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As mentioned in the early version of the Idle Mind presentation sheet/catalog, I will include this album at this point. The “(deluxe)” comment seen there likely referred to a printed b&w cover, something VV had already used on her side label Anti Gravity and the release Welcome To The Late Show by the Eagles, previously discussed here.

Bowie Wish Upon A Star

Source: Second of three Inglewood Forum shows (8, 9 & 11 February 1976)

Side 1: Panic in Detroit / Fame / Changes / Diamond Dogs
Side 2: Waiting for the Man / Word on a Wing / Stay / TVC 15

Another lost master tape as the rest of the show has never appeared and this is a ‘vinyl only’ special (the CD was taken from a vinyl copy as well). Praised for its very good audio quality ever since its release.

Claimed by Lou Cohan as one of his releases as found in Hot Wacks – Supplement I where he stated:  “my name is on the cover” – and it is.

First edition on black vinyl with white blank labels as seen below. The following are comments collected around the web:

“Original pressing small credit “produced by BERT & LOU” printed on cover, later only “BERT” credit, missing “LOU”; “ref BR 10001”

“…early pressing of the “Wish Upon a Star” LP – the one with “For Patty” in the runout groove…”

“Rare HAR label catalogue+order info paste on back cover!”

Bowie Wish Upon A Star 2

Second edition with blank black labels exists as well, some claim this is from 1979:

Bowie Wish Upon A Star black

Third and rarest variation:

Bowie Wish Upon A Star blu

An eBay seller claimed only 50 blue PVC copies exist.

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76-station-to-station-ad-dates

Bowie Isolar 76

L.A. Forum concert review by Lisa Robinson as published in Hit Parader magazine:

“I think with this stage show,” David would tell me later, “I’ve put myself in a position of being more like the real David Bowie the audience has wanted. This show is more bisexual, more theatrical than anything I’ve ever done, I think. Ostensibly because it’s the most real show I’ve done. Now I can start work.”

Elton John swept into the Forum backstage area dressed in brown. He’s taken a few hours out of rest and hiding in LA to pay his respects, but he doesn’t stay long at the concert when his presence begins to attract too much audience attention. In the audience are Linda (it wouldn’t be a rock concert without) Blair, David Hockney (who’s had a busy week, attending parties for the Spinners, and the Pretty Things), Christopher Isherwood (“Can you imagine??” Angela Bowie gasped after the show, “CHRISTOPHER ISHERWOOD! My idol!!”) and Henry “Fonzie” Winkler.

The taped music of Kraftwerk can be heard over the loudspeaker. “Radioactivity for you and me,” croons writer Cameron Crowe. What a camp David is, I think. Fashionable fascism. Then, right before the screening of “Un Chien Andalou” Carole King treks up the aisle with new hippie boyfriend in tow. “You wouldn’t believe how crazy it is down there,” she shrieks to a friend in her very best Brooklyn yenta voice. I cannot believe how, with all her money, she is wearing a three dollar Indian shmatah. Cameron Crowe cannot believe I say this. She does however, seem very young, and glowingly in love.

And so, David screens “Un Chien Andalou” for all his 17-year-old fans who have not had the opportunity to study the surrealist classic film in college yet. The eye-cutting scene goes over big, but the rest of the twenty minutes causes the crowd to become mighty restless. And so at last, when Bowie comes onstage casually, singing “Station to Station”, there is a huge roar, and everyone stands up.

As the show has been reviewed in these pages at length by Ben Edmonds, I’ll just add these observations: I didn’t much care for the band; too loud, too funky, too much bottom. My seat was reverberating throughout the entire show, and it was not a pleasant sensation. “Waiting for the Man” doesn’t really work; trying to sing it as a sultry, nightclubby kind of number isn’t right. Perhaps only a few who have really been there can sing Lou Reed’s lyrics; even if he wouldn’t agree with me, Patti Smith can. But David’s new show – with the stark, spare stage lit by hot, white neon lights is theatrical. Perhaps more theatrical than any that have preceded it, because he is creating the illusion that it is real -just A Man and His Music. But make no mistake, this is a show, not a concert. Just because he’s wearing a simple white shirt, black vest, black baggy trousers, instead of a long striped sock or a pink jockstrap doesn’t make it any less of a stage act.

Bowie moves onstage like an actor, a film actor who knows that standing still in front of a camera often commands more attention. The entire production from the Kraftwerk, to “Un Chien Andalou”, to the black and white, is all sort of like a film David’s directed himself. It’s focused, and the focus is definitely on the Star. No more cute guitarists to go down on, no more shoving the band to the side of the stage in an attempt to be visually rid of them (that just pointed out there was a problem with them in the first place). This band stands behind Bowie but could just as easily be behind a curtain. It’s fine to hire “excellent musicians”, but conceptually, visually, these people have nothing at all to do with Bowie. (“Do you consider this to be your band?” I would ask him later. “Oh no … they’ll all probably wander off after the tour and go back to James Brown or wherever they came from,” he replied. “I really don’t know them … I mean I know Carlos… “) One thing I do love in the show is when David stands to the side of the stage during the instrumental solos, nodding his head as if he’s digging them. Aside from admiring such fine acting, it makes one long for the star’s speedy return to center stage. Don’t think David doesn’t know that.

But I’m a sucker for the more familiar, rock and roll numbers like “Suffragette City”, “Jean Genie”, “Changes”, “Rebel Rebel”, so for me, they are the most successful songs in the show. Strangely enough, he’s left out “Young Americans” and “Golden Years” but mercifully has perhaps put “Space Oddity” to rest forever.

(At this point Carole King gets hassled by the usher … he tried to get her out of her seat and she has to sit on her boyfriend’s lap. They leave soon thereafter and I notice that he is wearing a fur purse tied on a leather string around his hips.)

David added Diamond Dogs to the shows in LA; he had forgotten the words but Cameron Crowe found them for him and he learned it in time. The show lasts about one and a half hours, which is fine, and after much cheering and lighting of matches (can you imagine going to a concert anymore and not have that happen? It’s such rote, fascism indeed… ) he returns to say, “We’re touring the world, and I won’t see you for … oh … a year, so we’ll leave you with this” – a great Rebel, Rebel”

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If anyone has a copy of this album on black PVC in excellent condition for sale, I’m interested.

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Dylan NiR 1109

 IMP name and number clearly visible on the lower spine, below the K&S number. Classic I.M.P. wrap around insert design.

Dylan NiR 1109 mcv

Dylan NiR 1109 mcv 2

Dylan Baez Rolling Thunder Review

Dylan NiR 1109 orange bl

“Duck Hits” label. The album also exists with Ruthless Rhymes labels.

Dylan R T R var

Listed variations from THE BOB DYLAN UNDERGROUND DISCOGRAPHY

 

Perhaps Kurt Glemser/K&S provided the tape and Vicky produced both versions, except for the K&S inserts.

Side 1: Sundown (Gordon Lightfoot) / Coyote (Joni Mitchell) / Chestnut mare (Roger McGuinn) / Mule Skinner blues (ramblin’ Jack Elliott) / Diamonds and rust (Joan Baez) / Tonight I’ll be staying here with you (Dylan)

Side 2: Romance in Durango  / Isis / Oh sister / Hurricane

Quality: “G and VG mono”

***

Dylan TfSAttic

Dylan TfSAttic disc

From auction text: “Genuine  K&S  Records #  002  limited pressing  #100 copies in this color vinyl and with this insert;  blue splatter marbled  vinyl, cover ( ‘Toronto’ word penned on back) with first original free insert and with original 1976 Idle Mind Pr. lps catalogue”

IMP catalog

I’m sure producing bootlegs was much more fun than working at a car wash as well.

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Dylan TFSA alt insert

Alternate insert.

 

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Dylan Toronto 75 ticket

Dylan Toronto 75

Complete set list:

1. good love is hard to find (Neuwirth)
2. sleazy (Neuwirth)
3. hula hoop (Burnett)
4. laissez-faire (Soles)
5. catfish (Stoner)
6. is there life on mars (Ronson)
7. alabama dark (Neuwirth&Blakely)
8. need a new sun rising (Blakely)
9. cindy (Neuwirth)
10. nowhere to go (Bullens)
11. mercedes benz (Neuwirth)
12. a woman of heart and mind (Mitchell)
13. coyote (Mitchell)
14. edith and the kingpin (Mitchell)
15. don’t interrupt the sorrow (Mitchell)
16. ramblin jack (Neuwirth)
17. muleskinner blues (Elliott)
18. pretty boy floyd (Elliott)
19. salt pork, west virginia (Elliott)
20. I’m a rich and gamblin boy (Elliott)
21. when i paint my masterpiece
22. it ain’t me, babe
23. the lonesome death of hattie carroll
24. tonight I’ll be staying here with you
25. it takes a lot to laugh, it takes a train to cry
26. romance in durango
27. isis
28. the times they are a-changin’
29. dark as a dungeon
30. never let me go
31. i dreamed i saw st. augustine
32. i shall be released
33. diamonds and rust (Baez)
34. swing low, sweet chariot (Baez)
35. joe hill (Baez)
36. love song to a stranger (Baez)
37. long black veil (Baez)
38. please come to boston (Baez)
39. the night they drove old dixie down (Baez)
40. eight miles high (McGuinn)
41. chestnut mare (McGuinn)
42. race among the ruins (Lightfoot)
43. the watchman’s gone (Lightfoot)
44. sundown (Lightfoot)
45. it’s all over now, baby blue
46. love minus zero/no limit
47. simple twist of fate
48. oh, sister
49. hurricane
50. one more cup of coffee (valley below)
51. sara
52. just like a woman
53. knockin’ on heavens door
54. this land is your land

Elvis RMS 2

Elvis RMS b

Elvis RMS

How many bootlegs in the 1970s came with a poster? This one did. VV put a lot of effort into this release.

Elvis RMS b 2

Matrix markings:
Side 1: IMP-1108-A LONG LIVE THE KING
Side 2: IMP-1108-B CATCH ME IF YOU CAN

Some Elvis sites list 1974 as the release date but this was not produced until the fall/winter of 1975.

Review by allmusic.com:
Numerous Elvis Presley bootlegs were released when he was alive, and after his death in 1977, there were even more. One of the more rewarding Presley bootlegs that came out when he was still alive was Rock My Soul, which Idle Mind Productions (a prominent bootlegger in the 1970s) released on its Teddy Bear label around 1975. Spanning 1957-1972, this vinyl LP offers generally decent sound quality and contains a variety of live and studio recordings, most of which have never been released commercially.  The record kicks into high gear with Presley’s inspired performances of “Don’t Be Cruel” and “Ready Teddy” on The Ed Sullivan Show in 1957 before turning its attention to everything from some gospel studio outtakes from 1960 (including “Lead Me, Guide Me” and “Rock My Soul”) to inspired live performances of “Funny How Time Slips Away” and the traditional “Dixie” in Richmond, VA, in 1972 and performances of “Big Hunk of Love” and “I Got A Woman” in Dayton, OH, that same year. Rock My Soul wasn’t aimed at casual listeners, but the seasoned Presley fans who acquired this enjoyable, if imperfect, bootleg in the 1970s found that its plusses exceeded its minuses by far.

***

Cover, label & vinyl variations:

http://www.elvisspecialties.com/catalog/rock_my_soul__blue_cover__3655599.htm

Elvis RMS orange

Elvis RMS IMP logo

Elvis RMS bla

Elvis RMS DragFly

Elvis RMS Ruthl

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Produced by another outfit: The Teddy Bear label version

Elvis RMS teddy b

‘Bootlegland’ must have been a magical place in the 70s where wishes really did come true (strictly bootleg related wishes only, though). William Stout standing in the middle of a record store moaning about the crap quality of bootleg covers and next thing you know, he’s designing bootleg cover inserts. Or early Springsteen fan Lou Cohen pestering bootleg dealers about non-existing Springsteen titles in ’75 and – wouldn’t you know it – Vicky Vinyl appears, teaching him how to become a bootlegger himself and put out the titles he’s been longing for!

Springsteen HAR 160

Springsteen 1105 details

Springsteen TanfBhtonight Drag

This title is listed in Hot Wacks as an Idle Mind release named The Roxy and a few copies obviously exist with an IMP # on the fold over slip sheet and with Idle Mind logo labels (below the dangling sneakers, see detail above), however, almost all found copies these days are clearly a Hoffman Avenue Records branded release. In his famous letter to Hot Wacks, Lou Cohen berates Kurt Glemser for several transgressions against his label – such as shortening the name to “HAR” – and listing this LP as an Idle Mind release when Vicky Vinyl’s involvement was limited to putting up 1/4 of the money to produce this title and he did everything else, including destroying a poster now worth almost $500^ to create the artwork. ^this was written in the 90’s

[I think Kurt was not to blame and just collected his books from the catalogs that bootleggers sent him and as we have seen, Vicky Vinyl did create the impression in one of her early listings that this was one of her releases.]

Hoffman Avenue is a street in Trenton, New Jersey and Lou states he grew up in number 160 and that is how this “Bruceleg” received its record label name and number.

Supposedly, this is only the third Springsteen bootleg ever, following Lou’s first ever product The Jersey Devil and the double album Live (on Coral Records).

You can see all surviving visuals and read about these famous shows and the radio broadcast that provided the source for this release here:

http://brucebase.wikispaces.com/1975-10-17+-+THE+ROXY+THEATRE%2C+WEST+HOLLYWOOD%2C+CA

Side 1:  Thunder road / 10th avenue freeze-out / Spirits in the night / Pretty Flamingo     
Side 2:  She’s the one / Born to run / 4th of July, Asbury Park (Sandy) / Backstreets     
Side 3:  Kitty’s back / Jungleland
Side 4:  Rosalita (Come out tonight) / Goin’ back / Detroit Medley

From a live broadcast on K-WEST 106 FM

Springsteen 160 mcv disc

Springsteen 160 mcv

Springsteen HAR 160 black

This title was later included as part of the Hoffman Avenue reissue box set Box O’ Rocks

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I.M.P. 1106: Blue Oyster Cult – In Your Mouth Or On The Ground  – very detailed background info can be found by clicking here.

I.M.P. 1107: Led Zeppelin – Earls Court – has been added to the ZAP listing that described this copy of a European release, found here.

John E HeMex blu insert

Note the custom title label below.

John E HeMex title lbl

Source: San Diego Sports Arena – 29 September 1975 (official start of the Western leg of the 1975 – ’76 tour) – another big 1975 concert tour, although this one did not get a lot of attention by bootleggers at that time, with the exception of our heroine – Vicky Vinyl.

Matrix: IMPEJ-1104 and text: “How do you keep a John Denver fan busy? (over)”

Side 1: Meal Ticket / Island Girl / Philadelphia Freedom / Better Off Dead / Harmony
Side 2: Captain Fantastic And The Brown Dirt Cowboy / Someone Saved My Life Tonight / Don’t Let The Sun Go Down On Me

total time 45:41

The Band:
Elton John- Piano/vocals
Davey Johnstone- Guitars/vocals
Caleb Quaye- Guitars/vocals
Ray Cooper- Percussion
Kenny Passerelli- Guitars
James Newton-Howard- Keyboards
Roger Pope- Drums
Backing Vocals:
Cindy Bullins
John Joyce
Ken Gold

Audio quality listed as “Gs” in Hot Wacks but may be a little bit better than this, “sound quality is not the best” states an E. John collector’s site that’s selling this title on CD-R. These eight songs are all that have ever appeared and the master tape is one of many that have gone missing/ were possibly confiscated by the FBI in a raid, along with the stampers, etc.

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John E W ot Rockies

Matrix: IMPEJ-3-1104 and text: “How do you keep a John Denver fan busy? (over)”

The reason I was not familiar with this title until fairly recently is because it was not listed in the editions of Hot Wacks that I owned.

It seems that after obtaining audio of one of the Dodger Stadium L.A. gigs, VV decided to re-issue this title with a different stamper for side1:

Side 1: Your Song/ Lucy In the Sky with Diamonds/ I Saw Her Standing There/ Island Girl/ Harmony/ Pinball Wizard

Side 2 is identical to Hecho En Mexico.

John E W ot Rockies 2

John E W ot Rockies green

Rolling Stones 1975 TOTA pt one disc

Rolling Stones 1975 TOTA pt one b stamp

Rolling Stones 1975 TOTA pt one 1 lbl

Matrix – side1: Impact 1 / Side2:  Impat 2
dbboots.com states: First edition in black vinyl. Second edition in multicolored vinyl. Third edition with Ruthless Rhymes labels and black vinyl.

Source: Great Western Forum, Inglewood, CA – 13 & 10 July 1975 (different venue & date where noted)

Side 1. If You Can’t Rock Me (03:33) / Get Off Of My Cloud (03:40) / Star Star (04:37) [July 10] / You Gotta Move (05:01) / Brown Sugar (03:48) / Band intro (01:25) / It’s Only Rock’n Roll (But I Like It) (06:05)
Side 2: Tumbling Dice (05:50) / Wild Horses (07:24) / Jumping Jack Flash (06:47) 

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Part 2:

MATRIX: Impat-2-1 (1) Rolling Stones Forever. Impat-2-1 (2) Watch For Part III

Side 1: Gimme Shelter (05:33) / Ain’t Too Proud to Beg (03:47) / Midnight Rambler (14:46)
Side 2: Doo Doo Doo Doo Doo (Heartbreaker) (05:16) [July 10] / Fingerprint File (09:41) [July 10] / Sympathy For The Devil (10:05) 

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Part 3 “1975 Nervous Breakdown / L.A. Friday” [the 13th was actually a Sunday]:

MATRIX: IMPACT 5 SIDE 1 THIS SIDE FOR J. WIZARDO / IMPAT 5 SIDE 2 THIS SIDE FOR LARRY.

Side 1: Honky Tonk Women (05:29) / All Down The Line (04:09) / Angie (05:52) [July 10] / Luxury (03:42) [June 1, Baton Rouge, LA – 2nd show] / Dance Little Sister (04:26) [June 1, Baton Rouge, LA – 1st show]
Side 2: You Can’t Always Get What You Want (12:42) [July 10] / Happy (03:37) / Brown Sugar (04:22) [July 10] / Rip This Joint (02:09) / Street Fighting Man (04:12) 

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1975 was quite a year for live show tapers and bootleggers. Led Zeppelin toured from January to March, Pink Floyd started their in April, the Wizardo label started churning out titles in the middle of the year, as did another massive Rolling Stones North American Tour. Again, Vicky Vinyl was able to secure copies of excellent audience recordings made by local concert taper Mike Millard, who worked in the Audio Visual Dept. at Mt. San Antonio College (Mt. SAC) in Orange County, CA.

“part two” especially clearly shows Vicky Vinyl’s love for the band in every detail and stands high above any output from most of the contemporary bootleggers at that time. This material has since been officially released by the band as a download – under Vicky’s chosen title L.A. Friday to boot! – and subsequently bootlegged on vinyl again from the FLAC files (see last image before the Mike Millard notes).

Rolling Stones 1975 TOTA pt 2

Rolling Stones 1975 TOTA pt 2 detail

Rolling Stones 1975 TOTA pt 2 disc

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Rolling Stones L.A. Friday

Rolling Stones L.A. Friday back

Rolling Stones L.A. Friday disc

Some of the disc variations:

red – IMP logo label
white – IMP text label
blue – Slipped Discs text label
MCV blue – blank label
MCV red – IMP text label
MCV blue/black – IMP logo label
MCV red – Slipped Discs text label

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In 1976, the single albums were reissued as a 3 LP box, using the inserts for the first release and blacking out “part one”:

Rolling Stones 1975 TOTA box rwb

Rolling Stones 1975 TOTA box 2 g st

Rolling Stones TOTA box RR SD

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LA Friday RS

P.S. 2012 limited vinyl bootleg set made from the official soundboard recording released by the band.

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Mike Millard

nak550

The recorder model used by Mike Millard from 1975 onwards. Not much is known about Mike and the same information is usually copied across the web sites that mention him. The following blog post was written by someone who actually knew him:

http://www.barry-goldstein-concert-closet.com/2010/03/odds-n-ends-mike-millard-facts.html

List of shows known to have been taped by Mike Millard:

1988
Eric Clapton – Irvine Meadows Amphitheatre, Laguna Hills, CA 23 September 1988

1981
Rush – Convention Center, Anaheim, CA – 16 June 1981

1978
Yes – October 6, 1978, Inglewood, CA, Great Western Forum
Yes – October 5, 1978, Inglewood, CA, Great Western Forum

1977
Kansas – Arena – Long Beach, CA – December 31, 1977

Yes – Long Beach Arena, CA – September 26, 1977

Yes – The Forum, Inglewood, CA – September 24, 1977
Yes – The Forum, Inglewood, CA – September 23, 1977

Led Zeppelin – The Forum, Inglewood, CA  June 27, 1977

Led Zeppelin – Led Zeppelin 1977-06-25 , Inglewood Forum, CA

Led Zeppelin – 1977/06/23 The Forum, Inglewood, CA     For Badge Holders Only / Part Two

Led Zeppelin – The Forum, Inglewood, CA  1977-6-21     Listen To This Eddie

Led Zeppelin – 1977-6-19 San Diego, CA

1976
Wings – 1976-06-23 The Forum, Inglewood, CA        Wings From the Wings

1975
Eric Clapton – LA August 14, 1975

Rolling Stones – LA Forum, Los Angeles, CA, July 13, 1975       Tour of the Americas, part one, two, three
Rolling Stones – LA Forum, Los Angeles, CA, July 12, 1975
Rolling Stones – LA Forum, Los Angeles, CA, July 11, 1975
Rolling Stones – LA Forum, Los Angeles, CA, July 09, 1975

Yes – June 23, 1975, Long Beach CA, Long Beach Arena
Yes – June 21, 1975 Los Angeles, CA Hollywood Bowl               The Sorcerer

Pink Floyd – 1975.04.26 – Los Angeles Sports Arena

Led Zeppelin – 75-3-27 LA Forum
Led Zeppelin – 75-3-25 LA Forum
Led Zeppelin – 75-3-24 LA Forum

Led Zeppelin – March, 12th, 1975, Long Beach, CA, Long Beach Arena
Led Zeppelin – March, 11th, 1975, Long Beach, CA, Long Beach Arena

1974
Yes – March 19, 1974, Long Beach, CA, Long Beach Arena
YES – March 18, 1974, Inglewood, CA, Great Western Forum

Yes SA blu

Yes SA blu 3

Yes SA blu 4

Yes SA Idol lbl

Source: Yes in concert at the Hollywood Bowl on 21 June 1975

01. Firebird suite
02. Soundchaser
03. Close to the edge
04. To be over
05. The gates of delirium   [all of side 1, 22:03]
06. Your move  [2:01]
07. Mood for a day  [2:58]
08. Long distance runaround  [1:54]
09. Patrick Moraz keyboard solo  [3:32]
10. The Clap  [3:24]
11. And you and I  [10:04]
12. Ritual
13. Roundabout
14. Sweet dreams

 

Dead wax reads  ” IMP Yes 4  How do you keep a Black Sabbath fan busy ? (over)”. Cover  features a pen and ink “adaption” of the Roger Dean painting “Greenslade”. The extra 5″ of the insert folds over and lists the song titles.

“Quality:     Excellent-minus, audience recording
Comments:     Probably one of the best sounding, audience-recorded bootlegs from the 70’s. Jon Anderson’s voice is placed well in the mix, and all instruments are clear and in true stereo, that is, it is possible to actually hear stereo separation in the music, not just in the audience noises. Another major plus is that there are no cuts in the middle of any songs.

And now the bad news: the bass is weak, typical of all audience recordings. And the LP is cut on the slow side, which is all-too-common for Yes bootleg LPs. It definitely needs speeding up, courtesy of the turntable pitch control.

Although it’s too short (a 2 LP set would have been more satisfying), Sorcerer’s Apprentice is a great snapshot of how Yes sounded like in 1975. It is similar in many ways to Yes at QPR, but at least the band and the sound technicians made fewer mistakes here. Highlights of this album are the all-acoustic “Your Move” and “Long Distance Runaround” as well as “And You and I”, where it is obvious that the maturing Yes (at the time) was growing close to becoming the ultimate live act.

ZMOQ recommends: If you come across this one don’t hesitate to snap it up. In the context of Yes’ entire live career, from this signpost, the best is coming- just up and around the next bend…
(Source: http://home.netcom.com/~zmoq/pages/sorcerer.htm)

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Review fro allmusic.com:

“Countless Yes bootlegs were circulated in the ’70s. Some of the more ambitious bootleggers tried to emulate the Roger Dean paintings that graced Yes’ legal albums — Sorcerer’s Apprentice, for example, provides an illustration depicting a sorcerer who has one arm on one side and three arms on the other. More important than the art work, of course, is the music. Recorded live at the Hollywood Bowl in Hollywood, CA on June 21, 1975, this bootleg LP finds the Jon Anderson/Steve Howe/Chris Squire/Patrick Moraz/Alan White edition of Yes in good to excellent form on “The Gates of Delirium” (which takes up all of the LP’s first side, just as it did on Relayer) as well as “And You and I,” “Your Move” and “The Clap.” The biggest surprise on the LP is an unlikely version of “Long Distance Runaround,” which becomes very folk-like at the Bowl and gets a spare treatment that really isolates Anderson’s singing. Sorcerer’s Apprentice doesn’t have audiophile sound, but it offers decent stereo sound and fared well among collectors in the underground market.”

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As the album was a winner in both the audio and the performance quality department, it was re-pressed several times. Hear is a common copy attributed to “Norg Records”: 

Yes SA Norg

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A great first release for this Vicky Vinyl label.