Monthly Archives: January 2014

Isn’t it ironic that the low point in the Beatles’ career ended up being the best documented, especially in the realm of bootleg releases? We have enough material from January 1969 to keep us going for days or until we cannot take anymore, which is the case for most people who try to listen to this material en masse as they fail the “January Listening Challenge”.

Back to the ‘waves’. The first one followed the broadcast of Glyn John’s acetate on North American radio stations in September 1969, leading to the very first Beatles bootleg – KUM BACK – in January 1970 and all subsequent copies and re-packaged versions like SILVER ALBUM , DIG IT!, HOMOGENIZED BEATLES & RENAISSANCE MINSTRELS VOLUME II , GET BACK TO TORONTO , GET BACK SESSION , etc.

Details regarding those exciting times when the world wondered what the Beatles were up to after the White Album & Yellow Submarine can be seen in series I published in this blog called “How the first Beatles bootleg material was leaked – The Great Elusive “Get Back” Radio Search, Part One”

The “second wave” consisted of material recorded off of the LET IT BE soundtrack, perhaps with a method as primitive as recording it in a movie theater with a portable recorder.  The results were the GET BACK SESSIONS 2 / MORE GET BACK SESSIONS releases on TMoQ & Michael & Allison Records.

The third wave came in December of 1974 via Contraband’s two SWEET APPLE TRAX volumes, which presented 90 minutes of previously unreleased Nagra reels, mostly from January 8 to 10 at Twickenham. These releases have their own entry on the blog as well.

Then, for two and a half years there was nothing, until this much hyped EP came along in February of 1977:

Beatles Twickenham Jams EPBeatles Twickenham Jams EP bPressed in Canada? L.A. is more like it. From the same pressing plant that also produced the Tobe Milo bootleg EPs.

Beatles Twickenham Jams EP discBeatles_twickenham-jams-1ste_sheetBeatles Twickenham Jams EP pageThis is the text from the above promo flyer, misrepresenting the date, source/purpose of the recordings and mostly the sound quality.

Below is an image of the ‘cover plus sleeve’ version mentioned in the flyer above. This particular copy sold for the high start price of $118 in April of 2017:

Beatles Twickenham Jams dual


January 8th was the Beatles fifth day of filming at Twickenham studios. The idea of a culmination in a live show was still alive at this point (in the afternoon, the idea of continuing rehearsals on a passenger ship taking them to North Africa to perform at an amphitheater there, will be discussed).

Following George’s premiere of his newly written song “I Me Mine” and everyone’s arrival,

Nagra tape roll 71A – (16:02 in length)  records them trying to play these songs:
Honey, Hush
Stand By Me
Hare Krishna Mantra
“Well, If You’re Ready”
Hare Krishna Mantra

Out of these, 8.08 and 8.10 – 13 (based on DDSI numbers) make up the 6 minutes 49 seconds found on side 1 of this EP.

A little later, Nagra tape roll 74A – (16:05) captured the following songs:

Mean Mr. Mustard
Don’t let me Down
All Things Must Pass
Fools Like Me
You Win Again
She Came In Through The Bathroom Window

Highlighted DDSI numbers 8.40 to 8.42 make up all of the 6 minutes 28 seconds on side 2.


In the summer of 1977, the Dragonfly LP INDIAN ROPETRICK repeated “All Things Must Pass” but also offered something new: A playback of a Nagra reel from 14 January 1968 on Radio Luxembourg, offering the tracks “Watching Rainbows” and “Mean Mr. Mustard” with the DJ frequently talking over them to assert the station’s exclusive rights to them.

The “Watching Rainbows” broadcast pre-dated the “Abbey Road” LP

“Excerpts from the “Watching Rainbows” reel [recorded at Twickenham Studios , Jan. 14, 1969, DDSI 14.27-14.29] were taken out of EMI’s tight-lidded vaults and broadcast by Radio-Television Luxembourg as early as March 1969. During the “one-time-only” broadcast an RTL commentator claimed the occasion was “a gift that the Beatles made us, at RTL, send to you.” Station identification was announced throughout the broadcast to prevent pirates from taping and re-transmitting or pressing the music onto vinyl.

Bootleg vinyl of “Watching Rainbows” without the incessant RTL voice over had surfaced by May of 1977. Of course, the RTL broadcast also had been pirated. A poor quality copy appears on Indian Rope Trick the mid-70s collection of mostly bogus Beatleg material. “Rope Trick” wins the prize for most horrendous reproduction of the “Rainbows” reel – recorded off a radio receiver, passed down at least one generation and then pressed onto cheap vinyl. At least the disruptive French voice overs provide copyright documentation, coming, as they do, at intervals of 45 to five seconds. RTL’s broadcast began with the RTL dee-jay talking over “Watching Rainbows.”

“And here’s the gift that the Beatles made us, at RTL, send to you… two new titles which are worldwide exclusives…”

“Standing in the garden waiting for the sun to shine. Hand in my umbrella… ” and the DJ comments over.

“And here is the first one… exclusive from RTL …. …If you hear this song somewhere else other than RTL, it means it has been stolen from us.”
[Free jam . Lennon on mustard fuzz organ; George with angry Clapton inspirations.]

“The first time, it’s always like this. You don’t like it very much. But in two months, when this record comes out, you will see. You’ll like it!”

“Listen carefully, because you won’t hear this record for two months!!!”
[Tape cuts to Mr Mustard (Dirty Bastard) /Madman .]

“This is a working tape that the Beatles lent us. This is why you will hear it only once, but we wanted to let you hear it first from RTL before anybody else… ”
[mustard organ]

“…It’s strictly forbidden to tape this, especially for those of you who work for another radio station.” The DJ continues dispersing bursts, at 5 second intervals, of self-promotional anti-piracy tags: “The Beatles with an exclusive on RTL.” “Don’t tape. ” “R – T – L.” “The Beatles are on RTL exclusively,” and “It’s the first time in the world that people hear this new Beatles song…. on RTL, of course.”

Why RTL was allowed to broadcast a Twickenham tape at such an early date might be explained by the group’s relationship with Radio Luxembourg and commercial “pirate” radio just before the hysteria of Beatlemania broke. In the early 1960s, radio in England was dominated by the state-owned and operated BBC. There wasn’t much time for pop music programmes, but Radio Luxembourg was privately-owned and offered more opportunities for aspiring, unknown pop and rock artists.

George told a journalist during the 1964 Australian tour that the first DJ ever to play a Beatles recording was at Radio Luxembourg.

“Originally we were played on Radio Luxembourg because that’s a commercial station, and the, ah, the record companies, you know, they pay for time, air time on these shows. So they promote the record. So that’s the show we were on first… but they’ve still got to transmit from Luxembourg, which makes the reception (in England) not as good as the BBC.”

Harrison also endorsed England’s independent “pirate” radio, whose broadcasts were legal in 1964 only because they originated from ships in international waters. “Well, it’s great,” Harrison told the journalist. “Yeah… We could do with a couple right in there, in London.”

(by Ron Synovitz; French translations from “Indian Rope Trick” by Ariane Julie-Synovitz)


Beatles WR EP 1Beatles WR EP 2Beatles WR EP bBeatles WR EPI used to own this and should have kept it, the multi-color vinyl really adds something. The selected cover images do not really fit as they are from the White Album era, taken on the “Mad Day Out” photo shoot on 28 July 1968.


Back to Twickenham studios, 45 years ago. On 10 January ’69, George has finally had enough and walks out of the sessions (and again on a meeting they had on the 12th). Surprisingly, the reason was not in his artistic relationship with Paul but George was very unhappy with John (as discussed in the Sulpy/Schweighardt book Get Back). On the 14th, the last day at Twickenham before filming and recording resumed in the basement at Apple, John premieres a new composition “Madman”, a bit of another new one, “Mean Mr. Mustard” and an improvisation born out of Paul playing the guitar part for “I’ve Got A Feeling” and John improvising three verses based on lyrics from “I Am The Walrus”: The improvisation known as “Watching Rainbows”.

February 1978 saw the release of the expanded LP version:

Beatles WR LP frAvailable with Dragonfly (first pressing?), white & yellow Ruthless Rhymes and green “hörweite stereofonie” labels:

Beatles WR Duck

hörweite Stereophonie lbl

Beatles WR LP b pinkFewer versions have the above three tone color back but these do not automatically mean a first pressing, as stated on the vinylegs website. They exist with Ruthless Rhymes labels as well.

Beatles WR LP b bl

The first two tracks are from 14 January ’69 as mentioned above.  “Blackbird” (takes 1 + 2) was recorded by Paul on August of 1974. The rest of the tracks on side 1 and side 2 including “She Came In Through The Bathroom Window” come from Twickenham, 8 January.“Golden Slumbers/Carry That Weight” is take 13, recorded 2 July 1969 and would become the opening track on another famous Audifon Beatles LP: No 3 Abbey Road NW 8 . The unlisted last song “Her Majesty” (with the final chord intact) was recorded on the same day. John’s take on the Who’s “A Quick One While He’s Away” (with a little help by Paul and the sarcastic comment “OK, George, take it”) was the next available recording from Twickenham on 10 January ’69 after George had walked out.

John Winn writes in Beatlegmania – Volume Two: “Although the Twickenham tapes are slightly longer here than on the EP’s, they don’t sound any better. Brand new here are “Blackbird”, “Two Of Us”, “One After 909”, “A Quick One While He’s Away/improvisation” and “Her Majesty”. A second pressing of this LP in July 1978 used an upgraded but slightly shorter tape of “Watching Rainbows/Madman/Mean Mr. Mustard”. “

Research comments:

“I wanted to add too, that the recordings heard on “Rainbows” (1st pressing) and “Indian Rope Trick” are different sources (i.e. different original tapes). This is determined by a difference in radio interference and static. The “WR” LP is better overall quality but contains more interference and while “IRT” is cleaner, the quality is not as dynamic. There is also a different edit between “Rainbows” and the “Madman/Mustard” jam. But, of course, the edit doesn’t really determine anything. It could have come from anywhere.

“The original recording from Twickenham – without the French voice-over – is found in the best quality, taken from a tape source (the Nagra tapes, roll 145A) on Yellow Dog’s “Day By Day” vol. 17, disc 2.
Unfortunately the tape runs out so the end of the “Watching Rainbows”-jam is missing.
The complete recording, however, is found on the old LP “Watching Rainbows” where it’s taken from the B roll that has gone missing.
Finally, the missing ending on “Day By Day” is found on on one of the “Get Back Journals” and for the best result (soundwise) you can edit those two together.”

“I don’t know about the provenance of the original tape that made it to the RTL broadcast, but I would like to make this observation – although the version on the “Indian Rope Trick” is sonicallly inferior to the slightly-better-sounding one on “Watching Rainbows”, it doesn’t have some of the “scraping” noises heard at certain points on the WR LP – noises that sound to me like dirty panpots or faders/sliders. Which suggests to me that the appearances of Mustard, Madman & Rainbows on “Indian Rope Trick” and “Watching Rainbows” were from two different tape dubs or “passes” from a higher-generational source. If it makes any sense, or indeed matters.”


In the 1980’s, Watching Rainbows was ‘recycled’ in Japan as disc 2 of this double set:

Beatles AR NW 8 + WRBeatles AR NW 8 + WR b

Zappa Wax Flags pbZappa Wax Flags bFold over insert, reminiscing of the Dragonfly/Duck releases, perhaps one of the last bootlegs to feature this style of insert produced in early 1978. I did not find a good enough image of this on Ruthless Rhymes but you can take my word for it. Credited to a Danish Fan Club on the spine, which was of course meant to throw the FBI off.

Zappa Wax Flags blankAlso with red & orange blank labels.

Zappa Wax Flags Raring 2Later reissue with Raring labels

Zappa Wax Flags yel100 numbered copies only on yellow PVC reissued as part of the LXXXIV series, # 59

Zappa Wax Flags Raring 3With an alternate cover around 1984

Zappa Wax Flags RE


Zappa Wax Flags RE 2Yet another version – can you tell that this sold well?

Zappa Wax Flags RE 2 b


One more super rare reissue – supposedly as few as 75 copies were made:

Zappa Martian Love SecretsZappa Martian Love Secrets bZappa Martian Love Secrets detail(“Martian Love Secrets” was the working title of the Sheik Yerbouti album).

Issued with blank blue and red labels. Below, side C matrix:

Zappa Martian Love Secrets matrix

Pauley Pavillion, University of Californa, Los Angeles, 31-Dec-1977

Length: ~90 min
Sound quality: Audience B+
Label: Ruthless Rhymes FZ500 / Raring Records Rarities

Musicians: Frank Zappa, Adrian Belew, Patrick O’Hearn, Tommy Mars, Peter Wolf, Ed Mann, Terry Bozio and Roy Estrada

1. Instrumental [mislisted as “Envelopes”]
2. Is This Guy Kidding or What? / I Have Been in You
3. Flakes [the last part only, listed as “Tom Snyder vs the Red Spiders from NBC]
4. Flakes [the last part continues] / Broken Hearts Are for Assholes
5. Wild Love (part 1) [listed as “Stinky Finger”]
6. Wild Love (part 2) [listed as “Fancy Stinky Part 1”]

7. Wild Love (part 3) [listed as “Fancy Stinky Part 2”]
8. Punky’s Whips

9. “Stink-Foot” Solo
10. The Black Page #2
11. Jones Crusher [listed as “Deadly Jaws”]
12. Disco Boy
13. Dinah-Moe Humm
14. Bobby Brown

15. Conehead [different, instrumental version]
16. Camarillo Brillo
17. Muffin Man
18. San Ber’dino
19. Black Napkins
20. Auld Lang Syne


“This show was around 3 hours long, so this is edited down. The sound is not too good, audience-recorded in a boomy hall, with some instruments not always audible, but the performance is good. The track list on the cover is not at all correct (the above is much better).

Track 1 is listed as “Envelopes” but is really a jam, probably a solo section from “A Pound for a Brown on the Bus”.
Track 2 is “I Have Been in You” with an intro like the one on Stage #6, “Is This Guy Kidding or What”.
Track 3 is just the end part, with Adrian Belew’s e-bow solo.
Track 4 has 30 more seconds of “Flakes”.
“Wild Love”, including improvisations, is split up over three tracks, listed as “Stinky Finger” and “Fancy Stinky Parts 1-2”. At 01:21 in track 6, a wild solo section ensues, with Tommy Mars and Peter Wolf doing keyboard improvisations. Then the first 01:57 of track 7 is Adrian Belew on guitar, 01:58-08:23 a “Yo’ Mama” type Zappa solo, and the remaining 08:24-09:09 the last part of “Wild Love”.
Track 15 is a different, instrumental “Conehead” (and may belong last on vinyl side 3 instead).

A variant cover of Wax Flags has been reported. It has a live picture of Zappa with a microphone, a picture of Zappa holding a picture of himself playing guitar while “shooting the finger”. The vinyl is multi-coloured, and the label of one disc has a drawing of a gargoyle with two heads in front of a tombstone with “Verzyl” inscribed on it, while the other label has what “appears to be a Chinese-style drawing of a warrior with a spear and a sword attacking a serpent in front of a pyramid”. (This cover and these labels don’t list any tracks at all.)” [I guess, I’m missing that variation] \


Notes from a needle drop/remastering project:   
” …this show was horribly panned to the left, … The show, recording or equipment in use then, was over driven and clipped, so the high end is rough, real rough.  It is listenable, the FZ solos are awesome, Tommy Mars is good. The show or the taper or someone lost it as it goes on, so it degrades towards the end. “

Rolling Stones Return To LiverRolling Stones Return To Liver bRolling Stones Return To Liver b detail Source: 2nd show at Anaheim Stadium (the day after the shoe throwing show), 24 July 1978 (misidentified in Hot Wacks as being from 23 July)

Side 1: intro [00:54] / Let It Rock [02:44] / All Down The Line [04:54] / Honky Tonk Women [05:08] / Star Star [04:43] / When The Whip Comes Down [06:28]
Side 2: Beast of Burden  [07:25] / Lies [05:44] / Miss You [09:44]
Side 3: Just My Imagination (Running Away with Me) [09:54] / Shattered [05:49] / Respectable [04:20] / Far Away Eyes [05:15]
Side 4: Tumbling Dice [05:57] / Happy [03:30] / Sweet Little Sixteen [04:05] / Brown Sugar [05:07] / Jumping Jack Flash  [08:11] 

Good to Very Good Stereo Audience recording (only rated “Gm” in Hot Wacks)


A new version and different source tape was issued  in the early 80’s on Ken’s Phoenix Records. It adds “Love In Vain” but does not have “Jumping Jack Flash“.

Rolling Stones On Tour 2Rolling Stones On Tour bRolling Stones On Tour

MATRIX: Scratched out (RS 2 -A/B) new 44773 – A /B // 44773 C/D
Very Good Audience recording.


Rolling Stones Anaheim 78Rolling Stones Anaheim 78 b

Rolling Stones s t Oakland 78Rolling Stones Tank Rec bRolling Stones Tank R b

Source: Audience recording from the Oakland Coliseum on 26 July 1978, as part of the annual “Day on the Green” concert series. Also appearing were Peter Tosh, Eddie Money and Santana, Tickets were $12.50.

Quality is listed as G to Vg mono (it’s fairly wind swept and distant); there appears to be only one source as the VGP CD release mentioned below added all the missing tracks but did not improve on this rating.

Side A: All Down The Line [05:02] / Honky Tonk Women [04:29] / Star Star [04:45] / When The Whip Comes Down [06:47]
Side B: Beast of Burden    [07:58] / Lies [05:22] / Miss You [09:37]
Side C: Just My Imagination (Running Away with Me) [08:58] / Shattered [05:39] / Respectable [04:01] / Far Away Eyes [05:29]
Side D: Love In Vain [05:44] (missed on back cover) / Tumbling Dice [05:25]

Also includes short interview excerpts with Mick, Keith and Bill on all 4 sides.

Matrix: 18967 A-D (scratched out : CIR 8733 A-D) – Probably a number mix up, since the Circle Lp with that number was a copy of OUT ON BAIL (Lurch Records). dbboots states “Re-release of “IN OAKLAND On MICK’s BIRTHDAY” on Circle Records 8733″ but such a double album does not exist, only a VGP 2 CD that appeared much later.

Rolling Stones DotG 4 bRolling Stones_oakland_78

Bowie SitAirBowie SitAir bDeluxe printed cover on Ruthless Rhymes

Back then this was the first release from his 1978 tour. The opening song “WARSZAWA” did not make the master for some reason but it is the only vinyl bootleg to include “Rock’n Roll Suicide”.


Bowie SitAir insert copy frCopy on Raring Records with inserts

Bowie SitAir insert copy bBowie SitAir Raring lbl


Bowie SitAir mcv 2bVery limited reissue as part of the “Verzyl label – Multi Coloured Vinyl” Reissue series from the 1980’s. If anyone can pinpoint the year for these and the other titles in the series, do leave a message. I believe that despite Bassman’s wording on his site, no other colored PVC versions exist.


Bowie SitAir RaringAnother reissue series of many classic titles, ca. 1983/4


Bowie NZoIJaG bluFirst release with a blue cover and…

Bowie NZoIJaGMonique d’Ozo labels! The label may be called “Omega” but it has TAKRL (and Ken) written all over it. The assigned number is 912, fitting in nicely with the TKRL 900 series released around this time (1979).The article used for the cover was taken from the September 1978 issue of Creem magazine, which featured Bowie on the cover, promoting his movie role in Just A Gigolo.

Although Hot Wacks calls this simply a copy of slaughter in the air it has been claimed that this has less hiss than the Ruthless Rhymes release and may be a generation closer to the master tape, which, I believe, has never surfaced.

Bowie NZoIJaG b&w2nd edition in black & white.

Creem Bowie Sept 78 fullCreem Bowie Sept 78 1


Bowie 78 LA ticket

Clapton OnTour77

Clapton E On Tour

Clapton E On Tour b

Clapton E On Tour inner





Sources: Excerpts from the September 26th and October 1st 1977 concerts at Osaka Festival Hall. From a time when Japanese vinyl bootlegs still contained shows actually recorded in Japan. This would change after 1978, when Japan signed The Phonogram Protection Convention (the Convention for the Protection of Producers of Music Recordings Against Unauthorized Duplication of Their Product). In some cases, recordings made in Japanese venues after 1979 would be carefully edited and credited to UK or US locations. I will have a couple of examples on the blog later.

Not a bootleg you are likely to see anytime soon, very limited pressing. Beautiful gatefold cover with photos from one of the actual Festival Hall shows. Unfortunately, the quality seems to be challenging at best, earning just a “Gm” rating in HOTWACKS – it is surprising that this even made it into HW in the first place when so many other Japanese bootlegs did not.  It took until 2013 for a better source tape to turn up (for the October 1st show).

26 September set list:

Osaka, Japan – September 26, 1977 (3 audience sources exist)

  1. The Core
  2. Badge
  3. Double Trouble
  4. Knocking On Heaven’s Door
  5. Bottle of Red Wine
  6. Nobody Knows When You’re Down and Out
  7. Alberta
  8. We’re All the Way
  9. Sign Language
  10. Tell the Truth
  11. Stormy Monday
  12. Layla
  13. Key to the Highway

Clapton Moshi Moshi Osaka

Master cassette insert turned into a CD cover.

1 October set list

The good news is that in addition to the old source, described as “a fairly miserable audience recording” a Mr. Peach source that I had not seen before has since been released (LIVE AT HEART BREAK HALL).

1. The Core
2. Blues Power
3. Have You Ever Loved a Woman
4. Blues With a Feeling
5. One Night
6. Nobody Knows You
7. Sign Language
8. Alberta
9. Tell The Truth
10. Double Trouble
11. Layla
12. Bottle of Red Wine
13. Key to the Highway

Band Lineup:

Eric Clapton Guitar, Vocals
George Terry Guitar
Carl Radle Bass
Jamie Oldaker Drums
Dick Sims Keyboards
Marcy Levy Backing Vocals

Clapton 77 J tour bookClapton rocking a “puffy pirate shirt” long before Seinfeld. Japan 1977 tour book.

Eric Clapton Blackie Japan 1977Photo: Akihiko Fuku


I suspect that the producers of this ‘matrix-less’ double album where also responsible for other Osaka concert vinyls recorded in the mid 1970’s, among them the famous ZOOM QUEEN set.

Here is the inner part of the gatefold looking rather similar:

Queen Zoom Queen in

Queen Zoom


And perhaps also this Japanese Clapton triple album, I just recently discovered; recorded 22 + 23 October 1975 at Osaka’s Festival Hall:

Clapton Tour 75








Quality: very good stereo audience. Only 200 copies pressed.

Comments (via Google Translate): “All the E-plane 2 ~ F surface I are housed and add a set that has been showcased in the 23rd.
So that the box of color also had the red and blue, it is a red box version there in my hand. ”

Apparently this bootleg gives credit to the person who had recorded the source tape: ‘Komo-roku

The Event of DB insert

Event of DBBowie Event of

This one did not make it into Hot Wacks (by edition # 12). Bassman’s Bowie bootleg page says only 225 copies of the black version exist (plus 25 advance copies on green vinyl, which are a little different in that they have a spoken intro to “Stay” plus a pressing error causing a skip – Bassman wrote “Star” first and then “Stay” but I believe he meant “Stay”).

Bowie bad segeberg poster

From a post on Mind Warp Pavillion in early 2012:

“It’s always stuck in my mind that Peter and Julia Smith, when running the Missing Link fanzine, stated that the 11th (Gothenburg), 12th (Gothenburg) and 18th June (Bad Segeberg) 1983 recordings represented the best recordings from 1983, in terms of performance, quality and atmosphere.

The show from the 18th was the best sound quality of the three, but on CD, it seemed a little too clean – most likely cleaned up a little too much, and the guitars sound slightly ‘squeaky’ because of this. I feel the LP is likely to get the balance right. …”

Bowie segeberg_1983

Mr. Peach

What can you say about all these fantastic recordings Mr. Peach worked so hard to capture? I’ll leave it with an all encompassing “Holy cow!” Words fail when taking it all in. Just the cost and logistics of recording all over Japan must have been very high. And then all this for an amazing collection he never seems to have shared for decades.

There were two kinds of tapers. Those that traded their tapes relatively soon after the shows – Mr. Freezer, Steve Hopkins, Mike Millard, come to mind – and those that did not until an opportunity presented itself decades later “Mr. Peach and Dan Lampinski”. I’d love to find out more about the person behind the tapes. There are short interview bits here ( but the only thing I could decipher was that he was/is a Tokyo resident, which I already knew based on the concert listing I had collected (49 shows recorded at the Budokan alone, so far). He is also the only taper I have known to smuggle in more than one recording device and come out with two recordings from the same concert. Did he have someone helping him? I wonder how strict security was in those days and what the policy was in regards to bringing in recording equipment. If anyone knows more about him, do leave a comment.

I have compiled a list of all known Mr. Peach recordings as of December 31st, 2013 (supposedly he has around 300 masters?) with quality comments from added. They might get a bit tedious after a while but I believe they add enough information to make it worthwhile. (The often somewhat daft) Name of CD title in brackets; it was not my goal to promote the CD bootleg label that has ‘contracted’ his master tapes, these were just added for reference purposes. Their release policy mirrors that of the early and mid-1970s Japan bootleg vinyl releases, which were usually limited to around 200 copies.

Overall, his recordings tend to be very loud and “in your face”. He still seems to have been at the mercy at whatever seat he could get once tickets went on sale, so I doubt he was connected to Udo Presents or another concert promoter but many of his recordings have littel intrusion from other patrons sitting close by. I also doubt he wrote for Music Life or some other publication and ad a professional reason to go to these concerts.

Mr. Peach hit his stride and a first peak in 1976 with the excellent documentation series of the Neil Young and Rainbow tours and just kept going, still dependent on the position of his seat in the arenas, of course,  until changes in how drums were miked and amplified via the PA introduced some extra distortion here and there but his recordings usually always come out on top.

From 1976 onwards, Mr. Peach used this Sony portable recorder:Sony tc-3000sd

and upgraded in the Spring of ’77 to the latest Technics model, the 686d:

technics-686It is not known what type of microphones he used. Images of some of his master cassettes are pictured below.


– LED ZEPPELIN  Festival Hall, Osaka – September 29th, 1971 (LIFE IN THE FAIRY TALE)  “The recording done by Mr. Peach is very good plus, it sounds like he was close to the stage and used good equipment. The sound is clear, detailed and well balanced with just a small bit of hiss one would expect, yet is sadly incomplete. There are a few cuts and based upon what is written on the back cover, Peter Grant somehow busted Mr. Peach and confiscated the third tape so the recording finishes during Moby Dick.”

– TEN YEARS AFTER  Festival Hall, Osaka – May 7th, 1972  (I’M COMING ON)                                 “…distant from the stage and there is an abundance of echo…”

– HUMBLE PIE  Shibuya Kokaido, Tokyo – May 16, 1973  (FOR ALL YOU DO, THIS BUD’s FOR YOU
“good to very good but is noticeably distant from the stage. The recording also emphasizes the lower frequencies.  At times the bass is distorted, but never to excess.”

– ERIC CLAPTON  Budokan, Tokyo – November 1st, 1974  (ON TOUR 1974 BUDOKAN 2nd NIGHT) “…clear but distant from the stage… still much nicer than anything else available for this date…”
– ERIC CLAPTON  Budokan, Tokyo – November 2nd, 1974  (LOVELY PEOPLE) “This tape source is distant, muffled and hissy.  An incomplete soundboard recording exists for this show… Tarantura has the advantage of being more complete, but unfortunately this tape also runs a tad too slow…”

– QUEEN  Bunka Taiikukan, Yokohama – April 30, 1975  (IN HAMA)
“…it is substantially more clear and powerful than the YouTube tape and has the missing encores.  The only negative against this release are the cuts right after “Bring Back That Leroy Brown” (eliminating some of Freddie’s introduction to “Son And Daughter”) and at the beginning of “In The Lap Of The Gods…Revisited” omitting the introduction and opening lines…”



– ERIC CLAPTON  Festival Hall, Osaka – October 23rd, 1975  (#1619 ROYAL HOTEL)             “Whereas the old tape was fair, this new recording is very good bordering on excellent.  It is clear, well balanced and has a tremendous amount of presence capturing a vivid record of the show.  It doesn’t capture the complete show however and Tarantura use the older tape source for a few seconds at the very beginning, a three minute gap in “Blues Power” between 12:55 to 15:55 and at 1:24 in “Further On Up The Road” straight to the closing announcements.  There is also a non-destructive cut after “As The Years Go Passing By.”

– ERIC CLAPTON  Sogo-taikukan, Kita-Kyusyu – October 27, 1975  (QUIET GYMNASIUM)               “…an improvement over the older recording ranking in the good range.  The taper was still far from the stage and there is evident distortion in the bass during louder passages.  The instruments also tend to get lost in the mush in many songs. The tape runs only about .5% too fast and is hardly noticeable.”
– ERIC CLAPTON  Budokan, Tokyo – November 1st, 1975  ( THE GUITAR MAN WAS HERE) [on box set TOUR 75]  “…emphasizes the bottom end with a slightly rumbling bass, but it does not detract from the clarity of the tape.  There is a cut after “Badge,” after “I Shot The Sheriff,” and a small cut after the final song of the main set “Tell The Truth.””

– DEEP PURPLE  Budokan, Tokyo – December 15, 1975  (MADE IN TOKYO)                                    “…very good recording that at times borders on excellent. There are times where it sounds a little muffled but most of the time the instruments are well balanced and discernible, the vocals are nice and clear and it sounds great at loud volumes. “

– SANTANA  Budokan, Tokyo – February 20th, 1976   (TOKYO AMIGOS)                                                  “The recording sounds slightly more distant than most Mr. Peach tapes and is a bit boomy in places but is still very enjoyable with a nice big atmosphere. Some minor “near by” audience noise is picked up at times but for the most part they are polite and non-intrusive. In comparison, Masterport may be a little sharper as far as detail goes but Tarantura is definitely louder with an overall fuller sound.”

– NEIL YOUNG  Aichiken Taiikukan, Nagoya – March 3th, 1976   (WET SHOW)                                    “The sound quality is simply stunning.  It is a three dimensional stereo audience recording taped right in front of the stage.  The balance between the instruments and audience is perfect, and is detailed enough to pick up Young’s off-mic comments.”
– NEIL YOUNG  Festival Hall, Osaka – March 4, 1976  (OHKINI!)   “…excellent sound”
– NEIL YOUNG  Festival Hall, Osaka – March 6th, 1976   (BEST CHAW?)                                  “…excellent sound quality…in an acoustically challenged hall.  … only flaws on the tape, and duly noted by the label on the track listing on the back, are two instances of tape damage in the encore “Cinnamon Girl,” between 3:58 ~4:00 and 04:07 ~04:09.”
– NEIL YOUNG  Budokan, Tokyo – March 10th, 1976   (WE LOVE YOU)                                              “…sounds very similar to the Nagoya tape on Wet Show.  It has the same clarity, balance and dynamics.  The only distraction is several Americans by the tape who make comments to Young throughout the performance.  The do not speak during the music so their intrusion is kept to a minimum.”
– NEIL YOUNG  Budokan Hall, Tokyo – March 11th, 1976  (ARENA OF GOLD)

– QUEEN  Budokan, Tokyo – March 22, 1976 –   (GET YOUR KNICKERS OFF)                              “Compared to other Peach recordings it is slightly distant from the stage but still very clear and detailed.”

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– QUEEN  Aichi Prefectural Gymnasium, Nagoya – March 23, 1976   (MOET & CHANDON BREAKFAST)
– QUEEN  Shiritsu Kohseinenkin-Kaikan, Himeji – March 24, 1976   (PRINCESS ROAD)                 “The sound is slightly distant but very clear and dynamic, capturing the atmosphere of the show very well.  A tape flip after “Son And Daughter” eliminates some of the band introduction and one after “Liar” eliminates Brian May’s speech and the opening notes to “In The Lap Of The Gods…Revisited,” but is otherwise complete.”
– QUEEN  Kyuden Kinen Taikukan, Fukuoka – March 26, 1976 (late show)  (A NIGHT AT THE Q-DEN)  “…an amazing sounding, clear and powerful tape…  The sound quality places this among the best sounding documents from Queen’s second tour of Japan. ”


– WISHBONE ASH  Nakano Sun Plaza, Tokyo – October 2, 1976   (SILVER SHOES)                         “very clear and enjoyable, capturing the atmosphere […] that evening perfectly.”
– WISHBONE ASH  Kokura Shimin Kaikan, Kita-Kyusho – October 11, 1976   (LOCKED OUT)    “…excellent quality, all instruments are crisp and clear with the vocals just a tad low”

– RAINBOW  Taiikukan, Tokyo – December 2nd, 1976   (LEGEND OF THE ADDITIONAL PERFORMANCE)   “…significantly upgraded audio sourced from Mr. Peach’s master cassettes.  However, where there were gaps in Peach’s recording, Tarantura filled them with Aquarius’s master tapes.  As a result, the listener is furnished with the ability to appreciate the expansive, beautiful dimension that makes Peach’s recordings so precious. “
– RAINBOW  Koseinenkin-Kaikan, Dai-Hall, Osaka – December 5, 1976   (THE DESTROYER IN THE WEST)  ”recorded with his Sony Cassette TC-3000SD unit, from seat number 35 in row K of the second floor of the venue. Peach nailed it with remarkable clarity, balance, and driving power. “

– RAINBOW  Nagoyashi-Kokaido, Nagoya – December 7, 1976   (FOLDBACK, MARSHALL MAJORS)  “Multiple other Peach recordings of Rainbow have been released by Tarantura since Ave Maria, all in similarly great quality, but none that quite reached the peaks of the amazing Hiroshima tapes. That is, until release of the Nagoya tapes used on Foldback, Marshall Majors, which may rightly be placed atop the podium beside Hiroshima.”
– RAINBOW  Koseinenkin-Kaikan, Dai-Hall, Osaka – December 8, 1976   (LIVE IN OSAKA)             “…a stunning stereo audience recording of the highest quality, the sound is almost as good as a soundboard recording with a wonderful ambiance that has the perfect blend of vocals and instruments.”
– RAINBOW  Koseinenkin-Kaikan, Dai-Hall, Osaka – December 9, 1976   (PURPLE HAZE)         “…The recording is in fact superb, well balanced with all instruments well captured and clear, although the audience is very into the performance it does not interfere with the recording only adding the final element of atmosphere. Mr. Peach managed to capture so many great sounding recordings and this one is no different and is among the best of the tour.”
“For me, this release ranks amongst the greatest of Tarantura’s Rainbow recordings by Mr. Peach, with Ave Maria; Jesu, Joy of Man’s Desiring; and Close Encounters of the Third Kind being other standouts. Osaka is particularly impressive in how fully the bass and keyboards were recorded, and without a hint of distortion.  I first heard this during the rhythm pattern coming out of Blackmore’s solo in “Kill the King”, which in some other recordings was apparently a bit too powerful. Here it is smooth, driving and very heavy. The same can be said about the instruments during Blackmore’s extended solo in “Stargazer”. “
– RAINBOW  Kyoto-Kaikan Dai-Ichi Hall, Kyoto – December 10, 1976   (APACHE – PLAYING THE SHADOWS)  “It is no exaggeration to say that with each successive listening of this recording, further, impressive detail is revealed.”
– RAINBOW  Kyuden Kinen-Taiikukan, Fukuoka – December 13, 1976   (JESU, JOY OF MAN’s DESIRING)  “A pristine recording from the audience of a concert that, if heard only via soundboard, would not allow a listener to more fully experience the uniqueness of what happened in the concert hall.”

RNBfukuoka2 Peach
– RAINBOW  Hiroshima-shi Auditorium, Hiroshima – December 14, 1976   (AVE MARIA)            “…this recording is deep, powerful, and balanced with only trace, minor levels of fleeting distortion in some of Dio’s comments between some tracks.  There is, however, absolutely no distortion in any of the music. … The sound quality is quite simply amazing. “
– RAINBOW  Budokan, Tokyo – December 16, 1976 (1st show)   (LIVE IN THE AFTERNOON)               ” …recording is excellent, full of detail with little interference close to the recorder and full of ambiance
– RAINBOW  Budokan, Tokyo – December 16, 1976 (2nd show)   (THE CLOSING NIGHT)               “…an excellent recording done close to the stage with a wonderful ambiance that captures the excitement and passion of both band and audience members.”

– LYNYRD SKYNYRD  Sun Plaza Hall, Tokyo – January 21, 1977   (TOKYO CROSSROADS)               “…a nice loud recording with a decent balance between the instruments and has a really great live atmosphere to it.

– AEROSMITH  Sports Center, Maebashi Gumma – January 29, 1977   (THE WANDERER)  “…excellent recording … Even though it is a bit distant.”
– Aerosmith  Kyoto-Kaikan Dai-Ichi Hall, Kyoto – February 6, 1976   (GOOD CONDITION IN KYOTO)  “…fifth show of the tour and is the third Mr. Peach source to surface and just may be the best sounding so far. Like most Mr. Peach sources it is punchy with an overall decent mix of what’s happening on the stage. It may lack a bit of clarity in the bass guitar but the sound is generally excellent with very little crowd interference. “
– AEROSMITH  Budokan, Tokyo – February 9, 1977   (BORE UP UNDER STRAIN)                       “…sound quality is very good to bordering on excellent in places. It picks up all instruments with the bass a bit muddy in the mix but almost no crowd interference.”

– KISS  Kaikan Dai Ichi Hall, Kyoto – March 26, 1977   (KABUKI BEASTS)                                            “…very good sound quality, very little audience interference with a nice balance of instruments.”
– KISS  Aichi-Ken Taiiku-Kan, Nagoya – March 28, 1977   (CRAZY KILLER WHALES ALIVE)  “…recorded very close to the stage, at times you can feel the audience at your back but there is very little interference directly by the recorder. The balance between instruments and vocals is excellent, everything is clear and well defined with a little bass in to boot and over all a very good to near excellent recording that is a pleasure to listen to.”
– KISS  Budokan, Tokyo – April 2, 1977 3PM & 7PM show   (THE BURNING HELLFIRE)                       “For the early show Peach used his primary rig that would give the best results, the Technics RS-686D. The recording is very good and borders on the excellent region, it has somewhat high levels and is very in your face as Peach was obviously close to the stage, there is some crowd noise to be expected but nothing that interferes with the recording, just adds that wonder mix of ambiance. … For the 2nd evening show, Peach managed to bring in two recorders, this is referred to as the sub recording, the deck used is a Sony TC-3000SD. The sound is somewhat more muffled but clear and enjoyable, it has good bottom end and is in the very good range. If taken on its own merits you would have no problems putting it on and cranking it up, it does not compare to the main recording, however. … done with the trusty Technics RS-686D and it would be interesting to know what kind of microphones he was using. This recording is similar sounding to the first show, if anything it is a little fuller sounding thanks to better bottom end and again is very good to excellent, and well balanced with all instruments and vocals coming through clearly. … the video does not really do these shows justice as the real ambience of the music is lost, thankfully Mr. Peach’s recordings give us the true feeling of these concerts.”  
– KISS  Budokan, Tokyo – April 4, 1977   (SNAKE ATTACK BUDOKAN)                                                  “…on this eve Peach brought two recorders to the venue and we are treated to both of these recordings ! The first is on discs 1 and 2 and is from a source labeled as Technics RS-686D. The sound is wonderful and clear with just a bit of crowd noise at times but is well balanced with wonderful atmosphere and is over all very good to excellent sounding. The second source is labeled Sony TC-3000SD and is slightly inferior in quality. The sound is clear and well balanced and has a much better bottom end but the middle and high frequencies are not as pronounced making the recording not as bright. it however easily falls into the very good category and most people would be very pleased with it…”

– DAVE MASON  Shibuya Kokaido, Tokyo – May 19, 1977   (LET IT FLOW

– RUNAWAYS  Koseinenkin Kaikan, Tokyo – June 5 & 6, 1977   (QUEENS OF NOISE IN JAPAN

– ROY BUCHANAN BAND  Korakuen Hall, Tokyo – June 12, 1977   (SWEET HOME TOKYO)

– GREGG ALLMAN BAND  Budokan, Tokyo – June 29, 1977   (EAT THE PEACH)

– ERIC CLAPTON  Okayama-Ken Taiikekan, Okayama – September 27, 1977   (YUME-BANCHI)  “…an excellent audience tape without cuts…”
– ERIC CLAPTON  Kyoto Kaikan Daiichi Hall, Kyoto – September 29, 1977   (YORU-NO-MADO)  “…fantastic audience quality for the era, better than everything else that has surfaced before…”
– ERIC CLAPTON  Makomanai Ice Arena, Sapporo – October 4th, 1977   (Makomanai Better) “…very little crowd  interferences, a superb audience quality for the era…”

– RORY GALLAGHER Shinjuku Koseinenkin Hall, Tokyo – November 3, 1977 *afternoon & evening show*   (NOT THE ROLLERS’ MANIAC)  “…excellent well balanced recording that sounds fairly close to the stage… / …excellent punchy recording with a nice balance and sounds like it was recorded from the same spot as the afternoon show.”

Rory Gallagher Tarantura

– FLEETWOOD MAC  Budokan, Tokyo – December 5th, 1977   (SONG BIRD)                             “…uniformly well-balanced, detailed, …phenomenal sound quality…”

– RAINBOW  Nagoya-Shi Kokaido – Wednesday, January 11, 1978  (CAPTAIN AMAZING & MR. CORNFLAKES)

– RAINBOW  Hiroshima Keruitsu Tiikukan, Hiroshima – Thursday, January 12, 1978   (SWAN LAKE)  “… excellent quality… one of the better recordings from the tour.”
– RAINBOW  Koseinenkin-Kaikan Dai Hall Osaka – Monday, January 16, 1978   (IN THE HALL OF THE MOUNTAIN KING)   “excellent recording full of life and ambiance,  at times there is slight distortion on the vocals but I believe it is from the PA system and not the recording equipment.”
– RAINBOW  Dai-Ichi Hall, Kyoto – Wednesday, January 18, 1978   (RITCHIE IS A BLUE BELL)    “Well balanced, clear and detailed superb sounding with a most wonderful atmosphere, simply an excellent recording for the period and most enjoyable when played at a loud volume although there is a small amount of tapes hiss and minor overload during the very loud parts it does not detract from the recording…”
– RAINBOW  Budokan Tokyo – January 21, 1978   (SIGN OF INCIDENT)                                        “…excellent with a superb balance of instrumentation and vocals plus an incredible ambiance that cannot be gained from a soundboard recording.”
– RAINBOW  Budokan Tokyo – January 22, 1978   (COZY POWELL ON STAGE)                             “…very in your face, well balanced and clear with all instruments being clear in the mix, there can be at times a very minor amount of distortion in the upper frequencies and a small amount of hiss in the quieter sections but all is minor compared to the wonderful atmosphere captured.”
– RAINBOW  Kohriyama Shimin-Kaikan, Fukushima – January 24th, 1978   (SHORT BUT HARD AND HEAVY)  “… at least very good, and largely excellent, sound quality.”
– RAINBOW  Kenmin-Kaikan Dai Hall, Niigata – January 31, 1978   (THIRD STONE FROM THE SUN)  “…recording is good to very good, slightly distant…”
– RAINBOW  Budokan, Tokyo – February 3, 1978   (WHO HAS SEEN THE RAINBOW)                “…fantastic Mr. Peach source recorded very close to the stage and is a dynamic, well balanced excellent source that is a phenomenal listen. There is a very small amount of tape hiss in quiet parts but does not interfere and very little interference around the recorder.”

– BOZ SCAGS  Festival Hall, Osaka – February 5, 1978   (Endless Night To OSAKA) (final song only)

– BOB DYLAN  Budokan, Tokyo – February 20th, 1978   (LIVE IN JAPAN VOL. 1)
– BOB DYLAN  Budokan, Tokyo – February 21st, 1978   (LIVE IN JAPAN VOL. 2)
– BOB DYLAN  Budokan, Tokyo – February 22nd, 1978   (LIVE IN JAPAN VOL. 3)   “…excellent stereo…”

– KISS  Budokan, Tokyo – March 28, 1978   (HEART-BREAKER FROM HELL)                                      “The recording is very good and recorded very close to the stage directly in front of Ace Frehley’s amp. His guitar is slightly higher than the other instruments but just by a little, you can still hear the bass, drums, and vocals clearly but Paul’s guitar is hard to decipher in the mix hence my grading of very good and not excellent.”
– KISS  Budokan, Tokyo – March 29, 1978   (MAKIN’ UP MAKIN’ LOVE)                                            Opinon 1: “…excellent sounding well balanced throughout with all instruments and vocals coming through nicely with virtually no audience interference close to the microphones, another superb document.” … Opinion 2: “I was very happy with the first 78 Japan Tour Tarantura released but was slightly disappointed by this one. Although it is really nice it’s worse than the excellent Heartbreaker From Hell release. That one was clear and well balanced, but this is a different experience. It’s not bad but inferior to the other 3 Peach releases.”
– KISS  Budokan, Tokyo – March 31, 1978   (FAB FOUR FROM HELL)                                               “…best of the 3 available 78 shows…” “…superb sound !” “…excellent audience recording from very close to the stage and all instruments and vocals are cleanly heard, the mix does favor Paul Stanley’s guitar and thus has a nice raw sound.”

– KISS  Budokan, Tokyo – April 1, 1978   (APRIL FOOL FROM HELL)     “Peach has seats in the same section for the KISS shows so this show has sound similar to the other four, overall excellent sound nicely balanced with some mid and top end distortion present, making it not as clear as the others.” 

– KISS  Budokan, Tokyo – April 2, 1978   (MAIKO GIRLS FROM HELL)       “Peach was in the same row as the first and third nights and his seat was in a position between the two, […]. The quality is what we have come to expect from Peach, full dimensional recording with excellent sound. The recording is well balanced with all instruments and vocals being clearly heard, the recording does have some upper frequency distortion, it affects the vocals more than the music. The recording has that perfect balance of music versus audience and the crazy atmosphere is perfectly captured.

– SCORPIONS  Nakano Sun-Plaza, Tokyo – April 23, 1978   (PERFECT TOKYO TAPES VOL. 1)   “…sound is very good, clear with all instruments clear but the bass frequencies are  overpowering, not distorted but giving a muffled sound. … there is virtually no interference by the recorder,

– CHEAP TRICK  Budokan, Tokyo – April 28, 1978   (THE REAL BUDOKAN)                                       “…Like most of his tapes, this is very loud, clear, detailed and exciting.” Note: This is one of the rare cases of a Mr. Peach recording that’s now available as an officially release.

– VAN HALEN  Koseinenkin-Kaikan Dai Hall, Tokyo – June 17, 1978   (1st BLITZ OVER TOKYO)     “…a good and at times very good sounding tape. It is a bit more distant than other tapes from his collection but captures guitar and vocals well.” “It is not one of Mr. Peach’s best recordings.”

– JUDAS PRIEST  Shinjuku Koseinenkin Hall, Tokyo – July 31, 1978   (LEASHED IN THE EAST)  “…The clear sound on this title is simply excellent.  There is a full, virtually surrounding balance to the overall recording, with Les Binks’ china cymbal or splash cymbal accents as clearly audible as Rob Halford’s freaky-great vocals.  All guitars and bass equally coexist with the audience’s participation and reaction throughout. Unfortunately for the recording device, though, it couldn’t handle some of his crazy vocal highs, causing minor distortion at times. ” “…probably the best audience source from the era.”

– PETER FRAMPTON  Budokan, Tokyo – October 25 1978   (FRAMPTON COMES ARENA)               “The sound quality is very good to excellent, being clear and detailed, and captures a superb atmosphere.” “This Mr. Peach source is superb and a real joy to listen to.”

– GENESIS  Kosei Nenkin Kaikan, Shinjuku, Tokyo – November 27th, 1978     (DARYL’s BIRTHDAY PARTY)  “generally excellent stereo but with slight distortion in very loud and busy passages.”

– JEFF BECK & STANLEY CLARK  Budokan, Tokyo – November 30th, 1978  (THE SUPREMACY NIGHT)  “…extremely clear, detailed, powerful…” “The recording’s incredible…”
– JEFF BECK & STANLEY CLARK  Bukokan, Tokyo – December 2, 1978   (FINAL FREEWAY JAZZ)  “…an awesome, balanced recording…”

– JUDAS PRIEST Shinjuku Koseinenkin Hall Tokyo – February 9, 1979   (KILLER EMPLOYEE’s PENSION)  “The recording itself is very good and boarders excellent, if anything it is not as bright as his Rainbow recordings I am so used to hearing but is clear, well balanced and detailed recording of an excellent performance…”
– JUDAS PRIEST Shinjuku Koseinenkin Hall Tokyo – February 10, 1979, afternoon   (TYRANNY UNLEASHED IN THE EAST)  “…an incredible audience source, fully three dimensional with all instruments and vocals clear and fully enjoyable but with that touch of ambiance that cannot be found on many soundboard’s and is certainly among the best of Peach’s recordings, it is that good.”
– JUDAS PRIEST Shinjuku Koseinenkin Hall Tokyo – February 10, 1979, evening   (TYRANNY UNLEASHED IN THE EAST)  “As with the previous show the sound quality is simply perfect, clear and atmospheric and sound excellent at loud volumes. …incredible sound for audience recordings…” [Portions of the official Unleashed In The East live album were recorded on this day.]

– QUEEN  Budokan, Tokyo, April 14th 1979   (BOOTLEG RACE)                                                             “Like other Peach tapes, it is very close to the stage and picks up the charisma and force of the band at this time.  Queen sounds too loud for the recorder since the tape has slight distortion.  It’s not too serious an issue, however… Since Freddie’s voice is quite alright in this show and given the sound quality, this is perhaps the best show to obtain for this era.” 

– JOURNEY  Shibuya Kokaido, Tokyo, April 15th 1979   (THE MAJESTIC FIVE

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– BOSTON  Budokan, Tokyo – April 18th, 1979   (SAKURA …)
– BOSTON  Budokan, Tokyo – April 19th, 1979   (TRIBUTE TO BRAD DELP)                                        “The recording sounds nice and bright with some minor upper end distortion and sounds like it was taped fairly close to the stage. This is definitely the best recording from the three nights in Tokyo being much punchier and clearer than the other tapes.”

– QUEEN  Budokan, Tokyo, April 23rd 1979   (DEDICATE TO GREAT TITS, GREAT ASS

– HEART  Enoshima, Kanagawa – August 4th, 1979   (RAMSA-ENOSCHIMA ROCK AND ROLL)
– BEACH BOYS  Enoshima, Kanagawa – August 4th, 1979   (unreleased)

– VAN HALEN  Budokan Dai Hall, Tokyo – September 13, 1979   (FIRECRACKERS IN THE ARENA)     “It is a very good/excellent sounding tape with guitar and vocals somewhat dominating the recording with only the bass guitar slightly lower in the mix.”

– EAGLES  Budokan, Tokyo – September 17, 1979   (FUJIYAMA MOUNTAIN WAY)                              “…a very good and clear audience recording taken from the Eagles second trip to Japan. There is some distortion in places that mainly affects some of Don Henley’s drums and the background vocals but isn’t enough to distract the listener.” “Adding some EQ greatly adds to some of the lower or almost missing frequencies in this mix and makes this almost a excellent sounding release…

– THIN LIZZY – Korakuen, Tokyo – September 29, 1979   (DANGEROUS KORAKUEN

– ERIC CLAPTON  Budokan, Tokyo – December 3rd, 1979   (JUST ONE NIGHT ON 3rd)         “…another sterling Mr. Peach tape… and the work on the remastered tape is absolutely brilliant too!!”

– RAINBOW  Budokan, Tokyo – May 9, 1980   (CLOSE ENCOUNTERS OF THE THIRD KIND)                  “It’s of soundboard quality, but with perfect atmosphere from the audience.”
– RAINBOW  Budokan, Tokyo – May 12, 1980   (TONIGHT’s THE NIGHT)

– BLACK SABBATH  Tokyo Sun Plaza Hall, Tokyo – November 16th, 1980 (early show)   (MELOIK IN JAPAN)   “About Appice’s sound in this recording, it’s worth the price of aDmission for me alone. Although a bit buried or distorted at times, it’s also captured perfectly in its pounding and tasteful complement to Butler and Iomni. And the deep thwack sound of his snare is killer. This is another great Mr. Peach recording and Tarantura masterpiece.”
– BLACK SABBATH  Nakano Sun Plaza Tokyo, – Sunday November 16, 1980 (Late Show)   (EVIL IN THE EVENING)   “The recording for the late show featured here is clear and very powerful with an excellent well balanced sound and could easily be mistaken for a soundboard recording, it is very similar in tone to the afternoon show and is another Peach masterpiece. You have no real problem picking out the instruments in the recording, there is wonderful separation between the bass and guitar and is a real joy to listen too. The crowd is very quiet and respectful and there is no interference by the taper…”
– BLACK SABBATH  Nippon Seinen Kan, Shinjuku-Ku Tokyo – November 17, 1980    (GOSPEL OF THE WITCHES)  “…very good to excellent quality, all instruments and vocals are well balanced and come though clearly.”
– BLACK SABBATH  Kyoto-Kaikan Daiichi-Hall Sakyo-Ku Kyoto – November 20, 1980    (THE LIGHT BRINGER)  “The recording is very good but Mr Peach must have been close to the stage and directly in front of Iommi as his guitar dominates the sound with the rest of the instruments and vocals in the back ground, although the vocals and drums can be faintly heard.”
– BLACK SABBATH  Festival Hall, Osaka – November 21, 1980   (CHILDREN OF THE GRAVE)             “The recording is very good, slightly distant but well balanced with all instruments and vocals clear in the mix.”

– JEFF BECK  Budokan, Tokyo – December 4, 1980 – 6:30PM    (HERE AND GO)                               “…the Mr. Peach tape sounds closer, much more dynamic and overall has a much punchier sound to it being the best sounding version of this show to surface, thus far. It’s hard to imagine that a better sounding source could surface after this as the three dimensional characteristics of the recording make for a nearly perfect listening experience.”

– AC/DC  Budokan, Tokyo – February 4th, 1981    (ELECTRIC ATTACK)
– AC/DC  Budokan, Tokyo – February 5th, 1981    (ELECTRIC ATTACK)

– QUEEN  Budokan, Tokyo – February 13th, 1981   (NEED YOUR LOVING TONIGHT)                    “Compared to the older tape […], this is closer to the stage and much louder.”
– QUEEN  Budokan, Tokyo – February 16th, 1981   (THE MIRACLE GAME)                                                “…a phenomenal sounding, three dimensional stereo audience tape with capturing the entire performance. The Mr. Peach recording is […] the best sounding tape from all five shows in Tokyo on this short tour.”

– QUEEN  Budokan, Tokyo – February 17th, 1981   (TEO TORRIATE)                                                        “The recording sounds a bit more compressed than previous releases of Mr. Peach tapes and suffers especially when the band is pushing really hard. Other than that minor complaint, the recording is still very enjoyable. When compared with [another CD-pressed source tape] Teo Torriatte sounds a good deal closer to the stage and has a much bigger range of frequencies making this a definite upgrade to what’s been available before.”
– QUEEN  Budokan, Tokyo – February 18th, 1981   (FINALE)                                                                       “…the recording is very clear, powerful and loud.  At times it’s too loud that it distorts, but it is generally very enjoyable…”

– SAXON  Nakano Sun-Plaza, Tokyo – May 4th, 1981   (TOKYO 6:30PM)                                            “…the recording is very clear, powerful and loud.  At times it’s too loud that it distorts, but it is generally very enjoyable…”

– IRON MAIDEN  Koseinenkin-Kaikan Dai-Hall Tokyo – May 21, 1981   (MAIDEN JAPAN VOL. 1)    “The sound quality on this new release is slightly distant and bass heavy, which leads to distortion and times but is overall a nice and clear recording.”
– IRON MAIDEN  Koseinenkin Kaikan, Nagoya – May 23, 1981    (MAIDEN JAPAN VOL. 2)              “The sound quality is similar to the Vol. 1 recording, slightly distant and muddy but the bass is not as prominent, virtually no tape hiss present and it totally captures the atmosphere of the show.”
– IRON MAIDEN  Sun Plaza Hall Nakano, Tokyo – May 24, 1981 Afternoon Show 3:00PM   (MAIDEN JAPAN VOL. 4)  “The recording is similar to the two previous releases, very good and atmospheric but does has some fault, in his detailed review of the Ozzy title Paranoid in Nagoya 1982 (Tarantura TCDOZ – 2 – 1,2) Hager summarizes that the distortion present was caused by drummer Tommy Aldrige’s mounted toms. The distortion found on this Iron Maiden recording seem to be caused by the same phenomena as the other instruments and vocals are very clear and during the drum solo the same distortion is present but a phenomenal performance easily make up for its short comings.”

– IRON MAIDEN  Sun Plaza Hall Nakano, Tokyo – May 24, 1981 Evening Show 6:30PM   (MAIDEN JAPAN VOL. 5)  “Based upon the scans of the tickets found on the gate-fold interior, Peach was sitting in the exact same seat for both performances, assuming the tickets were his, and recorded the concert onto two Sony Duad90 cassette tapes, no mention is made of what rig he was using. Same gear, same location, same venue, same taper equals a similar sounding recording to the early show. The recording is clear enough where all instruments can be heard, Steve Harris’ bass is slightly loud in the mix but overall very good recording that certainly reeks of atmosphere. Like many of their releases, the volume is boosted to an unnecessary volume, I do not mind a bit of mastering but like many I feel the recordings would benefit from a tad lower volume.”

– WHITESNAKE  Asakusa Kokusai Gekijo, Tokyo – June 22, 1981   (THE ROCK SPIRIT IN ASAKUSA
– WHITESNAKE  Nakano Sun-Plaza, Tokyo – June 25th, 1981   (STORMBRINGER

– MICHAEL SCHENKER GROUP  Nagoyashi-Kokaido, Aichi – August 14, 1981   (THE DESCENDANT OF GOD)   “The quality, clarity, and balance of the recording is excellent, at least, and at times superb.”
– RAINBOW  Budokan, Tokyo – August 26, 1981    (DIFFICULT TO LEAVE A RECORD)

– RAINBOW  Budokan, Tokyo – August 27, 1981    (CRUSH THE KING)                                                   “…an excellent audience recording from Mr. Peach. It sounds like it was recorded close to the stage with all instruments being well detailed and clear with good balance throughout.”  “…this 1981 Peach recording is as good as it gets (including any soundboard). Expansive, particular, and dynamic are immediate concepts that come to mind.”
– RAINBOW  Budokan, Tokyo – August 28, 1981    (FRIDAY NIGHT)                                                    “Excellent well balanced full three dimensional sounding recording… The recording was done very close to stage and has the perfect blend of music and audience participation that the Peach Rainbow recordings are known for…” ”  

– ERIC CLAPTON  Bunka Taiikukan, Yokohama – December 8, 1981   (WHAT A FOOL BELIEVES)  “…up front, clear and detailed…”

– KING CRIMSON  Shibuya Kokaido, Tokyo – December 9th, 1981   (DISCIPLINE IN SHIBUYA)      “The DGM source is a bit thin on the bass, but Mr. Peach is extremely bass heavy, perhaps too much so.  There are times when the bass becomes too loud and distorted. But it is the best sounding recording of this important show…”

– KING CRIMSON  Asakusa Kokusai Gekijo, Tokyo – December 14th, 1981   (DISCIPLINE IN ASAKUSA)

– SIMON & GARFUNKEL  Korakuen Stadium, Tokyo – May 10th, 1982   (KORAKUEN FIRST NIGHT)  “The tape is marred slightly by a couple of loud conversations from the audience but it’s nothing that’s too overbearing & the fact that the bass is a little bearing which can sometimes cause a little ‘seasickness’ – the CD is best listened with the bass turned down but it does get better as the concert goes along.”

– TOTO  Budokan, Tokyo – May 17, 1982   (JAPANESE EYES)                                                                    “… an excellent well balanced clear document that runs just slightly hot. The audience can be heard but the music is much louder in comparison and the crowd is really never intrusive. Even the annoying clapping that plagues many Japanese tapes is only audible in the background. Dynamic passages in the music where it may drop to just one or two instruments still come through very clear and the band sounds very powerful as if the taper was close to the stage.”

– AC/DC  Budokan, Tokyo – June 10, 1982   (ELECTRIC SHOCK)

– OZZY OSBOURNE  Festival Hall, Osaka – July 9th, 1982    (LET’s GO CRAZY)                              “…very good clear and sounds like it was recorded in front of Rudy Sarzo as his bass is slightly dominate but not overpowering. It is a very atmospheric recording just shy of excellent that perfectly captures the mood of the show and does sound good at loud volumes, if anything just slightly muddy.” (better quality than July 11)
– OZZY OSBOURNE  Nagoyashi-Kokaido, Aichi – July 11, 1982    (PARANOID IN NAGOYA 1982)  “Similar to Peach’s recording of Van Halen’s 1978 concert presented on Tarantura’s 1st Blitz Over Tokyo, there is noticeable distortion in this Ozzy recording.  It comes from Aldridge’s mounted toms, as evidenced during the drum solo when only the toms were distorting.  But it appears that this was a problem with the venue’s sound system, and not Peach’s equipment, because all other aspects of the performance are clearly and powerfully audible in the recording.  All instruments, including Aldridge’s snare and hi-hats, are equally up front in the mix.”

– GARY MOORE  Nagoyasi-Kokaido, Aichi – February 28, 1984    (KIMI-GA-YO ANTHEM)  “…a very good Mr. Peach recording. The tape is slightly muffled and lacks a bit of detail in the top end but is still very enjoyable.

– DEEP PURPLE  Bodokan, Tokyo – May 14, 1985 (unreleased?)

Clapton Snowhead

Also found with Slipped Disc and blank white labels.

Source: KBFH compilation of Eric’s second Santa Monica Civic show on February 12, 1978 plus one track (“Sign Language”) from their Dallas, TX – 15 November 1976 partial recording.

Wolfgangsvault has the following master tapes in its archives:

Dallas Convention Center (Dallas, TX) November 15, 1976

    1 Hello Old Friend 03:57
    2 Sign Language 03:57
    3 Knockin’ On Heaven’s Door 05:51
    4 Blues Power 12:13
    5 Crowd 00:42
    6 Layla 12:33


Santa Monica Civic Auditorium (Santa Monica, CA), February 12, 1978

    1 Crowd 00:48
    2 Medley: Peaches And Diesel / Wonderful Tonight 04:51
    3 Wonderful Tonight 04:01
    4 Lay Down Sally 05:25
    5 Next Time You See Her 04:34
    6 The Core 09:12
    7 We’re All The Way 03:07
    8 She’s In Love With A Rodeo Man 03:26
    9 Fool’s Paradise 04:16
    10 Cocaine 07:14
    11 Badge 08:35
    12 Double Trouble 06:29
    13 Interlude 01:00
    14 Nobody Knows You When You’re Down and Out 04:48
    15 Let It Rain 07:15
    16 Knockin’ On Heaven’s Door 05:43
    17 Last Night 04:16
    18 Layla 06:52
    19 Crowd 02:29
    20 Bottle Of Red Wine 04:49
    21 Interlude 00:40
    22 You’ll Never Walk Alone 04:02

Eric Clapton – guitar, vocals
Dick Sims – keyboards
George Terry – guitar
Carl Radle – bass, vocals
Marcy Levy – vocals
Jaime Oldacker – drums



“This may be – in terms of the number of different releases – the most-circulated Clapton recording among collectors.  This is with good reason, as it’s a good show! Over the years many incomplete versions of this performance were traded among collectors, and then among the first Clapton ROIO released on vinyl [I would disagree though that Snowhead was one of the first Clapton vinyl bootlegs], then on some of the very first Clapton CD ROIO releases.”

” “The Core”, and the blues medley (“Going Down Slow”, and “Ramblin’ On My Mind”) from this performance were later released as part of the “Crossroads 2: Live in the Seventies” box set. If you listen and compare, it’s clear that the officially released versions are remixed – it’s a shame they dole out bits and pieces instead of the whole show! Still, this is a neat one and a personal favorite.  Of note, EC instrumentals are rare enough in concert, but to open a show with one and then segue into one of the few truly er, wonderful, versions of “Wonderful Tonight” is a real treat.”