SANTANA-LIVE ‘collector’s item’ and the 1971 ‘Collector’s Items’ Label – and its CBM and WCF copies
US bootleg, released around 1971 with a deluxe fully printed cover, as part of the collector’s item series, which also included titles by The Who and Neil Young.
Below: A copy (Japanese?) from the mid-70’s. Its labels differ from the clearer and stronger print of the originals. Easily spotted is the difference between laminated cover on the original and the wraparound large insert used on the copy.
Yet another copy, this time definitely Japanese, JL 503. These were pressed in Taiwan and sold in Japan around 1975-77.
The artwork states: “This two-record set was professionally recorded at one of the finest concert halls in the nation. Eight microphones were utilized by the sound crew on stage to achieve the flawless quality of sound that is evident throughout the entire album. It captures the peaks of excitement and emotion that accompany a live Santana concert.”
Source: Soundboard recording recorded live at Ludlow Garage, Cincinnati, OH on October 21,1969
Side 1: Conquistadore Rides Again (5:40) / You Just Don’t Care (5:26) / Fried Neckbones And Some Home Fries (7:10)
Side 2: Waiting (6:14) / Treat (9:16) / Gumbo (4:25)
Side 3: Evil Ways (4:31) / Shades Of Time>Savor Jingo (14:50)
Side 4: Persuasion (3:00) / Soul Sacrifice PT 1 / Michael Shrieve drum solo / Soul Sacrifice PT 2 (15:24)
The information found online claims there were two shows that day and indicates that the material is not presented in order on the bootleg:
02 Evil Ways
03 Treat/Shades Of Time
01 Conquistador Rides Again
02 You Just Don’t Care
03 Fried Neckbones
05 Soul Sacrifice
The back of the album mentions the song “Singing Winds, Crying Beasts”, which is not present here and would not come out until September of 1970 (on their second album Abraxas), which helps us date this bootleg to ca. 1971.
“The Side One and Two record in this two-LP had dozens of small pimples on the surfaces, and if you saw what the record looks like, you’d be amazed that it plays this well, though there are occasional low-pitched thumps due to the pressing imperfections.
“Fortunately, Side Three and Four are free from this problem, and you get a scorching soundboard by the Santana lineup heard on their debut album. The group plays the entirety of their first album, plus three unreleased selections (Instrumental Introduction, Gumbo and Fried Neckbones).”
Sides 4 and 3 were copied by CBM as # 3553 around the second half of 1972:
A European bootleg on blue PVC under the title Singing Winds, Crying Beasts (KURLY 5006/7) is also supposed to exist. Does anyone have an image of it? I have found no trace of it – neither have I of another CBM copy supposedly named Volume 2.
Probably the first release of the Music Hall Cincinnati, OH, 25 February 1970 soundboard tape that I have already mentioned twice on this blog.
Again, selections were copied by CBM as a single album in 1973 (as # 3940):
and from there onto GLC’s ‘YOUNG & OLD’ ca late 1974/early 1975:
A very good audience recording of the middle of the set list at their show in Dayton, Ohio – 13 August 1971. As previously featured here.
Copied in early 1973 by CBM as # 3669 – and the most obvious copy of them all, right down to the original art work.
The recording was copied again by WCF/pre-Berkeley and released no less than three times:
- Insert pasted to a white cardboard cover & printed “WHO Records” labels, as seen in the red copy below, this is the seller description: “Light Blue Labels – White sleeve with red insert. The insert is attached to the cardboard cover and the album is removed from the top. There is NO RUNOFF GROOVE on Side 1! In fact, the end of ‘Won’t Get Fooled’ plays onto the label, LOL. May be trouble with an automatic turntable! Vert tiny runoff on Side 2.” Release date: Likely 1972
- Around 1974 – in a fold-out cover design in green and b&w with blank white labels:
- With a b&w deluxe cover, ca. 1975/6:
Matrix: 2299 A/B
K&S also released it again in 1979.
“The original version was in a blue laminated jacket with blue labels with printed track listings [as shown above]. There are allegedly 500 pressed by someone in the Cincinnati area shortly after the concert. I saw both this and Neil Young & Crazy Horse Collector’s Item in a record store in Muncie, Indiana in late October of 1971. The originals were of better quality than the numerous later copies. ”
The sources of all three albums coming from Ohio would confirm that this label was indeed based in the Cincinnati area.
Were there any other releases by this “label”? I have never seen any. It would be nice to find out who was behind this ambitious project with an eye on quality releases in matching cover art.
Never understand the ‘collectors item'(s) title(s) mentioned by it’s producers.Who decide which/what is a collectors item?
In my opinion to call an item a real collectors item is that years after producing…. and searching,looking , for items seldom seen…., and collectors found out that releases which are really limited pressings or seized are the ‘real ‘ collectors items. F.e…years ago i bought on the Amsterdam Waterloo plein a blue vinyl record. I’d rather liked the royal blue colour and the title wasn’t in my possesion ( normally when i saw interesting titles to collect i bought more copies from a certain title, just to trade with pen palls or fellow collectors) . So i asked the guy if he had more copies from this title, but he had only recieved one. And i could deal with it. Later in the year i received from one of my suppliers a phonecall….’interested in ….. ?. Sure i answered, and please can you tell me what colour is the wax?…It was on stunnig yellow , he told me.and i have 2 copies for you.!! To make the story a short one….after years of collecting i found out that that yellow one was limited to 300 copies and the blue one only reaches the ammount of only 50 pieces. ( And that is what i call a real collectors item.. 🙂 .
I guess these people just wanted to express that these are not records for the casual listener, instead they are for collectors of these artists. Some of the old boot catalouges use description such as “Underground Records” or “Coollector’s Records”.
could be, Karl….but do you think that they want to warn buyers not buying their records not for the ‘normal’ listener?…i think they wouldn’t give a damn who bought their stuff…(.i think it’s still a ridiculous title…!!) It is the same as when i sell some grass to people and warn them not to smoke it ’cause you might get in a happy and relaxed mood..!! 🙂
I was looking for whatI thought was a comment I made here last night before I head out today… Anyhow, I would think labelling something a collectors item was a sort of disclaimer with regard to sound quality- perhaps so regular record listeners wouldn’t buy it, get disappointed and take the records back to a store that probably doesn’t want any problems with angry record buyers. Just a guess. I heard bootlegs used to be cheaper than Regular releases, and that head shops used to sell them, especially in towns where the local record store wouldn’t want to piss off their suppliers. I’ve seen legit records qualifying (relatively) poor sound quality with the ‘collectible’ angle, again I suspect as a sort of disclaimer.
I have the The Who album issued by Berkley Recs with their “traditional” black and white printed cover
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Man, I wish the full recording from this source of The Who would come out, this source sounds slightly better than the expanded source that hit the trading torrents years ago.
And I’m not sure, but I think this is the first live concert recording bootleg of The Who ever issued. Not sure when Gather You’re Wits came out, though that might be a contender for 1st place.
I doubt the complete master still exists.
“Gather Your Wits” was already a copy – of “Tommy” on Decade Records.