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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