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crygeorg

Single disc version of the rare babymoon bootleg, containing the Seattle tracks only.

Item description:

THE LABEL IS:     A TMOQ BABYMOON RECORDS LABEL # LP2317438 ULTRA RARE TMOQ BABYMOON
VINYL GRADE:     ALBUM IS VISUALLY GRADED MINT LIKE NEW
COVER GRADE:   ALBUM COVER IS GRADED MINT LIKE NEW

L.A. based seller; auction started at $499 and ended after four bids at $1,285.00 on 14 April 2014, establishing a solid track record as one of the most valuable non-splatter wax 1970s bootlegs around.

****

Update: The auction ended at a very healthy $808 with 16 bids submitted

One of the, if not the rarest TMOQs: ELTON JOHN Country Comfort TMOQ BLUE VINYL

John E Country Comfort 1

 

The story is well known, a Cypress, CA school teacher becomes a huge Springsteen fan in 1974. Already buying bootlegs from Vicky Vinyl and Jim Washburn at record swap meets, he mentions one time too many that he’d really love to see a Springsteen bootleg and VV teaches him how to do it.  He names his label after the street he grew up on in Trenton, NJ: Hoffman Avenue Records.

 

Discography:

BRUCE SPRINGSTEEN     THE JERSEY DEVIL  HAR 147 / later switched to HAR 161   – Pressed September 1975 (original price $4.00)

BRUCE SPRINGSTEEN    THE ROXY aka THERE AIN’T NOBODY HERE FROM BILLBOARD TONIGHT    2 LP HAR 160 ($7.50 o.p.)   Pressed November 1975

BOB DYLAN / NEIL YOUNG    S.N.A.C.K.   HAR 163 (o. p. $4.50)

BOB DYLAN    BASICS IN G MINOR EP  [“TAKRL 1900 EP” on the cover; XXX 001 on the 2nd catalog] ($1.50 o.p.)

These four releases were available in the first ever mail order catalog, dated 31 January 1976. A second catalog from April or May 1976 lists the following titles:

BRUCE SPRINGSTEEN    HOT COALS FROM THE FIERY FURNACE 2 LP  HAR 164   – Pressed February 1976

JONI MITCHELL    THE POSALL AND THE MOSALLM   HAR 165 [on Vibrator Records labels, catalog says “formerly titled “Sugar Mt. And Other High Spots”]

JACKSON BROWNE    RATED X   HAR 166  [called “YOU ONLY WANT MEAT (YOU ASSHOLE)” in it’s first catalog appearance, which also states “… planned for release in late May…”]

DAVID BOWIE – The title that ended up being WISH UPON A STAR and announced as two volumes is announced in the same catalog. The first HAR release containing material taped in 1976 (9 February).

NEIL YOUNG / STEVEN STILLS    FOR WHAT IT’S WORTH   HAR 167 (recorded late June – July ’76)

BOB DYLAN    HOLD THE FORT FOR WHAT IT’S WORTH   HAR 168 (recorded 16 May 1976)

PAUL McCARTNEY + WINGS    ORIENTAL NIGHTFISH  HAR 169 (contains a live recording from 16 June 1976)

JOHN LENNON   PLOP PLOP FIZZ FIZZ  HAR 170

GENESIS   2 DOWN, 3 LEFT  on Dancing Disc Records D1001 [Cleveland, OH 15 April 1976, from radio broadcast]

YES  MARK’S LP  2 LP on Dancing Disc Records  [6 June 1976; Roosevelt Stadium, NJ, from radio broadcast, matrix: HAR-151 A-D]

ROLLING STONES    HOSTS TUFF     [WAR 1001, 4 – 7 June 1976, Paris]

Post-bust:

BRUCE SPRINGSTEEN    (THE BOSS) RESURRECTED    [Lonely Records, LR101 – 500 numbered copies]

BRUCE SPRINGSTEEN    BOX O’ ROCKS     5 LP box set containing HAR 160-164-147: Jersey Devil, The Roxy + Hot Coals From A Fiery Furnace

BRUCE SPRINGSTEEN     RAGAMUFFIN GUNNER     [Matrix: HAR 164, Copy of HOT COALS FROM A FIERY FURNACE]

BRUCE SPRINGSTEEN     KING OF THE ALLEY      [Matrix: TMQ 5466 / HAR, copy of THE JERSEY DEVIL ]

BRUCE SPRINGSTEEN     HARLEY IN HEAT                  [Matrix: TMQ 5467, copy of THE ROXY]

BEATLES     WHAT A SHAME MARY JANE HAD A PAI AT THE PARTY / L.S. BUMBLEBEE   Fab Four 101 – rare 7″

also:

NILS LOFGREN  LIVE (BACK IT UP) [pirate of live promo]

***

Any comments + additions welcome, as always.

 

 

Vicky Vinyl had bounced back from her initial bust and kept making bootlegs. By 1978 she reissued older and pressed new releases on the Slipped Disc – Piste records, claiming to come out of France.

Slipped Disc lbl

 

“One of the reasons [Bruce Springsteen’s] 1978 Tour is so well-remembered, and often viewed as the peak of Springsteen and the E Street Band in concert, is that several complete shows were broadcast live on progressive rock and album-oriented rock radio stations. These included the July 7 show at West Hollywood’s The Roxy, broadcast on KMET, the August 9 show at Cleveland’s Agora Ballroom, broadcast on WMMS, the September 19 show at the Capitol Theatre in Passaic, New Jersey, broadcast on WNEW-FM, the September 30 show from the Fox Theatre in Atlanta, broadcast on about 20 Southeastern stations, and the December 15 show from the Winterland Ballroom in San Francisco, broadcast on KSAN-FM. These broadcasts were mixed by Jimmy Iovine and of high audio quality, and were listened to at the time by a larger audience than attended the concerts. ” [wikipedia – Darkness Tour]

[Springsteen] had already aired ‘Point Blank’, ‘Independance Day’, ‘The Ties That Bind’ and ‘Sherry Darling’ in widely taped radio broadcasts, which even now were being pressed to bootleg disc: something, which as of July 1978, Springsteen had insisted ‘doesn’t really bother me.’ His introduction to ‘Sandy’ [actually, it was his introduction to ‘Racing In The Street] at the December 15 Winterland show, suggesting the Jersey girls would get to hear this particularly fine version ‘through the magic of bootlegging’, rather implied he still didn’t. But by 1979 he was no longer so keen on these clandestine copyists. Or more accurately, perhaps Jon Landau on behalf of Bruce Springsteen was less keen on them. ” [Heylin in E Street Shuffle: The Glory Days of Bruce Springsteen and the E Street Band]

It was only logical that bootleggers were going to take Springsteen at his word and provide the magic he had spoken about at the Winterland show, full knowing all of America that cared would get to hear it. Vicky Vinyl and partner Jim Washburn started with 450 numbered copies of a 3 LP box set called LIVE IN THE PROMISED LAND, containing the complete broadcast.

Springsteen Pr Land

First edition identified by four digit numbering not going over 450, Slipped Disc labels and matrix numbers of BS2978.

Springsteen LitPLand

Surplus records from the first pressing were then issued in the beautiful gatefold sleeve with the stunning inner photo and the front saying “Winterland. 1978”.

“Actually, it is not clear if the box edition is a sort of limited edition or a cheaper package of advanced / early copies. The gatefold foldout edition is in fact more attractive than the box edition, and I guess there can be not much more than 450 around, maybe even less. So, they are both ‘originals’ in my opinion, even if for some strange reason, the box edition is considered much rarer….” [brucespringsteen.it]

Springsteen LitPLand inner

Springsteen Winterland 1978 2

Re-pressings include

Box set with insert, photo from gatefold edition

Springsteen LitPLand b

– Raring Records – Matrix BS2925, with yellow / green insert wrap and custom RR or GLC labels, black vinyl

FULL TILT or KING TOOT labels, some on red vinyl

gold / yellow vinyl with blank labels

Springsteen LitpL gold red

Springsteen Winterland copy box

Picture disc of sides 5/6, 450 copies

 

As the package obviously sold well, they then booted the Passaic, NJ recording as another triple box:

Springsteen PdRSpringsteen PdR sealed 2

Original version is a box set with a five digit numbered slip sheet with Slipped Disc labels and the matrix marking SPRING A – F. Limited to 2000 copies, so number must be up to that only.  Numbers are either stamped or found on a round or square sticker. Likely, the first copies # 1 – 200 had the numbered stickers and from then on a stamped number was used.

Springsteen PdR detail

Later edition with a higher number in a four digit format.

 

Springsteen PdR numbered box

Springsteen PdR TMoQ

Different insert. Copied inserts exist as well. Among the label variations the following exist: ‘Blockhead’, blank, Full Tilt, Side 1-6 #, the above TMOQ ‘smoking pig’ ones and more. Later re=pressings are often reported to have slight sound deterioration.

Springsteen PdR Blockhead lbl

Springsteen PdR FT lbl

These two box sets caused CBS Inc. to file charges claiming “infringements of copyrights in 43 cases, unfair competition, unjust enrichment, unauthorized use of name and likeness and interference with economic advantage” in July of 1979. The suit additionally accused Waters of producing the bootlegs Fire, “E” Ticket and Cheap Trick’s California Man 78

While Vicky Vinyl/Andrea Waters “had no time for Springsteen’s music” to quote Heylin and these box sets were just a means for her to finance more Rolling Stones releases, things were quite different for Jim Washburn, the store manager of Beggar’s Banquet – her Anaheim record store. He was a Springsteen fan and had been with Lou Cohen when Springsteen was presented with a copy of THE JERSEY DEVIL after the Santa Barbara gym concert on 1 November 1975, observing ‘The Boss’ enthusiastic reaction to having been bootlegged for the first time.

Washburn: “Throughout the course of the [1979] lawsuit, I couldn’t believe that Springsteen was behind it. He must be uninformed, this guy who was going on stage and talking … about how lawyers shouldn’t run the world. I wrote him a letter – wrapped in a rare Ronettes picture sleeve – in which I asked to meet with him, and if he still thought I’d wronged him after explaining our side, I offered to do anything I could to make it up to him. I delivered it to the desk of the Sunset Marquis in Hollywood when he was staying there, and it was promptly turned over to his attorneys, who were not terribly nice about it. Having slept on sidewalks to get Springsteen tickets and all that … I still couldn’t believe Mr. Populist Rocker had gone corporate. As the suit was winding to a close, Springsteen was again in town for a series of concerts [Springsteen played four shows at the L.A. Sports Arena, 30 October to 3 November 1980 ]. I spent all the money I had getting a room at the Sunset Marquis in the hopes of talking to him. Which I did when he showed up poolside, and he made it clear that that’s what he had lawyers for, and to leave him alone.” [Heylin, E Street Shuffle: The Glory Days of Bruce Springsteen and the E Street Band]

In 1981, finally nailed down on the issue in an interview by Creem magazine, Springsteen said:

“Dave Dimartino: Why did you change your opinion about bootlegs?

Bruce Springsteen: I felt that there was a point there where, when it first started, a lot of bootlegs were made by fans, there was more of a connection. But it became, there was a point where there were just so many. Just so many that it was big business. It was made by people who, you know, they didn’t care what the quality was. It just got to the point where I’d walk in and see a price tag of $30 on a record of mine that, to me, really sounded bad, and I just thought it was a rip. I thought I was getting ripped, I wrote the music, the songs – it all came out of me! And I felt it was a rip, and the people who were doing it had warehouses full of records and were just sitting back, getting fat, rushing and putting out anything and getting 30 fucking dollars for it. And I just got really mad about it at one point. “

In the end – December 1980, Waters pleaded guilty to one count of copyright infringement and was fined $5,000 for that. Awarded to Springsteen in the civil suit were 43 times $50,000 for each violated music copyright, adding up to $2,150,000 and CBS received $1,500 and court costs of $105,573. However, neither party could collect on the judgement as Waters and Washburn had already declared bankruptcy, aided by the relatively long time span between the FBI bust and CBS’ filing their civil suit for damages.

As described in Heylin’s BOOTLEG book, the FBI had had been given Water’s name several months prior already, when a Canadian retailer, Michael Mess decided to name her, Ken, Kurt Glemser and John Wizardo as the real people behind “a Long Beach bootleg ring”. A Malcolm Moore was identified as responsible for pressing the K&S titles. On 22 February 1980, the FBI and RCMP raided 150 people in the same day, from Georgia to California to Ontario, Canada, trying one and for all to stamp out this bootleg business. While some players were stopped, we know today that it did little to stem the tide. As Heylin puts it: “… the FBI failed to severe the cord between manufacturer and punter.”, and producers abroad, especially Europe and Japan were just getting started. However the bust of 1980 wiped out most of the second generation labels/producers, with the exception of Ken, who had moved to Spain by that time.

HW 7 police stamp

Canadian police evidence number stamp applied following the raid and confiscation at the Hot Wacks Press office in 1980. Item later purchased from Kurt Glemser after he received it all back.

Jim Washburn later pointed out in OC Weekly that, “despite the headlines about the $2.1 million ruling, the glut of other bootleggers’ Bruce boots was just beginning.”

****

I was sent this list for the UL, dated May 1980 and the question is, could Andrea ‘Enthal’ be an alias used by Vicky Vinyl?

 

Andrea letter

19 October 1976: The Sound Recording Amendment to U.S. copyright law for the first time extends copyright protection to sound recordings. Unfortunately, it combines both counterfeit and ‘pirate’ recordings in the same category as “misappropriated” recordings, “making bootlegs the legal equivalent of any pirate album containing commercially released material in alternative packaging” (Heylin, BOOTLEG, p. 125). In addition, for the first time the owner of any exclusive right (for example, mechanical reproduction) can now claim action for infringement. This right previously lay with the copyright owner of a work exclusively. As a result, record companies could now instigate legal proceedings without the cooperation of the artist.

“Vicki Vinyl was busted, a guy who was distributing Wizardo Records was busted, a number of stores were busted, my friend back east was busted – he was sending me the King Kong and Contraband Records in trade for my records. There were a whole bunch of people busted in December 1976.” [Lou Cohan in Heylin, BOOTLEG, p. 125]

The FBI, however had a lot to learn and were operating on some false beliefs, for example that there was a ‘Mr. Big’ somewhere behind this, controlling it all and in return for talking deals were offered.

“Wizardo, now working in tandem with Vicki Vinyl, managed to wriggle out of a first rap with a little kiss’n’tell. He promptly started up again, assigning new releases to the 500 series, only to be hit a second time. This time operations were forcibly put on hold by court action. Cohan, who was also busted at the end of 1976, was lucky that the FBI did not manage to gather all the available evidence.” (Heylin, BOOTLEG, p. 126)

As Lou Cohen was a volume dealer with an impressive catalog with product sourced from other bootleggers the FBI thought that this was their “Mr. Big”: “As for my own personal bootlegs, the most I ever pressed was 4,000 of any one title, the average was around 2,500 … [but] I would trade my bootlegs with other bootleggers, including a guy on the East Coast [in Darby, PA], so that by the time the FBI busted me in December of 1976 … I carried hundreds of titles, but only about twelve to ffteen of my own. I only made, I think twenty-two bootlegs. Hot Wacks says I made about ten, because I changed label titles, I changed what was scratched in the vinyl, to try and confuse the FBI.” [Lou Cohan in Heylin, BOOTLEG, p. 127]

While Wizardo’s second bust forced him to appear in court and close up shop for good, Cohan paid $1,000 to a lawyer, who made the whole issue disappear. Cohan retired his label name Hoffman Avenue Records and started up again using a pressing plant not listed as such in the yellow pages and continued until the end of 1977.

If anyone deserved the title “Mr. Big”, it was certainly Ken but Ken was never caught. Heylin’s book has ‘Eric Bristow’ recount an anecdote when the California State Police almost busted Ken in Westminster in Orange County, CA when a neighbor called the cops on him claiming Ken dealt in stolen property. Incredibly, Ken managed the cops to only leave with some samples and his lawyer basically blackmailed the police into dropping the case for not arresting Ken on the spot! To the best of my knowledge, a couple of the raided samples are the only items ever to come up for public auction:

 

Dylan CotH police evidence 1

Dylan CotH police evidence 2

Dylan CotH police evidence detail

From the auction description:

“Dylan Police Evidence
Police Evidence Sticker on Back Sleeve
Spine Also has 3 White Labels on It with Bob Dylans Name, LP Name & Cat #

TMOQ Record was A Legendary Bootleg Label Based In Westminster California back in the 70’s
Then when One day the Westminster Police Dept. Shut them down and this is one of the records that
was seized and held as evidence with the label from the police stamped and labeled.

If you check Popsike.com Under “TMOQ Evidence Room” you will also find
some Labels from this same seize and that has the same label from the Westminster
Police with Stamp & Lot #. Which Sold for $577

Labels evidence

061:

Genesis Lftmotm

Well, this has a ‘deluxe’ blue cover but the original release on Atlantic was reissued with one as well, so I doubt this is the K&S version. If anyone has an image of that, please leave a comment.

Previuously reviewed in its own entry under this link here

***

062:

Cars El Mocambo 062

Cars El Mocambo 062 b

Side 1  Good Times Roll / Bye Bye Love  / Nightspots / My Best Friend’s Girl / Moving In Stereo    
Side 2  Since I Held You / They Won’t See You  / Don’t Cha Stop  / Just What I Needed  / Candy-O

Complete set list had two more songs:

01 – Good Times Roll
02 – Bye Bye Love
03 – Nightspots
04 – My Best Friends Girl
05 – Moving in Stereo
06 – Since I Held You
07 – Take What You Want
08 – They Won’t See You
09 – Don’t Cha Stop
10 – Just What I Needed
11 – Candy-O
12 – You’re All I ‘Ve Got Tonight

http://www.youtube.com/watch?v=VzfRkV14AqM

There were several versions of this album, taken from a radio broadcast on 14 September 1978 (shortly before KBFH taped the band and headliner Cheap Trick at the Palladium in NYC, as released on the Audifön label/Vicky Vinyl boots THE CARS 78 and 78 CALIFORNIA MAN)

Cars El Mocambo 2

Mostly found as a stamped white LP:

Cars El Mocambo 3

Interesting text added by an eBay seller in May of 2013: “The Cars doing what they do best on stage at the El Mocambo in Toronto on Sept. 14, 1978. Stereo pro recording. If I recollect, some of these were on multi-colored vinyl, but I don’t know if this is one [ I doubt any of these exist on mcv. ]. This is a sealed, never-opened, brand spanking new copy from the Beggar’s Banquet collection, Anaheim’s long-gone “Underground” record store, boxed away for decades.”

***

063:

I am aware of the YS 1600 double album with a deluxe b&w and later re-issued with a green & white cover (mostly found with yellow & tan but also with Slipped Disc labels):

 

Yes In The Round

Yes ITR

and then sides 1&2 only on the 80’s style GLC label and limited to 100 orange copies as part of the LXXXIV series (# 57)

Yes ITR GLC 2

Yes ITR # 57Yes ITR disc

but I have never seen a K&S version of this. If you have, please leave a comment.

***

Numbers 064 to 069 do not seem to have been assigned.

***

070: 7 LP Elvis box set that fell victim to the February 1980 raid. No further information available.

***

071: The Sex Pistols vinyl bootlegs page does not list a K&S version for this release:

http://www.philjens.plus.com/pistols/pistols/pistols_bootlegs_vinyl.htm

***

072:

Rolling Stones The Trident Mixes

Rolling Stones The Trident Mixes b

A beautifully done double album with a full color cover. I would put the release date at late 1979, as it was mentioned in Innersleeve # 20, January 1980 (see below). The first issue was on black PVC.

Rolling Stones TM January 1980

Matrix: MCG/K&S 072

LP 1, side 1:
1. Jiving Sister Fanny    [03:24]
2. I’m Going Down    [03:02]
3. I Don’t Know Why    [02:08]
4. Give Me A Hamburger To Go (aka Stuck Out Alone)    [03:20]
5. Downtown Suzie    [03:49]
6. Blood Red Wine    [05:19]

Side 2:
7. Travelling Man    [06:03]
8. Family    [03:44]
9. Still A Fool    [09:59]
LP 2, side 1:
10. Family    [04:15]
11. Leather Jacket    [03:31]
12 Dancing In The Light    [02:50]
13. Potted Shrimps    [04:12]
14. So Divine (Aladdin Story)    [05:29]

Side 2:
15. And I Was A Country Boy    [04:26]
16. Who Am I?    [03:52]
17. Trident Jam    [03:43] 

 

“Jiving Sister Fanny” was recorded on July 2nd, 1969 at Olympic Studio, the day before Brian Jones died.  Two versions with different lyrics were recorded that day.  This is the rarer of the two, having appeared on some pressings of Metamorphosis while the second take appears on most pressings of the album and on the London Years.  

“I’m Going Down” was initially worked on between April 17th to July 1969 at Olympic Studio and later right before the US tour from October and November, 1969 in Los Angeles.  This take, which was also used for Metamorphosis in 1975, dates from July 14th and July 15th, 1970 at Olympic.  This track differs from the commercial version by having a false start.  This track features Bobby Keys on sax, Rocky Dijon on percussion, Stephen Stills on guitar, and Bill Plummer on upright bass.  

“Hamburger To Go” (aka “Give Me A Hamburger To Go” and “Stuck Out Alone”) dates from sessions at Olympic from March and April, 1968 and remains unreleased.  ”Downtown Susie” is a Bill Wyman tune recorded on April 23rd, 1969 at Olympic Studio and is the same as the version on Metamorphosis except is shorter at the fade by five seconds.  

“Blood Red Wine”  was recorded May, 1968 at Olympic Studio.  Jagger sings the vocals, Nicky Hopkins plays piano, and no other information is available.  It has never been released which is a shame because it is the most intriguing song in this collection.  “Travelin’ Man” is another unreleased song recorded at Olympic in October, 1970.

The first version of “Family” dates from May, 1968 in Olympic and it the arrangement with the electric guitar.  The acoustic guitar arrangement which would appear on Metamorphosis would be recorded the following month.  “Still A Fool” was recorded at the same sessions and is a ten minute jam on the Muddy Waters tune.  Jagger tries his best to sing like the blues singer too.

Six out of the last seven tracks are instrumentals.  “Leather Jacket,” recorded on June 22nd, 1970 at Olympic Studio in London, is a lighthearted and infectious pop instrumental whose sunniness is outside the pale of the Stones.  “Dancing In the Light,” dating from the spring of 1970, is another upbeat instrumental but with some recognizable Stones raunch.  “Potted Shrimp” and “Aladdin Story” come from the same time period as “Leather Jacket” but recorded at Stargroves.  “And I Was A  Country Boy” comes from the Feb.18-Mar.31 1969 sessions.

“Who Am I?” (aka “See I Love You”) is a true mystery.  It is listed on this release as being from Olympic Studio in March to May 1970.  Others sources say late 1969 and even others from Jamaica 1972 and still others claim it comes from 1963 because of its simplicity.  The best sources say it was recorded on July 14th – 15th, 1970.

The final Trident jam is another mystery.  There is no name associated with it and was never used by the band.  […] Although there are no hidden gems on this (there is a reason why many of them still reside in the vaults) but this is an interesting collection. ” [collectorsmusic.com]

 

A few years later copied in Europe on colored wax (5 different colors – green, blue, red, yellow, mcv), easily identifiable by the shorter matrix number K&S 072

Rolling Stones The Trident Mixes disc

***

073:

Ferry B ANO

Ferry B ANO b

Ferry B ANO lbl

Source: 23 June 1977 (early show) – Bottom Line, New York – KBF radio broadcast. The full recording of the early and late show is on wolfgangsvault: http://www.concertvault.com/search.html?t=Bryan%20Ferry&tb=0

Side One
1 Let’s Stick Together
2 Shame, Shame, Shame
3 Road Runner
4 All Night Operator
5 Party Doll
6 You Go To My Head
7 In Your Mind

Side Two
1 Love Me Madly Again
2 Love Is The Drug
3 Tokyo Joe
4 This Is Tomorrow
5 The ‘In’ Crowd

Musicians

Bryan Ferry vocals
Chris Spedding guitar
John Wetton bass
Phil Manzanera guitar
Paul Thompson drums

Chris Mercer tenor sax
Martin Drover trumpet
Mel Collins soprano sax
Ann Odell keyboards

***

074:

Led Zeppelin 074

And the final words on the insert of the last ever K&S release are: “…in closing” – how fitting.

Side 1: Operator* / I Can’t Quit You Baby** / I Gotta Move** / Dazed & Confused**
Side 2: How Many More Times** / Travelling Riverside Blues*** / Communication Breakdown*** / Whole Lotta Love***
Recording: (*)Excellent mono soundboard; (**) (***)Excellent mono professional pre-FM soundboard radio recording.

Sources: (*)Alexis Korner and Steve Miller with Robert Plant ’68; (**)Stockholm Konserthuset, 14 March  ’69; (***)Maida Vale Studio 4 (BBC – Top Gear with John Peel), London, 24 June ’69

This master was given a second lease on life when it appeared as disc 2 of the double album release SPARE PARTS on Ken’s Phoenix Records:

Led Zep Spare Parts lbl 3

Led Zep Spare Parts lbl 4

And surprisingly as side 2 of the very rare Japanese acetate BLOW ONE’S COOL (GRASSHOPPER GH-104 A-B) (impossible to find an image of this), to pad out the partial audience recording from the infamous Milan 1971 riot show.

056 + 057:

Led Zep Knebworth V 1

Side 1: Communication Breakdown/I Can’t Quit You Baby/Dazed & Confused/What Is And What Should Never Be/Communication Breakdown (22:10)

Side 2: Traveling Riverside Blues medley incl. The Lemon Song/Whole Lotta Love/I Can’t Quit You Baby* (19:20)

Side 3: White Summer medley incl. Black Mountain Side*/The Song Remains The Same/Celebration Day (22:05)

Side 4: Out On The Tiles Intro-Black Dog/Nobody’s Fault But Mine/Over The Hills And Far Away/Misty Mountain Hop (23:40)

Source: Side 1 & 2 Playhouse Theatre (BBC – Top Gear with John Peel), London, 3 March 1969 & Maida Vale Studio 4 (BBC – Top Gear with John Peel)  London, 24 June ’69;

Side 3 & 4 Knebworth Festival, Stevenage, England, 4 August  1979, except first track (*) Montreux Casino, Switzerland 7 March 1970.

Led Zep Knebworth Fair V 1 2

Led Zep Knebworth Fair V 2

Also came with Phonygraf and TMOQ smoking pig labels.

Side 1: Since I’ve Been Loving You/The Rain Song/Sick Again (23:40)

Side 2: White Summer medley incl. Black Mountain Side/Kashmir/Trampled Underfoot (24:00)

Side 3: Guitar And Drum Solo/In The Evening/Stairway To Heaven (26:30)

Side 4: Rock & Roll/Whole Lotta Love medley incl. Woman You Need Love/Heartbreaker (19:20)

Source: Knebworth Festival, Stevenage, England. 4 August  ’79.

 

Released ca. late fall/early winter of 1979, K&S beat the competition when their source tape trumped the offerings on Raven [ LIVE AT KNEBWORTH AUG. 4/79 PART 1 &2 ] and Ken’s Phoenix [ KNEBWORTH 79 ]

Led Zep Knebworth sm

 

and the Raven label [ KNEBWORTH II ] released around the mid-80s:

Led Zep Knebworth II sma

Although the material would have fit on a 3 LP set, it was padded out unnecessarily with BBC ’69 and Montreux 1970 material.

***

058:

BLONDIE ‘GENTLEMEN PREFER BLONDIE’ – all copies seized by the FBI ca. February 1980

***

059:

Costello E Hate You Live

Costello E Hate You Live b

Costello E Hate You Live detail

Side one Live, side two studio 45’s: cover, labels and trail off reports “EC9000” as catalogue and matrix #. This run was mainly seized by FBI in the same raid with Blondie K&S 058 “Gentlemen prefer Blondie” and Elvis Presley K&S 070 “Elvis Presley 7lp set” both all seized. Only few handful of copies survived the raid. Black vinyl only

According to Going Through The Motions, side one is from February 13, 1979, Long Beach Arena, Long Beach, CA. Side two is a bunch of pirated B-sides and give-aways (before Taking Liberties this was worth something. “Neat Neat Neat” was the only one not to appear on that album).

Collector’s comment: “The live recording has the frequency response of a telephone. The pirated stuff sounds okay.”

Costello LB 79 2

A concert review for the 14 February show appeared in the 5 April ’79 issue of Rolling Stone – # 288.

Some dealers have decided that this is one of the world’s most valuable bootleg – see Mamma/GMV Records on musicstack/gemm – asking 5K Euros for it and claiming only 5 copies made it out [which I doubt]. Reality check: In its newest eBay auction, a copy sold forjust $57 in January of 2014.

****

Text found on gemm:
-Elvis Costello:Hate You Live, ULTRAMEGARARE! Totally withdrawn live vinyl LP on K&S lbl, this release was totally sequestred & destroyed by FBI before LPs arrives in the Shop, the rarest K&S lbl live LP, not more than 5 copies exist!!!, still pristine copy in its own full deluxe p/s-If you collect K&S lbl this is the ‘holy graal’!!!(K&S EC 9000)-€.4999.99

****

060:

Springsteen Jersey Devil K&S

Springsteen JD KotAlley red

Pressed on red PVC from “original plates” which I assume to be Hoffman Avenue Records / Idle Mind plates.

 

More information can be found here: http://www.brucespringsteen.it/DB/detrec.aspx?code=LPKOTH1

Although, there are two mistakes here: The title is slightly misspelled and it’s not a double set.

The Jersey Devil / King Of The Alley (Matrix: TMOQ 5466) is a “stealth” repressing Lou Cohan did in 1977 (after getting busted in late ’76) of his own Hoffman Avenue Records title # 147 and either the first or second Springsteen bootleg ever, released in September of 1975:

Springsteen Jersey Devil sm

As a footnote and to confuse things a bit more, the original album was referred to in later issues as # 161:

HAR list

Refer to the upcoming Hoffman Avenue Records post found here for more information

0051:

Beatles SBS

Beatles SBS 2

Beatles SBS disc 2

Beatles SBS disc

Limited re-pressing of TMOQ 71076

Beatles Sp B S

“Have You heard The Word” (HW quality rating: satisfactory) by the Fut had first appeared on the Contraband LP with the same title, released in February of 1973 and preceding this TMOQ title by  about three to four months.   “Don’t Let Me Down” & “Those Were The Days” (satisfactory; 29 March 1969 Amsterdam Hilton “Bed In”, from a VPRO radio interview with Wim Noordhoek & Jan Donkers).  John’s short improvised version of “Cottonfields” (very good) was originally broadcast 5 June 1968 on the The Kenny Everett Show.  I suspect that “Twist and Shout” (good) are the Swedish radio recordings from Karlaplanstudio Stockholm, 24 Oct 1963 while the last track “Dizzy Miss Lizzy” (satisfactory) came the last ever Beatles BBC radio performance “The Beatles (Invite You To Take A Ticket To Ride)”, recorded 26 May 1965 and aired: 7 June 1965. 

Side 2 starts with “You Really Got A Hold On Me” (good), likely taken from the Swedish radio broadcast as well, especially if it is live, as no other live performance exists. “Roll Over Beethoven” (good) and the first two tracks on side2: “All My Loving” & “I Wanna Be Your Man” (both good) likely are identical with side 2 of CBM’s Sweden 1963 (wrongly attributed as having first appeared on CBM’s Mary Jane in the book Way Beyond Compare): From Us To You # 2, recorded on 28 February 1964 at BBC Piccadilly Studios in London and broadcast on 30 March ’64. “A Hard Day’s Night” (very good) and “Things We Said Today” (good) plus the interview are obviously from the summer of 1964 and are most likely really from the Beatles’ Top of the Pops appearances (as Hot Wacks states). A promo video of “Long Tall Sally” had been shown on 1 & 8 July ’64; “A Hard Days Night” played from the disc on 8, 15 and 22 of July & 5 August and “Things We Said Today” on 29 July ’64. The final track, “From Us To You” (poor) might also derive from the From Us To You # 2 radio program,  recorded on 28 February 1964 and broadcast on 30 March ’64.

 

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052: Thanks to a reader of this blog with a large collection, I can now report that there really was another re-issue of Pete Townshend’s The Genius of  (“beer can” version) pressed with this number- and on mcv again:

Townshend P TGo 052 image

Townshend P TGo 052 detail

Townshend P TGo 052 2

Townshend P TGo 052 mcv

And with a lighter colored insert:

Townshend P TGo 052

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053:

GP damq

According to HW, tracks come from San Francisco – 9 April 1979 and Chicago, Park West (where he would play again that November) – 28 April ’79; no detailed information available. The San Francisco recording has been up at wolfgangsvault for a while from the KSAN master.  Material from this performance was also issued on Ken’s Excitable Recordworks label around the same time as THE BEST KEPT GIRL IN THE WEST .

http://www.youtube.com/watch?v=eA1_5KQvb94

Allmusic.com has an interesting commentary of the San Francisco recording in its official forms: http://www.allmusic.com/album/live-in-san-francisco-1979-mw0001332795

 

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054:

Genesis so sn

Genesis so sn 4

Genesis so sn 3

Genesis so sn discs

Limited to 300 copies but can be had for fairly decent money (40 Euros and less) these days.

Sources:

Side 1: BBC Top Gear – 25th September 1972

Sides 2 – 5: Maple Leaf Gardens, Toronto on 6 March 1977 (a K&S exclusive, audience recording – B+ rating)

Side 6: Peter Gabriel recorded at the Bottom Line on 4 October 1978, as broadcast by KBFH

 

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055:

The Runaways reissue of Wizardo / death 525 was previously visited in this post.

I looked again but the only images found are still the Youtube video images. In any case, the covers only differ in the added K&S logo.