaults: Vol. One (Sanctuary Records CMXBX309)