This is how “bad” it has become. When you enter “Dittolino Discs” into Google you get 20 hits ** every single one of them pointing back at this blog**!! How can I do research this way? OK, there may only have been less than 50 people since the invention of the internet and search engines to enter that label name but that is beside the point. Well, here we go then, adding THE Dittolini Disc master posts then.
floydboots.com have always maintained that: “Whilst together Dub & Ken also released albums on…. Dittolino Discs”
Where it gets really interesting when you look up the entries for the sole Dittolino Pink Floyd title – LIVE :
and the one it is based on, according to them: TMOQ’s ‘missing in Hot Wacks’ double, LIVE (2804):
floydboots.com then writes: “ANOTHER ODDITY IS THAT TMOQ WERE ALSO CERTAINLY RESPONSIBLE FOR THE DITTOLINO RECORD LABEL AND THIS TITLE WAS RELEASED ON DITTOLINO DISCS AS PINK FLOYD ‘LIVE’, BUT DIFFERENT PRESSING PLATES WERE USED (D2 A/D)…
“THIS TITLE WAS NOT LISTED IN THE ‘OFFICIAL’ TMOQ CATALOGUE WHICH WAS IN FACT PRODUCED SOLELY BY ‘DUB’ AFTER THE SPLIT, SO IT IS REASONABLE REASONABLE TO ASSUME THAT THIS ALBUM IS ENTIRELY THE WORK OF ‘KEN’ ON HIS OWN. “
[In regards to the finding that two sources exist for this Santa Monica Civic Auditorium, 23 October 1970, recording, the experts do seem to be in agreement that what can be found on the vinyl bootlegs ‘TMOQ 2804’ and LIVE (Dittolino) and the 1980s reissue CYMBALINE (TMOQ) all came from the same source tape – see http://roio.prv.pl/Pink%20Floyd%20Solo.html]
So, if we decide to follow the logic that ‘2804’ was Ken’s work, could we then also infer that Dittolini Discs was all Ken? This label was pressed in the Southern California as well, I would venture a guess, so that is another link.
What speaks against this is that Ken has never mentioned having been behind the Dittolino titles (not that there were that many). Any opinions on this?
Back of the album, should have waited for the stamp ink to dry before stacking them.
Name of the artist for those “in the know” only. There are numbered and unnumbered copies with two different sizes for the big stamp found as well. Supposedly 500 numbered copies exist (plus non-numbered ones?).
Insert found with some copies.
The first two tracks come from the earliest Child/Steel Mill audio in circulation and were taken from an audience recording taped at the Free University “The Center” in Richmond, VA on 20 September 1969. [Too bad they did not include ‘KT88’ because that instrumental really rocked.]
‘Bright Lights, Big City’ closes side 1 and is from an unknown source; ‘Bishop Danced’ was recorded live at Max’s Kansas City in NYC on 31 January 1973. We are back in Richmond, VA for ‘You Mean So Much To Me’ recorded at a radio session at The Alpha Sound Studio on 31 May 1973 and broadcast on WGOE-FM.
The final two songs are from 1973 as well: ‘The Fever’ came from a session at The Record Plant on 16 May and ‘Zero And Blind Terry’ was recorded on Halloween that year at The Main Point, Bryn Mawr, PA.
Three reissues, all credited to THE JERSEY DEVIL + an album (sub)title, all with the same simple look and aimed at fooling the FBI that this was a TMOQ job.
5466: King Of The Alley
Single LP, does include ‘Thunder Road’; Matrix: TMQ 5466 / some with HAR matrix numbers claims brucespringsteen.it. This is the master and artwork that K&S reissued in 1979 on red PVC as # 060 in a limited edition.
Text says: ” The first song is from the Ahmanson Theater in Los Angeles as performed at Columbia Records Annual Convention in 1973. The last one is from the Main Point in Philadelphia on February 9, 1975. Everything else is from the Main Point on April 24, 1973.
A reissue of Hot Coals From The Fiery Furnace from the same Hofmann Avenue Records 164 plates. Matrix is HAR164 A-B – the TMOQ # can only be found on the slip sheet. No other markings in the run out groove this time, so no dedications and the writing is different.
This seems to be the only of the three Jersey Devil reissues that was also pressed on colored PVC:
Above: I first thought this might be a Japanese copy but apparently that is not the case after all. label is looks like a homemade typed-and-then-cut-into-lable-shape job.
Version 2 (not produced by Lou Cohan):
The (much) later picture disc release copied the same artwork:
All five discs were also available in a box set called Box O’Rocks. I do not know if the individual TMQ branded sets came first or the box did – I am leaning towards the second case, purely based on the striped PVC used in pressing the first run but this may be wrong.
1. 100 copies on color vinyl with black stripes, cover was a tan colored insert:
It seems that the first issue boxes were numbered as this one was offered as # 88/100 on eBay (and sold for $602 in February of 2014):
1.a. Apparently, the first pressing discs are not just found with the tan/gold insert color:
2. 100 copies on red, yellow, clear, and m/c PVC. White insert:
3. 150 copies two blue, two yellow and a red disc. White insert:
4. Copied on QUICK Q RECORDS with a new b/w insert. Opportunity Records labels:
” … and two miserable Genesis and Yes titles were produced for no reason save financial gain – his was a small time operation run largely for the love of the form.” [Bootleg, Heylin, p. 119]
[label shown here was a custom enhancement job by a previous owner]
Mediocre taped copy of the radio station LP [with all non-Genesis parts edited out] mentioned below, originally recorded by WMMS at the Music Hall in Cleveland, OH on 15 April 1976
“Before the rebroadcast, bootlegs of the Genesis Cleveland recording were limited to a 60 minute show made by the commercial transcription company “Rock Around The World”. An early bootleg LP made from a radio broadcast called “Two Down Three Left” [Dancin’ Disc DD 1101 – LP] surfaced (though the sound quality on the bootleg is not great compared to the RATW LP [Rock Around The World “Genesis Through the Looking Glass” [show #107, 22-28. August 76 – LP] ] and is said to have been the subject of an FBI investigation! ” Supposedly only 300 copies of the radio station LP – label seen below – were originally pressed.
1.1 Radio Intro / Commentary 02:30 1.2 The Lamb Lies Down On Broadway 04:14 1.3 Fly On A Windshield 02:44 1.4 The Carpet Crawlers 04:57 1.5 Commercial Break 01:03 1.6 The Cinema Show 11:35 1.7 Station Break 00:57 1.8 Robbery, Assault & Battery 06:18 1.9 I Know What I Like 05:13 1.10 Los Endos 07:43 1.11 It / Watcher Of The Skies 05:58 1.12 Station Out / Next Show Preview 02:43
The incredibly rare mark’s lp This copy sold for $355 in April of 2013
From eBay descriptions:
“Considered rare even at the time of its issue in 1976, this is one of the few copies we’ve seen of this seldom offered must for the Yes collector. From the net – Sources: 06 June 1976; Roosevelt Stadium, NJ, USA
Tracks: Siberian Khatru Sound Chaser I’ve Seen All Good People The Gates of Delirium Long Distance Runaround Clap Sunhillow Heart of the Sunrise Band: Jon Anderson Steve Howe Chris Squire Patrick Moraz Alan White Quality: Ex stereo Matrix: HAR-151 A-D “
“Yes Mark’s LP HAR 151
Genuine HAR Hoffman Ave. Rec. records (Dancin’ Disc Records on insert) press # DD 1002 ;
from Roosevelt Stadium NJ June 17 , 1976; very few pressed and sold in late ’76 around L.A. area only.”
“I got my holy grail of records,Yes, Mark’s LP. A bootleg so rare that after 20 years of searching I began to believe it was only a legend. Then alas, it showed up on E bay. Cost me $240.00 (looks like I wasn’t the only one searching for it) A picture of another copy showed up on the program for the last Yes tour. They had an article on Yes bootlegs and a complete discography. So after 25 years of collecting Yes records I have one of only two copies of this record that I know exist. ” [Holy Grails of Record Collecting thread on the Steve Hoffman Forum, 2005]
mark’s lp is pictured here in the second column from the left, 4th one down [very nice idea to do a “Bootology”, btw – I guess they don’t hate them but can put them into perspective looking back (?)]. If someone can provide a better image for this page from their 2004 Tour Book, please leave a comment, thanks.
The slip sheet text reads:
This double album (that means it contains two discs, folks! ) was recorded by Yes’ own engineers along the 1976 Tour.Of course that means these songs – the highlights of the tour- are line recordings and the sound quality is the best you’re likely to hear on an album of this type [er,what type is that, Harry! ] Anyway, we wish we could list the song titles for you, but that wasn’t in the contract. Take our word for it, it’s all in the grooves. And thanks to the late Marco Polo for the tape.
Lou Cohan has later revealed that he named this release after the supplier of the tape, Mark Matig, owner of Bridge Street Records in New Hope, PA. Mark passed away before the final product was finished.
The small text to the right says: “Fab Four 101 is the first of a series of limited edition 45’s intended for collectors only. Sound Quality: A-/B+ Front cover illus. by Scott”
Matrix: FF 101-A/B
Surprisingly perhaps, not that many copies were pressed and this title is rather rare.
It does sound as if Lou had planned to issue more Beatles 7″ titles and I wonder if this release came out in 1977, following the Joe Pope debut offer of a colored Deccagone single in April of that year.
‘What A Shame Mary Jane Had A Pain At The Party’ had first been presented to the world in November of 1972 on Contraband’s The Never Released Mary Jane LP and Peter Cook and Dudley Moore’s 1967 45 ‘L.S. Bumble Bee’ pirated and wrongly attributed to the Beatles on the same label a few months later. Dub had also included ‘Mary Jane’ on his title by the same name (more commonly referred to as SPICY BEATLES SONGS – TMOQ 71076) and both titles appeared on Wizardo’s DR. ROBERT…? pirate album in 1976.
A companion piece to Wizardo’s releases # 500 – LIVE IN HANOVER – and 505 as material from the Offenbach, Germany 1972 and the San Diego 1976 was spread over two of these titles for each concert.
Side 3 has ‘Jet’, ‘Magneto and Titanium Man’, ‘My Love’, ‘Beware My Love’ and ‘Soily’ from the 16 June concert at the San Diego Sports Arena. The Wizardo 3 LP box shown below has ‘Live And Let Die’, ‘Time To Hide’ and ‘Beware my Love’, the last one sounding better on the Wizardo box.
There is a small error in the solo Beatles reference book EIGHT ARMS TO HOLD YOU where it says “[‘Oriental Nightfish’] was one of the first Linda tracks to make it out to the collecting world, via its appearance on the 1978 Beatles bootleg Indian Rope Trick.” when it really was 1976 and Lou’s double album of the same name, where it closes side 1.
The preceding five tracks were the first time anything from Wing’s August 1972 European dates became available – in this case the concert in Groningen, the Netherlands, on 19 August ’72, unfortunately, this is the worst sounding audience recording Lou would ever press onto vinyl.The tape Lou had to work with must have suffered from some substantial azimuth misalignment and have been a very high generation copy. Presented here is about half of the first set in rearranged order and the opening song of the second one, ‘Best Friend’.
“But collectors will recognize the performance, or at least, part of it. Sections of it appeared on the rare Oriental Nightfish vinyl bootleg [‘Eat At Home,’ ‘Mumbo,’ ‘Best Friend,’ ‘1882,’ and ‘I Would Only Smile’ on Oriental Nightfish (Hoffman Avenue HAR 169)], and a longer segment has changed hands on tape. In both cases, the show was identified as ‘Sweden.’ Actually, it appears to be neither Sweden nor Paris, although we cannot be entirely sure exactly what it is. McCartney makes no location references during the show, but us heard saying dank u – thank you, in Dutch. We have (at least) extractions from most of the 1972 Dutch shows, and the performances here do not match those. ” [Darth Disc liner notes for their Live In Groningen CD]
Matrix etchings on the ‘Groningen 1972’ side, spelling out “Lou”.
And “Sean” on the ‘San Diego ’76’ side. The remaining sides have “Char” and “Mark” just like the Dylan double “Hold The Fort For What It’s Worth”. It seems that this title was only pressed in this ‘yellow with black streaks’ pattern.
Collector’s opinions on this compilation:
“It Is worth for the MINE FOR ME song alone, which is sung by Linda, Paul & Rod Stewart.Bare in mind that It can only be found here.Those were the times that despite the bad quality sometimes you’ve stumbled accross some gems like these….-:)“
“Well the yellow specaled [sic] vinyl is cool. The San Diego concert songs are decent sound. Side one will remind the “Older” folks just what the golden age of boots really were. Side 2 slightly better. I like the disclaimer, “like there’s only so much an equaliser can do!” “
“ never get tired of listening to this bootleg! A very fine one! (many core tracks!) Side one is in quite terrible quality but the folks that made this record were kind enough to warn the collector (!) of the bad quality with a little note on the back cover!! Side two is also not the best quality but still very enjoyable! Too funny to hear Paul speaking german! (“Wir machen eine Ausweiskontrolle – alle Jugendlichen unter 18 Jahren müssen das Lokal verlassen” 🙂 Side three is really a quite good recording of a great concert!! And on Side four we get a nice compilation of still rare songs, especially “Mine For Me”, although it lasts less than a minute, is a delightful gem! (I believe it originally appeared on one of Joe Pope’s SFF fanclub flexis.) The pirated b-sides ‘Zoo Gang’, ‘Country Dreamer’ and ‘I Lie Around’ are always nice to hear just like the J.P.M. songs. All in all: A fine bootleg (above all for its age!) which you won’t listen to only once…“
Released almost a year and a half after Wizardo’s first official offering ‘One – One Concert + More’and surpassed by the official release of the 1972 Madison Square Garden material, the beautiful colored discs are now the main attraction here. The two “Salute To Sir Lew”TV special tracks made their bootleg debut on this release.
Repressed in green
A third pressing was on black PVC with Dragonfly labels.
Repackaged in Japan together with Vicky Vinyl’s 10 inch A Guitar’s All Right John… after John’s murder created a renewed interest in his unreleased material.
Yet another repacking job from Japan coupled the material with Melvin Record’s In The 1970’s and took the liberty of renaming it Last Live Show
“The original was black and white splatter. A second issue had black and clear splatter. After this, there was an issue that had one solid gold, and one solid green LP [4th pressing ]. Lastly, the piece was reissued on black vinyl with blank labels [5th ].
“Record one: deep red, with black and white splatters coloured vinyl. Record two: yellow with red, white and green splatters coloured vinyl. [3rd ]”
“The vinyl here is blue, white and black.”
Another in a series of important recordings in mediocre sound quality [the soundboard recording has since become available; 3-5 stars for the vinyl audience rec. bootleg vs 9 stars for the soundboard recording on CD], this time in a real classy presentation.
“I always tried to put labels on the records, always tried to use coloured vinyl when it was available at the plant… When I made a little bit more money and wanted to get fancier and wanted to improve the quality of the product, I took the artwork to professional album-jacket companies.” [Lou Cohen interviewed by Clinton Heylin]
Heylin also pointed out that while Dylan’s first leg of the Rolling Thunder tour had produced a number of titles – “including no less than six different releases from Ken’s family of labels” – the 1976 leg was mostly ignored until this set was released.
bobsboots raves about the look of this set but I think almost all the Hoffman Avenue releases are gorgeous (and the Idle Mind ones, and Wizardo’s too…). Some comments from that site:
“It would be hard to produce a piece as nice looking as this without wanting to give yourself at little pat on the back. In the liner notes there is a section thanking certain individuals by first name. The first four names that the album is dedicated to are Lou & Char, and Sean & Mark. Each album side contains one of these names in the matrix area of the runoff. Side 1- Lou Side 2- Char Side 3- Sean Side 4- Mark “
“An oddity to note is that side four of the album is pressed on the reverse of side one. This is a practice that a few legitimate manufacturers began in the 70’s to accommodate stacking the albums together on automatic turntables, and being able to play side one and two and/or side three and four without having to get up to flip the records. Convenient maybe, but hard on the vinyl. “
Black PVC and with Dragonfly labels.
“Conventional wisdom about the 1976 Southern tour was that it lacked the sparkle and spontaneity of the previous leg. However, the recordings I’ve been listening to would tend to explode that theory. Baez and Dylan are in fine form during their duet segment and other highlights include T Bone Burnett singing a new song called ‘Silver Mantis’. Overall, the band sound coherent where they’d sounded a trifle ragged at times before. Despite this, there’s no doubt that ticket sales for this leg were slow and the tour meandered westwards into May before grinding to a halt after a gig in front of a half-full auditorium in Salt Lake City.
Dylan wouldn’t appear on stage again until The Band’s Farewell Concerts in San Francisco the following November.” [Taken from the ‘Learning to say nothing’ blog]
Dylan on stage in the spring of ’76 … ‘interesting guitar, Bob’