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After TWENTY/TWENTY HINDSIGHT (on TAKRL) there was RETROSPECTIVE FORESIGHT

Nazz RF

Nazz RetroFores Rec 1

Also available on Dragonfly and Slipped Disc

Nazz RetroFores bl

Nazz 16 mag 68

Cover art inspiration, 16 Magazine, Fall 1968 issue

Who actually plays on these tracks seems to be a bit in dispute:

       He Was (not by Nazz, but by the band “Great Imposters”)
        Some People (original version on III)
        Ready I Am (not otherwise available) (not by Nazz, but by the band “Great Imposters”)
        Kicks (original version on III)
        But I Ain’t Got You (not otherwise available) (not by Nazz, but by the band “Great Imposters”)
        Take The Hand (original version on III)
        Lemming Song (original version on I)
        Open My Eyes (live) (original version on I)  (not by Nazz, but by the band “Great Imposters”)
        Chrisopher Columbus (original version on III)
        Train Kept A-Rollin’ (demo version – first release on Best Of Nazz)

***

“This LP containes 2 kinds of tapes,post-NAZZ demo tape recorded by Rick Nielson and official NAZZ III recording. Demo is horrible mono recordings and regular NAZZ III is excellent stereo.

Side one: He Was(also titled “Bean” said Rick,demo),Some People,Ready I am(demo,”So good to see you” later recording on Cheap Trick first LP),Kicks,But I Ain’t Got You(wrote by Rick),Take The Hand

Side Two: Lemming Song(demo,early NAZZ era),You Are My Window,Open My Eyes(live track,bad condition,not NAZZ by Move),Christopher Columbus,Train Kept Rolling(demo,from acetate,also included on “best of nazz” LP)”

***

“… it has been reported that the live numbers that were used here weren’t even recorded by the Nazz but by the Sickman of Europe, a group that I guess (correct me if I’m wrong, gently!) featured not only former Nazz member Thom Mooney but future Cheap Trick Rick Nielsen amongst perhaps others Tricksters (I believe Tom Petterson was in there as well).  The weird thing about the Sickman of Europe name is that it was used in the eighties after Cheap Trick’s fame had eventually deep-sixed and Petterson and perhaps Nielsen dug it up for a go ’round in a new combo which I doubt had the rest of the original members.  The data regarding this group is still sketchy and I’m sure adds to the confusion for anyone doing a Pete Frame-styled family tree. Even more puzzling for me is why would two guys who were in a major league rock group have to start from the bottom only a few short years later playing the club circuit in hope of another big chance in the limelight?  I guess this music biz is a lot tougher than I had imagined! If you do want to hear the Sickman of Europe in their original state they might actually be on here and if that is them then they sure were as hard-edged pop rock good as the band they eventually morphed into! (I didn’t want to bring this up since it would only add to more confusion, but the Mooney-era Sickman used to bill themselves as the Nazz whenever they’d hit Philly which is perhaps why they are on this album to begin with. I’m sure that the bootleggers themselves weren’t too sure either, and who knows even at this late date which is what!).” [http://black2com.blogspot.de/2009/11/only-thing-missing-is-incense-used-to.html]

“… As Sick Man of Europe, they recorded a number of demos which have since turned up on a bootleg album, Retrospective Foresight, as a collection of Nazz out-takes, although most of the tracks actually aren’t. It actually features Nazz III tracks, a live take of “Open My Eyes” that Stewkey thinks might be the Texan Nazz, and rough takes of “Lemming Song” and “Train Kept a ‘Rollin’.” The Sick Man of Europe tunes on the record are “I Ain’t Got You” (a Stewkey original), “He Was” (another Stewkey comp), and Nielsen’s “So Good to See You” (billed there as “Ready I Am”).”

Hendrix CanYouPlease

Hendrix_crawl_window_matrix_a

Hendrix_crawl_window_matrix_b

Hendrix CYPCOYW

Side 1: Auld Lang Syne – Band Of Gypsies (Studio) / Interview – Alan Douglas / Little Drummer Boy – Band Of Gypsies / Silent Night – Band Of Gypsies (Studio) / Mother Earth – Jimi Hendrix und Eric Burdon (Recorded just hours before Jimi’s Death.  Live with the Eric Burdon Band at Ronnie Scott’s Club) / Interview – Paul McCartney     
Side 2: Burning The Midnight Lamp – Experience (Live – BBC) / Can You please Crawl Out Your Window? – Experience (Live – BBC) / Drivin’ South – Experience (Live – BBC) / Tobacco Road – Jimi Hendrix und Eric Burdon (Live – Ronnie Scotts Club)

It seems pretty certain, that the two tracks closing both sides were the big selling point here and we will dig into the history of that recording. Also, I love tracing recordings back to the master in as much as that is possible.

***

Eric Burdon and War at Ronnie Scott’s

Recorded live at Ronnie Scotts, 47 Frith Street, London W1, UK
Wednesday, 16 September 1970

“The guest appearance of Jimi Hendrix with Eric Burdon and War at Ronnie Scott’s Jazz Club occupies a special place in the recorded Hendrix legacy.  Occurring only a little over a day before Hendrix’s untimely death, the jam represents his last public performance.  Considering that very few of Jimi’s club appearances were recorded (other than those that Jimi recorded himself in the spring of 1968), the fact that this final performance would be recorded must be considered extremely unlikely.  But in fact it was recorded, and parts of this recording have circulated for [more than 35] years.  Until now it has never been known exactly how much of this performance was committed to tape, or by whom.  Some guessed that a member of War had made this recording; others thought that the taper was Jerry Goldstein, War’s manager at the time.  But very recently the whole recording has appeared, and the man that recorded it, Bill Baker, has also stepped forward.

The first appearance of this material was on a bootleg LP, Can You Please Crawl out Your Window, that was produced sometime in the mid to late 1970s [ca. 1977].  That LP included two tracks from the Ronnie Scott’s Club performance, ‘Mother Earth’ and ‘Tobacco Road’, which closed sides one and two respectively.  Of reasonable quality, these recordings represented the only portions of the concert available until a 40-minute tape of the jam came into circulation some years later.  This tape contained slightly longer versions of ‘Mother Earth’ and ‘Tobacco Road’ and also included several songs on which Jimi didn’t play: ‘Paint It Black’, ‘Spill the Wine’ and ‘Mystery Train’. All of these songs were incomplete to varying degrees, and the entire tape was of poor audio quality, substantially worse than the quality of the two tracks on the bootleg LP.  It was not known whether other songs were played during the show, and if so whether Jimi had played on them.

This remained the state of affairs until several months ago [in 2010], when the taper of this concert came forward with his story and a complete copy of his master tape.  The fan that taped this recording is Bill Baker, a resident of West London.  He never intentionally kept this recording back; in fact, he gave copies to numerous people throughout the years.  One of these was the source for the poor-quality tape copy that came into circulation.  However, somehow the complete recording in master quality had never made it into general circulation within the collecting community.

Bill was 20 years old in 1970, and had recently become a big fan of Eric Burdon and War.  He tells the story of how he came to attend and record the show that night at Ronnie Scott’s Club.

“I first heard ‘Spill the Wine’ while on an extended holiday in Italy. When I heard it, it completely blew me away, he says. I couldn’t believe how good it was.  I also heard about the Isle of Wight festival but unfortunately returned to England a week late for that.  After I got back I went to a QPR [Queens Park Rangers] football game with an old friend and he told me about a free show by Eric Burdon and War in Hyde Park coming up on Saturday the 12th of September.  So I went to that with a few mates.  I recall that John Sebastian was also on the bill.  During the concert, Burdon told the audience to make sure to go to the shows they were playing at Ronnie Scott’s during the upcoming week, and to ‘freak all those jazz freaks out of the place.’  So I decided I’d have to be at one of the shows.  I ended up deciding to go on Wednesday night, the 16th.

I invited my younger brother to go with me, but he had to work the next day and decided not to go.  I was out of work at the time.  So I ended up going alone.  I got there early and was just about the first into the club, so I was able to be in the very first row.  Front row seat, about two feet away from the drum kit.  I talked with the members of the group a bit before the room filled up. I had brought my Sony cassette recorder with me, and one Philips C-90 cassette.  I set the microphone on my table right there at the edge of the stage.

There were other groups on the bill that night; I remember a gospel group, and the Alan Haven Trio, who I liked quite a lot.  There was a disco above the main room; I went up there between live acts.  I recall there was lively salsa music with lots of people dancing.  The live music started around 8 o’clock and ended around 2 or 3 AM Thursday morning.  So War was late getting on stage, maybe around midnight, and most or all of the War performance was actually during the early hours of the 17th.  I taped the first set, got a good recording of that, although the first side of the tape ran out before the end.  I wanted to save the other side for the second set.

At intermission I went back to the dressing room and talked with the group between sets.  I told them I had taped the set, and they said that was fine with them.  I got them to autograph my copy of ‘Spill the Wine’ that I had brought with me.  When I went out for the second set, my seat was taken so I went to the upper level.  A young lady, an American, was there with a guy, and she invited me to join them at their table.  So I sat with them there, right at the front and to the left of the stage, right above Lonnie Jordan, the organist for War.  So the second set was taped from a different seat.  The girl saw I was taping the gig, and asked me to make a copy for her, which unfortunately I never did.

During the set the girl I was sitting with said, ‘Look, Jimi Hendrix and Eric’s wife!’  I didn’t see him enter, but Hendrix had appeared, and I saw him sit with Angie Burdon, at a table to the left of the stage.  Jimi had his guitar with him.  You can hear Eric invite Jimi up onto the stage for ‘Mother Earth’.  He got up and played on the song with the band, using his white strat.  Near the end of that song, Hendrix left the stage to go back and sit with his girlfriend.  Burdon asked him to come back, which is also on the tape.  He did rejoin the band for the end of the song and also played on ‘Tobacco Road’.  The tape side ran out shortly after this song started, but I flipped it over and re-recorded over the start of the first set on side one.

After the show was over, Hendrix hung around for a bit and I went over to talk with him.  He was sitting there with a pint in front of him, but white wine rather than beer; he offered some to me and I accepted.  So we ‘spilled the wine’ together on that night.  He was polite and friendly, and happy to chat.  I asked if I could record the conversation, but he said that probably wasn’t a good idea.  So we just talked.  I borrowed a pen and asked if he would sign the sleeve that I had with me for War to sign.  He said sure, ‘but take the record out so it doesn’t fuck up the grooves.  I had an apple and he asked if he could have a bite, and I said sure, so he took one; in fact, I think he kept the apple and finished it.  Finally, Jimi got up to leave with his girlfriend and said to me, ‘Hope to see you soon, man.’  I left the club in the early morning hours and took a cab back home.

Hendrix signed 45 1970

I remember that there was a U.S. photographer at the show, from New York City if I recall correctly.  He took pictures throughout the evening.  I have no idea what became of him, or of the photographs.

eric-burdon-jimi-hendrix

I got back home and later that day (Thursday) I made a dub of the cassette onto a 5″ reel tape, since I wanted to give a copy to the group, who were staying in a hotel in London for several days.  On Friday (the 18th) I went to the hotel, and found Jerry Goldstein (War’s manager), Eric Burdon and his parents, Zoot Money, and some others in the upper-floor lobby.  I gave Goldstein the tape dub, and talked with them and with some other people for awhile.  Jerry recalls that he gave me 20 pounds sterling for the tape.  When I left I took the lift down to the ground floor, and when I got out I saw a group of people standing there.  Some of the girls were crying, and I recognized them from the group that had been with Eric earlier.  I asked them what was wrong but they didn’t answer, they just got in the lift crying.  I took the tube home. It was only later that day that I read in the evening paper that Jimi was dead.

In the mid-70s, Bill approached an employee at the BBC to investigate the possibility of releasing his recording from Ronnie Scott’s.  He wasn’t able to arrange this, but he did make copies of the tape onto 7″ reels.  Bill took these to a record shop owner in Hammersmith, who agreed to have LPs made.  But after a short while he told Bill that he had decided to pull the plug on the deal, so Bill retrieved the reels from the man.  However, as we know an LP did appear.  What eventually came from this was the well-known bootleg LP Can You Please Crawl out Your Window.  This LP was a hodge-podge of material, combining material from a 1976 BBC radio show with the Reprise Christmas promo single.  The LP also included nearly complete versions of three BBC recordings (the original radio show only contained incomplete versions).  But the real gems on the LP were the two Hendrix tracks from the War recording.  Bill never made a penny from this release, although he received some LPs from the deal.  But the unpleasant episode discouraged him from ever trying again to release this in any formal way, either officially or unofficially.

***

Eric Burdon – vocals
Jimi Hendrix – guitar (on Blues for Memphis Slim & Tobacco road)
Howard Scott – guitar
Dee Allen – percussion
Harold Brown – drums
B.B.Dickerson – bass
Lonnie Jordan – organ & piano
Charles Miller – sax & flute
Lee Oskar – harmonica

Recorded on a Philips C-90 cassette by Bill Baker using a Sony TC-100A portable cassette recorder and a Sony handheld dynamic microphone.  There are a couple of big drop-outs on the master that couldn’t be repaired.  These are later damage to the original cassette (which by now is 40 years old) as they are not audible on the Can You Please Crawl Out Your Window -bootleg LP.  Unfortunately, the sound quality of the bootleg LP and the old incomplete tape copies is so much worse than that of the master transfer that patching was not a possibility.  The taper did make several copies of the original cassette on reel to reel during the 70s, hopefully one day one of these will surface.

Hendrix Burdon '70

Summary:

The recording captures most of both sets that night, with Set 1 on side 1 of the tape, and Set 2 on side 2.  The 2nd tape side was running out just after Tobacco Road started, and the taper, not wanting to miss the unexpected contribution by Jimi, flipped the tape back to side 1 and recorded over the start of the 1st set.  Thus over 10 minutes of the start of the opening set is missing due to the tape-over.

The taper didn’t run the tape all the way to the end of side 2 when he turned it back to side 1; there was a little over a minute left on the side when he flipped it.  This also means that a little over a minute at the start of side 1 was not taped over.  It’s an instrumental (at least the part that survives) which may be just an untitled opening jam; but it may also be a titled song that hasn’t been identified.

First Set

1 Unknown Title 1:20
2 Gun 2:58
3 Black on Black in Black 15:08
– Paint it Black I
– Laurel & Hardy
– Pintelo Negro II
– P.C. 3 Out of Nowhere
– Blackbird
– Paint it Black III
4 Spill the Wine 8:07
5 Mystery Train 6:00

Second Set

1 Gun 7:31
2 Black on Black in Black 15:08
– Paint it Black I
– Laurel & Hardy
– Pintelo Negro II
– P.C. 3 Out of Nowhere
– Blackbird
– Paint it Black III
3 Blues for Memphis Slim 20:09
– Birth
– Mother Earth
– Mr. Charlie
– Mother Earth
4 Tobacco Road 14:55
– Tobacco Road
– I Have a Dream
– Tobacco Road

The above tracklist is based on versions of these songs released on the Eric Burdon and War LPs Eric Burdon Declares ‘War’ and The Black-Man’s Burdon.  This is longer than all of the earlier tracklists given for this tape, not because there’s new material (apart from Disc 1 Track 1) but because the correct titles as given on the LP releases have been used.  A studio version of ‘Mystery Train’ was never released officially but a bootleg version & other live versions do circulate, often under the title ‘Train Thing Medley’ but as there’s no official release the actual title this was recorded under is unknown.”

Genesis A Living Story

Source: “British Biscuit/D.I.R. Presents” taped at the Rainbow Theater in London – 2 January 1977 – Second show of the Wind And Wuthering Tour    Broadcast 20 March 1977            

Background information can be found here: http://radioguide.genesis-movement.org/index.html#x-02jan77

Side 1: Squonk (6:39) / All in a Mouse’s Night (6:35) / Eleventh Earl of Mar (7:33)
Side 2: One for the Vine (10:31) / I Know What I Like (in Your Wardrobe) (8:17)

Album track list incorrectly lists “All In A Mouse’s Night” as “Afterglow”

Available with Dragonfly and Ruthless Rhymes labels (probably blank ones as well). Insert in the usual color variations. A re-issue appeared in the early 1980’s with Raring Records labels:

Genesis A Living Story Raring

I found two researched comments regarding the different versions and I have some comments:

# 1: “…release is found with at least three different covers; first pressing used a red photo cover [must be the Raring one above and I disagree that this was the first pressing]; second pressing used a different cover photo and was printed on blue paper; third pressing used the same photo as the second pressing but was printed on yellow paper” [can we be sure that each new insert color also means this is a new pressing run? I don’t think we can make that assumption]

# 2: “This recording first surfaced on vinyl in the seventies under the title A Living Story: The 1977 Tour (Big Thumb PG 1300) with two separate covers. The first edition has a picture of the band standing on a street corner and the repressings have the better-known illustration of the old man telling a story to the children.” [collectorsmusic.com – Again, I disagree and this comment might have been based on quoting the first]

Genesis Rainbow 77 2

Genesis Rainbow 77 3

Genesis Rainbow 77 1

5 January 1978     Atlanta, GA  (Alex Cooley’s) Great Southeast Music Hall (First show of the tour)

Sex Pistols FUSS

Sex Pistols FUSS vGr 2

All ODD TWO LP’s found with green ‘VON GROSSENSHUSS’  labels

Side 1  God Save The Queen / I Wanna Be Me / Seventeen / New York / Bodies / Submission
Side 2  Holidays In The Sun / EMI / No Feelings / Problems / Pretty Vacant / Anarchy In The USA

Audience recording. Sound quality: ?

Notes from THE Sex Pistols vinyl bootleg site. http://www.philjens.plus.com/pistols/pistols/pistols_bootlegs_vinyl.htm 

(which can still use some improvements, additions & clarifications and I hope I can add to that here)

USA LP. Plain white sleeve with yellow insert and WL [no sightings with a white label that I know of]. Released in 1979 [ if that is correct, that would date all the releases found with the Von Grossenshuss label].
European ’80’s repress of ODD TWO stated the wrong date. Came in a plain white sleeve with a wraparound blue A3 xerox. Light blue label with black lettering.  
German repress of ODD TWO came in plain white sleeve with a dark blue A4 insert. B&W labels.

Sex Pistols FUSS RE

Which version is this?

Sex Pistols Rot n Roll insert

Repressed as K&S 023 on mcv PVC and also without the K&S logo on black PVC.

Sex Pistols Rot n Roll cv

Sex Pistols Rot n Roll blu 2

Another reissue of the ODD TWO master happened on Pistols Shock USA! – not to be confused with the 1984 European bootleg Shock USA!

Sex  Pistols Shock USA!

Sex  Pistols Shock USA! b

Sex  Pistols Shock USA! lbl

***

SP Atlanta 78

****

10 January 1978     Dallas, TX     Longhorn Ballroom

longhorn_sexpistols1978

Sex Pistols Welcome To The Rodeo lg

Sex Pistols Welcome To The Rodeo 2

Also available with Ruthless Rhymes, bronze colored blank, yellow RECORD 1 – SIDE 1 – and reissued with Full Tilt labels. An eBay seller wrote: “To make it even more rare the label on the actual lp reads Serious Endeavour on Full Tilt Records which I believe was an early Clash bootleg LP”. Fact is that all FT labels are the same and say this, regardless of the performer.

Full Tilt lbl

Sex Pistols Welcome To The Rodeo FT

Then, there is the ‘picture labels edition’:

Sex Pistols Welcome To The Rodeo PL

Matrix: SP 2800 – A/B Re-1

philjens.plus.com says: Notes. Two pressings. 1) Black & white glued insert. 2) Red cover. [Must be the Full Tilt re-issue shown above]
USA LP. Also SP 2800, came with a 30 cm X 30 cm xerox cover not glued on the plain white sleeve. This version was sold only in the UK initially. There is a difference on the cover, with the ‘Made In England’ [‘Printed in England’ – as visible on the far left] line removed. Most of the copies came with plain full bronze labels.

Sex Pistols Welcome To The Rodeo bl

Side 1: Radio Advert  / God Save The Queen  / I Want To Be Me  / Seventeen / New York / E.M.I. / Bodies         
Side 2: No Feelings  / Problems  / Pretty Vacant  / Anarchy In The U.K. / No Fun

Set list:

01. God save the queen 4:09
02. I want to be me 4:39
03. Seventeen 3:13
04. New York 4:33
05. EMI 4:34
06. Bodies 5:02
07. Belsen was a Gas 2:13
08. Holidays in the Sun 5:21
09. No feelings 4:04
10. Problems 4:40
11. Pretty Vacant 3:56
12. Anarchy in the UK 6:19
13. No Fun 6:13
Encore break
14. Submission 4:55
15. Liar 3:47

Fan review: “This is one of the best bootlegs I own.  Capturing the Sex Pistols during their whirlwind 1978 tour of some of the United States’ most elegant saloons, this features a zonked-out Sid Vicious as court jester (at one point referring to the audience members–in Dallas, Texas, mind you–as “faggots”), essentially leaving Steve Jones in charge of all the musicianship here.  As Johnny Rotten blood-curdling voice roars an epic cover of the Stooges’ “No Fun” (which is, believe it or not, even better than the original!), Jones slashes away on this simple two-chord track as if his life depended on it, putting even Johnny Thunders’ guitarwork–the player Jones most clearly imitates–to shame.  This live album is not about musical precision: it’s about the shambolic spirit of sloppy musicianship combined with precision of passionate onstage intensity that transcends anything capable by the likes or Rush and Genesis.  This is the real shit right here.”

A pretty good sounding recording of the show. I think the best boot of the ill-fated 1978 US tour is [the CD] “Kill the Hippies”.

Rated as “Vgs”

***

14 January 1978     San Francisco, CA     Winterland Ballroom

Notes again from the philjens.plus.com/pistols/pistols/pistols_bootlegs website [with changes ]

GUN CONTROL LP; SP2900 PLATES

Different color inserts: yellow, blue, green, orange, white, pink.
First Pressing: Ruthless Rhymes, cream labels.
Second Pressing: Ruthless Rhymes,  yellow labels. [I removed “an original first pressing” from the description, as it says that on the generic Ruthless Rhymes labels, same as the non-image side for Dragonfly always says “Number 5 In This Series”]
Third Pressing: Dragonfly Records label.

Sex Pistols GC 2
Fourth Pressing: Slipped Disc Records label. Slipped Disc logo labels
Box Set (Sex Pistols File 1976- 1978 “A Four Record Set”). Plain Cream labels.Totally new insert made. (this was then copied in the UK as Blank Tapes (UK-5 plates).

Sex Pistols Gun Control yb

Sex Pistols Gun Control last 1

Last pressing came with a dark red & white insert with a Sid Vicious picture by Dennis Morris. Black & white pictures from Ray Stevenson’s book, ‘Sex Pistols File’, on the labels. Some copies with yellow & black insert.   

Sex Pistols Gun Control last 2

***

TAKRL  # 916:

Sex Pistols Winterland 916

Same songs on both sides due to a mix up at the plant:

God Save The Queen / I Wanna Be Me / Seventeen / New York / E.M.I. / Belsen Was A Gas / Bodies / Holidays In The Sun

Rated “Gs”

Blank Label 2

Copies are usually found with this generic BLANK/Spunk label, that was also used on other non-Sex Pistols titles in the 900 series, as well as reissues of older TAKRL titles with b&w printed covers done around the same time.

In the US, this label is generally linked to TAKRL # 929 SEX PISTOLS – SPUNK, a copy of the European bootleg of the same name, released in August or October 1977, depending on source,  and first mentioned in the music press (Sounds) on 22 October 1977 (Matrix #s: LYN 4372-111  & LYN 4373-111.

DIGITAL IMAGE

***

Sex Pistols File 4 LP box

US version produced by Ruthless Rhymes, 250copies mentioned but as Hot Wacks states many were seized in a raid on an LA area pressing plant. This may be connected to Vicky Vinyl being taken out of business in February of 1980.

Contains re-pressings of the titles: Spunk / Indecent Exposure / Welcome To The Rodeo / Gun Control

Sex Pistols File box

Wrap around box slip sheet. Numbered & unnumbered versions issued, not particularly rare. Numerous label versions for each record exist (more than 30 identified).

On the original numbered pressings, the bottom right corner will say :
“limited edition. – 250 sets only – This is No ____” (handwritten number entered)

  • Matrix  Record 1 : BLA A / BLA B
  • Matrix  Record 2 : SP6418A / SP6418B
  • Matrix  Record 3 : SP2800-A Re 1 / SP2800-B Re 1
  • Matrix  Record 4 : SP2900-A / SP2900-B

Sex Pistols File lbls

 ****

US Tour Dates:

29 December 1977     Homestead     Pennsylvania     Leona Theatre     CANCELLED
31 December 1977     Chicago     Illinois     Ivanhoe Theatre     CANCELLED
1 January 1978     Cleveland     Ohio     The Agora     CANCELLED
3 January 1978     Alexandria     Virginia     Alexandria Roller Rink     CANCELLED
5 January 1978     Atlanta     Georgia     Great Southeast Music Hall
6 January 1978     Memphis     Tennessee     Taliesyn Ballroom
8 January 1978     San Antonio     Texas     Randy’s Rodeo
9 January 1978     Baton Rouge     Louisiana     Kingfish Club
10 January 1978     Dallas     Texas     Longhorn Ballroom
12 January 1978     Tulsa     Oklahoma     Cain’s Ballroom    
[the only venue that still exists today]
14 January 1978     San Francisco     California     Winterland Ballroom

Added Deep Purple – LIVE FROM EUROPE – H-BOMBED OR SONIC ZOOMED (on 70’s style GLC labels) here, yet another version of the Aachen 1970 tape

Added an 80’s reissue of the Eagles’ MOTEL SIX to the recent post Vicky Vinyl sub labels and contract pressings: Blue Ribbon and SLA (featuring Deep Purple, Queen and The Eagles)

Another new Deep Purple title – DIN OF INIQUITY (mbp 991) was added to Flat 8229: DEEP PURPLE 1975 GUITAR SLAUGHTERHOUSE & ZAP 7859 Live In London / ‘KEEP OUT OF REACH OF CHILDREN’ + ‘DIN OF INIQUITY’ :mbp 990/1

A unique way of numbering found on on the covers and in the matrix of the following titles indicates that they were probably produced within the same time frame:

Al Stewart – The Tour Of The Cat – AS 1500

The Eagles – Motel Six – TE 300 (A/B)

Jethro Tull – A Sackful Of Trousersnakes – JT 200 (ABCD)

Stewart A TTotCat

Al Stewart touring behind his breakthrough album Year Of The Cat. I can still remember how huge it was as 1976 – that hot European summer! – crept along. Radio broadcast source, possibly recorded at the Paramount Theater. I believe the year might actually be 1976.

Some confirmed concert dates based on ticket stubs:

Al Stewart – Houston Music Hall (Houston, TX) – December 16, 1976
Al Stewart & Joan Armatrading – Santa Monica Civic Auditorium (Santa Monica, CA) – January 13, 1977
Al Stewart with Wendy Waldman – Uptown Theatre (Kansas City, MO) – January 31, 1977
Al Stewart with Wendy Waldman? – Uptown Theatre (Kansas City, MO) – February 8, 1977
Al Stewart – Avery Fisher Hall (New York, NY) – February 11, 1977
Al Stewart with Wendy Waldman – Tower Theatre (Upper Darby, PA) – February 18, 1977
Al Stewart – Civic Center Auditorium (Atlanta, GA) – April 9, 1977
Al Stewart – DAR Constitution Hall (Washington, DC) – April 27, 1977

On this vinyl source there are speed problems found throughout all of the tracks. Notes from a remastering project done by ‘Doinker’: “I found out that the speed problems vary from track to track. Each track, while constant is off a differing amount from the track before and the track after it.  What a great show this is! Mr. Stewart was touring “Year Of The Cat”, and is in top form. The tracks on this LP are probably out of concert sequence.”

On The Border
Broadway Hotel
Roads To Moscow
Oh, Carol
Nostradamus
Year Of The Cat
If It Doesn’t Come Naturally, Leave It

****

Jethro Tull ASFoTS large

Jethro Tull ASFoTS b

Jethro Tull ASFoTS Duck

Also with blank and Ruthless Rhymes labels.

Jethro Tull ASFoTS SL D

01 Wondring Aloud 2:45
02 (Intro) Skating 0:33
03 Skating Away 3:55
04 (Intro) Jack 0:42
05 Jack in the Green 3:10
06 (Intro) Thick 0:22
07 Thick as a Brick 13:13
08 (Intro) Songs 1:52
09 Songs From the Wood 5:16
10 (Intro) Velvet 1:21
11 Velvet Green 6:33
12 (Intro) A Hunting 0:45
13 A Hunting Girl 5:22
*****(there is an obvious cut here that is present on the vinyl)
14 (Intro) TOTRNR 0:24
15 Too Old to Rock to Rock and Roll 3:56

TIME 50:09

01 Beethovens Ninth 3:24
02 Minstrel in the Gallery 5:38
03 Cross Eyed Mary 3:42
04 Aqualung 8:09
05 Guitar Solo 3:18 06 Wind Up 4:54
07 Back Door Angels 5:04
08 Wind Up reprise 3:03
09 Locomotive Breath 7:31
10 Back Door Angels reprise 1:21

TIME 46:04

Comments from the needle drop creator and record owner (my comments in [])                “Ruthless Rhymes Records
1971 Made in Germany [This is meant to apply to the Ruthless Rhymes label not the actual disc/pressing but is still wrong, of course], An Original First Pressing  [This is probably not correct]
Matrix on the runoff track is JT-200

Hot Wacks lists this as being on Rodan Records with the same matrix number.
I did get this very soon after the show so I’m guessing that this MAY be the first release
and that the Rodan version is a subsequent release.

The Collecting Tull web site http://www.collecting-tull.com/Hartov/BootlegLPs.html
has this to offer:
Rodan Records JT200 (Green coloured cover insert with All Black Label) Rodan Records JT200
(Blue/Red coloured cover insert with Yellow German Label)

My color insert is yellow and red with 1 LP having a b/w label, and the other a yellow and black label.
The Rodan version had a fold-over insert that listed song titles on the back.
The Ruthless Rhymes version had a single (non-fold-over) insert with NO song titles. [A clear sign that the Ruthless Rhymes version was a reissue]

A fan’s review plus another fan’s comment:

5. “A Sackful of Trousersnakes” April 1977 Anaheim Convention Center, LA.
This is by far the most off the hook recording of the Songs From the Wood tour. It was a beautifully crafted set of songs they ever did, starting off with 4 or 5 acoustic songs and the intensity just kept rising to another fantastic head splitting encore. This was BIG Tull at it’s most refined.They didn’t get much better.
As a matter of fact, because of this boot, Bursting Out was a disappointment!

Darin, could not agree more with you about Sackful. This was my very first Tull bootleg, which I purchased in a used record store on vinyl in the late 70’s. This has great Ian banter/jokes, and the audience is totally into the band! One of the “chill bumps” moments for me on this particular tour, has always been when Ian plays Thick as a Brick, and he gets to the flute part, which is the first time he’s played the flute during this show. The crowd goes nuts!! Martin’s solo is fantastic! I used to work third shift, and could bring in cassette tapes to play over the store’s loud speakers. One night I brought in Sackful. I started it with Martin’s solo, and someone asked me if it was Hendrix! True story.

Pressing run sizes of about 500 – 1000 for the BRR titles.

BRR 001: Bill (W)yman and the ROLLING STONES  was previously reviewed here – click the link

BRR 002: Paul McCartney – Live!  can be found here

BRR 003: ?

BRR 004

Led Zep Mudslide red

Looks like a rarer release that does not turn up very often

BRR 005: Suzi Quatro – Naked Under Leather  as featured in the previous post “Western Pop-Rock Acts Bootlegged In Japan 1975-76: …”

BRR & SLA 006: Queen – “STUNNING”  ditto

BRR 007: Led Zeppelin – BBC Broadcast 

led-zep-brr-7

led-zep-brr-7-d

BRR & SLA release numbers were often used interchangeably, it seems.

****

SLA 001: Queen – Geisha Boys  ditto

SLA 002

Deep Purple Unreasonably Loud

Deep Purple Unreasonably Loud b

Image caption reads: Richie Blackmore: “I yell and scream at home, too.”  The text below reads: “Loudest Pop Group. The amplification for Deep Purple on their 10,000 watt Marshall P.A. system attained 117 decibels. This was sufficient in the Rainbow Theatre, London,  in 1972, to render three members of their audience unconscious.”

Deep Purple Unreasonably Loud 2

Mostly found with blank labels in various colors; below a copy with a “Duck Hits!” label

Deep Purple Unreasonably Loud Duck

Matrix: SLA-00002A/B

Side 1: 01 Lucille (5:25) — probably 12 December 1970, Stuttgart, Germany
02 Mumblin’ thing blues (8:29) — Muelheim Sporthalle, Cologne, Germany, 4 April, 1970 (Progressive Pop Festival ’70)
03 Into the fire (4:16) — probably 12 December 1970, Stuttgart, Germany

Side 2:  Space truckin’ (19:02) — Sporthalle, Stuttgart-Boeblingen, Germany, 10 February, 1972

Source: A copy of of the second Edition of the European bootleg LP Back To The Rock

This has been confirmed by a torrent on dime, however, the only images I can find are for the (Dutch?) LP on the Altintas label, which has a different track list and sources, altogether. Can anyone shed some light on this?

OK, hand up! Who in the audience had the recorder?

****

SLA 003: Deep Purple – Made For Japan  as featured in the previous post “Western Pop-Rock Acts Bootlegged In Japan 1975-76: …”

SLA 007 

Vicky Vinyl obviously thought after

marx brothers a night at the opera movie poster 3

and

marx brothers a day at the races 2

the logical title for the next Queen (bootleg) album must be:

duck_soup_1933

Queen duck-soup

Queen Duck Soup duck

Correct concert date stated. Found with blank, Idle Mind, Duck and Ruthless Rhymes labels

Queenlive.ca dates this release to 1978. An insert, autographed by the band, sold for over $600 in February of 2012.

First 4 songs on side 1 play too slow. The master was originally taped on a Tandberg Model 11 recorder with Sony ECM-22P mics.

Tandberg model-11

Two other insert variations exist:

Queen StLove 2

Queen StLove

Incorrect information given regarding the recording equipment and pointing out the date error on P.N.W. (see below) plus a ‘cheeky finish’.

and:

Queen Adm Tic

Looking at the set list shows how this was edited and mixed up:

01. Tie Your Mother Down
02. Ogre Battle    P1
03. White Queen    P2
04. Somebody To Love    D1
05. Killer Queen ->    P3
06. The Millionaire Waltz ->   P4
07. You’re My Best Friend ->    P5
08. Bring Back That Leroy Brown    P6
09. Brighton Rock ->    P7
10. Guitar Solo ->   P7
11. Brighton Rock (Reprise)    P7
12. ’39    D2
13. You Take My Breath Away    D3
14. White Man ->   P8
15. The Prophet’s Song   P9
16. Bohemian Rhapsody    D4
17. Stone Cold Crazy
18. Keep Yourself Alive
19. Liar
20. In The Lap Of The Gods…Revisited    D5
21. Now I’m Here (cuts in)   D6
22. Big Spender   D7
23. Jailhouse Rock Medley*   D7,8,9,10
* includes Saturday Night’s Alright For Fighting, Stupid Cupid and Be Bop A Lula

D = Duck Soup + track number on that LP; P = P.N.W. + track number on that LP

Interesting notes from a remastering job of the above master:

“Remaster
A copy of this recording was released on LP bootlegs, this is the first time when the original complete recording comes out. Unfortunately this master copy sounds much worse then the LP bootleg, which is pretty unusual. The original master was really heavy in the bottom end, while the LPs sound really clean. …”

Queen Seattle 77

2 LP bootleg of the complete master tape, taken from the 2009 torrent; supposedly only 100 copies pressed – I wonder if they used the remaster. This copy sold for a respectable GBP 155 in June of 2013.

I personally prefer the audience recording from the Boston Garden from this tour that was shared on dime a couple of years ago. Some live recordings just have that extra special bit of ‘audio magic’ and that’s one of them.

***

The first release containing material from this show was on this LP, released as part of the ODD Wizardo sub label in 1977:

Queen P.N.W. SS

Still sealed copy above

Queen P.N.W.

Queen P.N.W. 2

Matrix: ODD THREE -A / B

Queen P.N.W. lbl

Does this exist with any other labels?

1980 reissue under this title (with a mismatched The Game Tour 1980 live shot):

Queen Mania

1996 copy/re-issue made in Germany on mcv:

Queen P.N.W. REQueen P.N.W. RE b

****

SLA 008

Eagles Motel Six bl lbl

Matrix: ·SLA 0008 A / B

The year is actually correct: Don Kirshner’s Rock Concert, Season 1, Episode 20 [broadcast?] April 13, 1974: The Eagles, Linda Ronstadt, Jackson Browne

Regarding the location as stated on the back cover. The 46th St. Rock Palace in Brooklyn, NY became later known as ‘Bananafish Garden’ (now a furniture show & storage room) named after the J.D. Salinger short story. A few episodes of Rock Concert were filmed there but I could not confirm that this one was.

bananafish garden

“A TV show (Howard Stein’s I believe) later used the Rock Palace for some memorable shows with Jerry Lee Lewis, The Byrds, Hot Tuna, Wayne Cochran and the C.C. Riders, Gladys Knight and the Pips, Steve Stills, and God knows who else […]”

Eagles Motel Six dragonfly 2

Eagles Motel Six

Eagles Motel Six RR

Eagles Motel 6

Ca. 1983/4 reissue with GLC labels.

****

Coming up: A couple more Rodan Records titles.

This post ties in with the following, so bear with me. 1975 was the year when bootlegging in Japan really took off and Queen’s first tour in that year was a major catalyst with almost every concert captured and up to six known sources per show. Queen arrived at the right time and elicited enough desires to produce a memento of the performance with the aid of progress made in Japanese home consumer recording technology. As a result, bootlegging really took off in Japan and formed the basis for a couple of choice copies made in the West.

***

QUEEN – Budokan, Tokyo – 19 April 1975 (1st night of the tour) OG label Japan: OG-860 (“Aprilfool” version) & OG-877 (“Now I’m here” version; OG would issue all its re-releases under a new number); released in 1975, called LIVE in Hot Wacks.

Queen ABA L

Queen Aprilfool OG 860

Queen Now I'm here OG-877

This version has a wrap around insert with an additional photo on the back insert. Total duration: 49:41

Too rare to be copied in the West by the likes of Vicki Vinyl: “Less than 100 copies of the “Aprilfool” version exist, and under 30 copies of the “Now I’m Here” version exist.”

****

QUEEN – Kokusai Kaikan, Kobe – 23 April 1975 (3rd night of the tour); QUEEN/”Live in Kove” LLX 2622; released ca. 1975, copied in the Netherlands in 1992 in very small numbers with many reportedly being confiscated in a raid.

Queen Live Kove orig

Queen Live Kove 2

Queen Live Kove RE

One of the Dutch reissues. Apparently, a white label on one of the sides is the clearest indicator that you are looking at a Japanese original. Despite the poor artwork, the sound quality beats the OG release considerably.

***

QUEEN – Budokan, Tokyo – 1 May 1975 (7th show and last night of the tour). KIMONO MY PLACE LIVE! –  MARC Records label Japan # 75122, released in 1976.

Queen Kimono 4

Queen Kimono lbl

Queen Kimono b

“Six audience sources exist from this show, and five of them have been bootlegged. This short recording was the first source to come out, in 1976.  The track listed as “Shag Out” is just the last segment of Hangman (although Freddie shouted those words later in the show, during his vocal exchange with the audience in Liar). The uncut tape of this source has never seen the light of day.
This was the best-sounding recording of the show available for decades, until the Tarantura bootleg [CD FOUR YOUNG NOBLES OF ROCK taken from an even better recording by the tapers known as “Song Brothers] was released in 2007.” queenlive.ca

Copied by Vicky Vinyl as “STUNNING” on the Blue Ribbon Records (# 006) and Rodan Records side labels between 1977 – ’79.

Queen Stunning Rodan

With Idle Mind labels. deluxe cover version here and below. Despite what is written in Hot Wacks, the deluxe version may have come first.

Queen Stunning b

Queen Stunning BRR 3

With added BRR Cobra logo. Obviously, VV didn’t try very hard to make a big distinction between BRR, SLA & Rodan Records, using and adding label logos as she pleased.

Queen Stunning RR

queen-bohemian-rhapsody J 45

Things continued in a similar vein for Queen’s second Japan tour in 1976.The following titles were presented on this blog for and more in detail reviews can be found via the Search function at top right. Hence, now in short form:

QUEEN – Budokan, Tokyo – 31 March & 1 April 1976

MARC’s 76059: Invite You To A Night At The Budokan  LP

Queen InvYTANATBudokan

was copied by VV on her Idle Mind label:

Queen Merc Pois Dragonfly

MARC’s release # 76042: Lazing On A Sunday Evening

Queen Lazing On A Sunday Evening Marc

was copied by Ken:

Queen Crowning Glory

AND by VV – to become the first release on her side label SLA:

Queen Geisha Boys IMP

Queen Geisha Boys bl lbl

Also available with Ruthless Rhymes labels.

Queen Geisha Boys

I tried to decipher what it says inside the Japanese flag but was not able to.

Queen Geisha Boys b

Queen Geisha Boys details

The text used on the back insert part was taken from the 1976 paperback Queen – An Official Biography plus their recent U.S. Royal Tour. Larry Pryce, Star Books. There is however one crucial change as the sentence “…‘arriving on the heels of their ‘A Night At The Opera’ album, the group was greeted with almost universal acclaim.” was altered to “…‘arriving on the heels of their ‘American Tour 1975′ album, … .” substituting the Wizardo bootleg ROYAL AMERICAN TOUR  for the official studio album (thanks to John for pointing this out).

Queen book 76

This bootleg is sometimes called “very rare/limited” and “Japanese” when offered but it is neither.

Queen Geisha Boys RE

The version with the brown cover and strange Japanese drawing of the two figures (I always thought it was a Sumo wrestler whose fundoshi had come undone but it is actually a white female (?) figure clinging to a crawling male – this type of Japanese erotic art is called “Shunga” – who says you don’t learn anything on this blog?) was produced 1981 in the UK.

Too bad that the incredibly rare ZOOM QUEEN (LLX 314) double LP from the 1976 Osaka afternoon performance never made its way into the hands of any of our bootlegging heroes as the quality is quite amazing for a 1976 audience recording. However, with only 20 original copies circulating (how do you tell the forgeries from the originals?) that would have been an amazing feat of synchronicity. One of the most valuable bootlegs ever, although due to digital copies circulating these days, prices have come down in the last 10 years. … Plus, the also excellent sounding evening performance with a slightly inebriated Freddy has surfaced and is even more fun to listen to.

Queen Zoom

****

SUZI QUATRO – Shibuya Public Hall, Tokyo – 19 October 1975; MARC Records 75111 (the very first MARC records release late 1975/early 1976)

Quatro CAfSuzi! 3

Quatro CAfSuzi! b detailQuatro CAfSuzi! lbl detail

Total duration: 43:28

Copied on Blue Ribbon/SLA with a thank you to J. Wizardo

Quatro NUL yel

Quatro S Naked Under Leather blue

Exists in red as well. Matrix: sla-000005

Quatro S NUL b

The very first Hot Wacks book I ever bought had this cover reproduced, maybe not what I should have been looking at at 15… Needless to say. I’ve been wanting to listen to this ever since. I can report back that the mic used in the recording device reaches its limits sometimes and this is not in the same league as the Queen Song Brothers or a “Mr. Peach” recording; verdict: Vg+

****

DEEP PURPLE at the Budo Kan – 15 December 1975

Deep P 75 Budokan

Set list:

Burn
Lady Luck
Love Child
Getting Tired
Smoke On The Water / Georgia On My Mind / Smoke On The Water
Tommy Bolin Introduction
Wild Dogs   
I Need Love
Soldier Of Fortune
Jon Lord Keyboard Solo
Woman From Tokyo
Toccata And Fugue In D Minor/ BWV 565:I. Toccata / For Elise
Lazy/Ian Paice Drum Solo / Lazy
This Time Around
Owed To “G” / Jon Lord Keyboard Solo
Tommy Bolin Guitar Solo
Drifter
You Keep On Moving
Stormbringer

Encore: Highway Star  

MARC Records # 76045:

Deep Purple Get It While It TastesDeep Purple Get It While It Tastes b

Deep Purple Get It While It Tastes lbl a

Also exists with alternate picture labels

Deep Purple Get It While It Tastes lbl b

The official Last Concert in Japan LP was released as a Japan only live album in March of 1977.  Vicky Vinyl copied the MARC Records LP around the same time as SLA 003.

Deep Purple Made For Japan red

Deep Purple Made For Japan red b

Deep Purple Made for Japan yel

Deep Purple Made for Japan blue

Most copies are on black PVC – clear similarities to the Suzi Quatro release. These two seem to be the only ones in the BRR/SLA series for which colored vinyl was used.

Sound quality listed as “Gm” only.

Deep Purple Made for Japan SM Pig

In 2001, the complete show was officially reissued from an improved master on This Time Around: Live in Tokyo

Famous Japanese taper “Mr. Peach” attended this show as well and produced a much better recording than what MARC/SLA had to work with. This was released on the Tarantura CD bootleg label as Made In Tokyo in 2010.

“In a 1995 interview, Glenn Hughes calls Last Concert in Japan an “awful record,” and says that it “should never have been released” because “Tommy couldn’t play.” “

****

THE SWEET – Nakano Sun Plaza Hall, Tokyo – 19 August 1976

BYBLOS 37, earning just a “Gs” rating.

Sweet Aimes Vous LYN

Sweet AVLYN

The long forgotten Sweet. Their music was everywhere when I grew up but I never really liked them. The big rivalry back then was Sweet vs. Bay City Rollers…

****

BAY CITY ROLLERS – Budokan, Tokyo – 14 & 15 December 1976

Another “Gs” recording. The Sweet and this title were never copied and accordingly incredibly rare and expensive if sighted in Europe.

Bay City Rollers Ka Ga Ya Ke! 2

Bay City Rollers Ka Ga Ya Ke!

Japan Rollermania

****

In a way, this post also shows the aspect of growing commercialization that followed progress; clearly this was no longer about releasing a rare tape by a visionary artist that spoke to a generation of counter culture individuals.