Leon Russell (and Friends): ‘SESSION’ on Dittolino, Bush and Mother Records / ‘THE MASTER OF SPACE AND TIME’ :ZEROCKS / ‘RECORDED LIVE FROM AN EARLIER BROADCAST’ :Keylo + ‘SESSION’ – TMOQ versions

Russel L Session

Russell L Session lbl

Image of the label found with the cover shown above.

Matrix: 111A / B

This show – Homewood Session, Vine Street Theatre, Hollywood, CA – was originally broadcast on December 5, 1970 (US TV, KCET Los Angeles). A note adds:

The Vine Street Theatre had a little studio in the back part of the building. The show is billed on the theatre marquee at the beginning as “The Vine Street Theatre presents Homewood”, but the on air host calls it “Session”. They actually shot six hours but only broadcast one hour. As Leon says in the opening intro from when it was rebroadcast, it was unscripted and unrehearsed. Leon also says that it was the first national broadcast of a “stereo” rock and roll performance but that would have required an FM simulcast, since American television was not stereo in 1970 or even in the 1980s when this was probably rebroadcast.

From the video:

00:00:00:00 chapter 1 Leon’s intro to KCET rebroadcast
00:00:26:17 chapter 2 original show intro
00:03:15:04 chapter 3 Will The Circle Be Unbroken?
00:06:36:00 chapter 4 Jim’s Thing
00:09:30:14 chapter 5 It Takes A Lot To Laugh It Takes A Train To Cry
00:14:50:17 chapter 6 Delta Lady [with false starts]
00:19:52:22 chapter 7 Song For You
00:25:12:08 chapter 8 Good Morning Jury [Furry Lewis solo]
00:27:56:15 chapter 9 John Henry [Furry Lewis solo]
00:30:38:21 chapter 10 Furry’s Blues [Furry Lewis with Leon and band]
00:33:12:25 chapter 11 Amos Burke
00:36:03:12 chapter 12 Honky Tonk Woman
00:39:29:04 chapter 13 Sweet Emily
00:42:54:26 chapter 14 Prince Of Peace
00:46:24:05 chapter 15 Girl From The North Country
00:49:14:07 chapter 16 Big Boss Man
00:52:15:03 chapter 17 Crystal Closet Queen
00:57:30:05 chapter 18 credits
00:58:52:25 end

From the closing credits: “Session – Leon Russell and Friends”:
Don Nix
Claudia Linnear
Kathi McDonald
Chuck Blackwell
Jim Horn
John Gallie
Furry Lewis
Don Preston
Joey Cooper
Carl Radle
Emily
One of the most copied bootlegs of 1971. It is not clear which bootleg label came out first with this (I doubt it was Dittolino). The main contenders are:

THE MASTER OF SPACE AND TIME on ZEROCKS:

Russell MoSaTRussell MoSaT bRussell MoSaT lbl

***

SESSION on Bush Records:

Russell Session Bush lbl

Also available on Mother Records [JX-101 – is that the matrix?] with a slightly different cover:

Russel L & Friends Session red label

***

Dub & Ken’s first version on their short lived 1971 Keylo sub label:

Russell L RLfaEB yel lbl

Russell L RLfaEB insert

Russell L RLfaEB insert 2(Copied by WCF:

Russell L RLfaEB black)

 

Their second pressing, ca July 1972:

Russell L Sessions pink

And their third version:

Russel L & Friends SessionRussel L & F Session back

HOTWACKS quote: “The best (sounding version) is on an unnamed label. This copy can be identified by the DBW (cover) which lists the playing time as 46 minutes.”

A different opinion found on the net: “There was another release of the show: Recorded Live from an Earlier Broadcast. I found the Master of Space and Time release the most equilibrated [sic]. “

Russell L Session 3

A Contraband version is supposed to exist, according to HOTWACKS but i could not find a trace of it.

***

Comments from a needledrop done by – who else – Doinker:

“This superb show has unfortunately never been released. The source is supposedly an FM simulcast, but I don’t believe it as the sound quality is a bit better than FM. This is from one of the many early bootleg vinyl pressings that were put out at the time, but is not from the Zerocks Records release that is the most common. The sound quality on that release was not as good as the Bush Records vinyl, so the Bush Records vinyl was used instead.

The outro at the end of So Strange was taken from the Zerocks Records release, it doesn’t appear on the Bush version.

The Furry who sings Furry’s Blues is the same Furry who Joni Mitchell wrote a song about (Furry Sings The Blues). As the story goes, the old man gave his permission at first, then sued her when the song became more popular.”

“I still have the little frog flyer that I clipped out of the LA Times. The show was simulcast with KPPC FM from Pasadena.”

Russell L ad
This really is from a different time and place. There is an innocence and unscripted experimental willingness (here’s some air time, see what you can come up with) just in that image alone that is refreshing and which we have certainly lost.

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25 comments
  1. John said:

    never had an idea that Russell was a bootleggable artist…btw the same with Elton John

    • Well, two factors combining here, IMHO. A. Radio stations playing any type of non-mainstream rock music- and especially live broadcasts of concerts – had a much bigger influence back then as now, with a lot fewer people owning a technical means to capture these: A tape deck or reel to reel player.

      B. Leon and Elton were ‘hot new artists’ that managed to capture the zeitgeist at the time for the singer songwriter niche. They even toured together in late 1970. I still marvel at how a 20 year old Bernie Taupin from the southern part of Lincolnshire, England could produce such “old school American” sounding lyrics and mental imagery.

      • John said:

        ok….

      • Cheryl B said:

        Well this is an old post so not sure it matters other than if people read it in the future. I agree with what you said other than you have one fact wrong. Elton did not even come over to the USA until 1971 and Leon met him at the Troubadour. A little while later Leon had Elton open for him at the Fillmore East. You can find it on YouTube.

    • When I bought my first HOTWACKS in 1978, apart from the groups I had never heard of, I was surprised that they bootlegged those teenie acts in Japan, Bay City Rollers and The Sweet. They had no ‘bootleg worthiness’ in my eyes back then. These days I’ve become more liberal and think, if someone was happy to have it at one point in time then that was enough of a reason. … If you are/were into Elton or Leon, that really helps, I would say. … I found it funny that Ken thought Led Zeppelin were not bootleg worthy in 1970 😉

      • John said:

        Think the Japanese markets, ( fans, collectors ) are from a different kind. But i know what you mean.
        Even Ken could have it wrong… 🙂 !!
        Unbelievable that the first Doors boot came out long after the demise of the original group. ..after the passing of Jim. Where were the undergrounds when the group hights it’s highest level?. Within the appearance of the boot cd’s…my collection of live Doors came an incredible ammount. Why couldn’t get the Ken’s and Dub’s from that days their hands on live tapes?…or even not bootleg worthy? :-).

  2. Yesdays said:

    Any musical artist that has ever sold a record (or CD) is bootleg-able ….. then and now.

    • John said:

      hihihihih..but i mean not really ‘the non stop’ recordings on DAT or minidiscs ( and now even with cellphones..:-)) and put the recordings on the traderssites but really pressed pieces…!! I do record all of the concerts i’m adding..on vid and audio…but they will not be available for the plastics or the silvers…so that takes are not really bootlegs.( I know..these days the term bootleg is a widely spread term..even dj’s bring out the so called bootlegs..and the mp3 recordings are also named as being a bootleg…!!) Imho is the bootleg buying audience a ‘special’ sort of fans and/or collectors. But you’ll know what i mean., I never thought that there was a market for underground Leon or Elton’s.

  3. Yesdays said:

    I never thought there would be a Lothar and the Hand People bootleg.

    • John said:

      indeed… 😉
      where you from Yesdays?..i’m a Dutchie…

      • Yesdays said:

        Anytown, USA

    • John said:

      or a pirate…. 🙂 ( takrl 1937)

  4. Andrew said:

    John, there were quite a few Elton vinyl boots in the early days and up to ’75 or so. Why wouldn’t there be? Because his music wasn’t considered to have enough gravitas, enough critical acclaim? Just curious.

    • John said:

      Dear Andrew..don’t get me wrong…it’s not an offensive meaning..oh no by far not. Me myself and i do have Elton on Vinylboots..also with Leon. But my main thinking is….is a group or artist really collectable for a certain audience? Personally i do collect every kind of music…if it’s on boot lp or cd. Most of my boot cd’s are from artist from which the regulair releases are non of my interests. Fe. Dylan, Bruce, Kiss, Maiden,Jimi, Young,and so on and so on ..it’s just the pure live setting , without overdubs and remixes..just the pure sound.

  5. Doinker said:

    One of these days someone, somewhere is going to produce the Bobby Sherman vinyl bootleg. I know it exists. 200 copies were made and very very few were sold. I did have an Ann-Margaret bootleg but sold it a long time ago.

    • It sounds like there are a number of bootlegged artists that slipped through the (HOTWACKS) cracks. In Japan, a 1970’s bootleg by Silverhead is supposed to exist.

      • Doinker said:

        There is definitely a Hall and Oates 2LP vinyl from Japan. I saw this at a record show in the mid 1980’s.

  6. yesdays said:

    And for my crazy, “does (did) it really exist?” entry I’ve heard in the past the Rubber Dubber people were rumoured to have made a 13th Floor Elevators title.

    • Erik T said:

      Somewhere online, a guy explains the Texas connection to Rubber Dubber… He said he worked for the pressing plant used by Rubber Dubber in Texas, and they knew what Scott Johnson was up to. They made knock offs of his records. the author said he had personally built a network of head shops throughout the States to sell the knock-off Rubber Dubbers. Scott found out, severed his relationship with the Texas plant, but kept this 1 guy on board as he had created a good trade route as it were.
      I have 2 copies of the Rubber Dubber Band boot, one with the Rubber stamp, blank gatefold, one with the deluxe cover, and I have wondered if one can tell which records came from whom..? Paper insert covers could be easily copied of course, so could rubber stamps, but a deluxe gatefold cover with pictures would certainly cost more to produce than someone already doing knock-offs is likely to spend…
      Not very 13th Floor Elevators related, but Texas-related, so I hope I’ not rambling out of turn.
      Given Rubber Dubber only seems to have concentrated on popular acts, I’d be surprised by the choice of a 13th Floor Elevators boot in 1970, they hadn’t exactly filled arenas and stadiums with fans. Also, I am no expert on the band, but didn’t they break up in 1969 when Roky got locked up?

  7. John said:

    @Yesdays….THE anytown from Takrl?….involved maybe?

  8. yesdays said:

    It was just a joke. No, I was not involved with TAKRL or any kind of audio/video bootleg production ever. I only collect, ..and like to fanatically read about and discuss them.

    • John said:

      then we can shake hands….. 🙂 must be a good country to live in , so you can trace down a lot of bootlegproducents…:-)

  9. judy ball said:

    I have the contraband version pictured, down to the hog on the label. Don’t recall where I got it but have had it for maybe 30 years. Would appreciate any suggestions on how to preserve, etc. Sound is incredible. Thanks

  10. Erik T said:

    Out of curiosity, does anyone know if the records descend from different tapes? Also, I wonder if any or all the records are true stereo pressings, or if they recorded only the fm feed for a 1 channel stereo sound… Saw my previous comment from more than a year ago here, I came back to note ah…

    Roll
    In
    Peace,
    Leon Russell…

    I have since read that there were many fm broadcasts with an experimental edge- the Grateful Dead apparently did a few attempts at a quadrophonic broadcast involving multiple radio and tv stations to be played together..! A remarkable feat, and likely to never happen again, I just can’t imagine the level of cooperation and the willingness for a big chunk of one media market to put a business night in the hands of the Grateful Dead while their competitors joined them and played the same concert all night long…

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