79TGRY front79TGRY bSince we were talking about their 1979 tour and this happens to be in my collection after I have searched for this for some time. I spent hours trying to figure out how to merge two scans for this post. At least the end result is pretty nice.

I know that “Vinyl Dreams” is the name of at least one store. I don’t think they released another bootleg, at least not under that name. Does anyone know more?


side 1side 2side 3side 4side 5side 6

Orange labels exist as well. Released in 1980. Listed as a soundboard on a Who website but it is an audience recording.

Side 1: I Can’t Explain  (2:33) / Baba O’Riley  (5:19) / The Punk Meets The Godfather  (4:50) / 5:15  (7:24)
Side 2: The Music Must Change  (8:36) / Substitute  (3:01) / My Wife  (9:21)
Side 3: Drowned  (10:02) /  Pinball Wizard  (4:01) / See Me, Feel Me  (5:45)
Side 4: Who Are You  (6:25) / Long Live Rock  (4:29) /  My Generation   (6:32) / I Can See For Miles  (4:30)
Side 5: Sister Disco  (5:32) / Sparks  (7:28) / Won’t Get Fooled Again  (8:53)
Side 6: Behind Blue Eyes  (3:38) / Summertime Blues  (2:58) / The Dance Medley: A. Dancing In The Streets B. Dance It Away C. How Can You Do It Alone  (15:19)


Original set list from the New Haven Coliseum on 15 December, 1979 reveals that the bootleg placed the tracks out of order:

(1) Substitute (3:25)
(2) I Can’t Explain (3:21)
(3) Baba O’Riley (6:11)
(4) The Punk and the Godfather (5:43)
(5) My Wife (9:58)
(6) Sister Disco (5:44)
(7) Behind Blue Eyes (4:42)
(8) Music Must Change (9:58)
(9) Drowned (10:50)
(10) Who Are You (8:31)
(11) 5:15 (8:08)
(12) Pinball Wizard (4:07) =>
(13) See Me Feel Me (6:15)
(14) Long Live Rock (4:51)
(15) My Generation (6:32)
(16) I Can See For Miles (4:39)
(17) Sparks (7:28)
(18) Won’t Get Fooled Again (10:19)
(19) Summertime Blues (3:18)
(20) Dancing in the Streets (3:38)
(21) Dance It Away (3:39)
(22) How Can You Do It Alone? (8:21)



Onstage in New Haven – photo by Joe Sia


  1. I should really have taken the record out of the sleeves to avoid that ‘foil haze’ but my vinyl’s are in extremely nice condition without any marks and I’d like to leave it that way.

  2. Erik T said:

    I think that l.p. was made from a tape close to the master. I used to trade with a guy who recorded this show and a ton of Zappa shows all over New England, around the time some of these shows were being pressed by the Mud Shark label. I had to ask him about any possible relationship to the Mudshark label and he admitted to there having been some connection and I didn’t want to press. This was in the 1990s after he had mostly retired from trades and I was delighted to get some great tapes. Too bad about the distasteful cover art and title.
    Hot Wacks magazine had an extensive profile on the Mudshark label around 1980, I think there was a bust that ended it all, there was a remarkable 10 l.p. box set that might have been the last straw.
    Sometimes I wonder if the plant had to know what was being pressed? The song titles are cheerily altered but only a bit and the audience sound from a big arena might have made someone think twice? I had a couple of Mudshark albums a long time ago, decent pressings, nothing special but not crappy like those old CBMs or WCFs.
    There are a few vinyl items from this tour; several l.p.’s from at least one MSG concert including a triple l.p. on Mod Records, a double from the tragic Cincinatti show, and a nice box set from theArenes de Frejus Kenny Jones debut in May of that year, they were in the Riviera to promote Quadrophenia at Cannes I believe. I used to have a copy, sold it many years ago with a bunch of what I figured was obsolete vinyl at the time.

  3. I very much agree with your comment regarding the title and that drawing (“gonna kill you” more like it) in the light of the Cincinnati tragedy.

    Their 1979 Tour on vinyl bootlegs (I left out the leftover TOUR OF GERMANY 1979 & the New Haven reissue CLOSE ENCOUNTERS):

    YOU ARE WHO 3 LP box documenting the first Frejus show, 12 May
    LONG LIVE ROCK 2LP on Wall Records SX506. Paris, first day, 16 May
    THE WHO (FD 59140-2) 3 LP. also incomplete on KEITH MOON MEMORY CONCERT 2 LP White Knight WK273. MSG, Sept. 16
    STAMPEDE 2LP on Black Gold Records. Cincinnati, 3 December
    THIS IS FOR THEM 2LP on RSR.Int’l. Buffalo, 4 December
    WHO-LA-HOOP 2LP on MONOMATAPA RECORDS 34-004. Philadelphia, 11 December

  4. Erik T said:

    White Knight definitely put out some inferior albums… Zep 4-27-69, Who 8/71 Forest Hills, Band of Gypsies material, all inferior dubs if I recall. You Are Who is the one I had, good audience tape, a friend copied me Who-laHoop, it sucked if I recall, wheras the Buffalo tape put out by RSR was probably a pretty close (to the master) copy. A lot of the tour was very well recorded, maybe all of it, by a couple of guys who were friends. The guy I know missed Cinci, but his friend made an excellent recording of that show, different from Stampede. That one must have sold well, I have seen a lot of copies over the sale over the years, as recently as last week in Toronto for only 20$,the word must be out on that album! Even crappy/ obsolete boots usually go for about double that around here. I forgot about the Long Live Rock boots, maybe I had assumed they were represses of MSG or Frejus.

    • SUCH A NIGHT on White Knight was not a copy, this was the first time this recording was bootlegged* when one of the traded tapes fell into the wrong/right hands (from torrent description of the 1st generation tape: “The bootleggers chopped off the “Magic Bus” part after “My Generation”, and placed it at the end of side 2 of their double album.”). The sound is not great and it’s not complete but for years/decades this was all there was available to those not in luck to trade for a tape copy.

      WHO-LA-HOOP is supposed to be pretty decent but who needs it now, except as a hardcore collector & completist?

      *I define “bootlegged” as made commercially available. An audience recording, whether shared or uncirculated, isn’t a bootleg in my eyes, nor is a torrent of an audience recording; it has to be offered for sale imho.

  5. John said:

    nice comments for this releases. I´ll agree with our master about his definition about bootlegs. That term is running out of it´s meaning…..the so called ´official ´ bootlegs..and even dj´s used this term for their productions! To be honest…my interests about this band losts i´ts purity with the sexual Gary Glitter moves from one of it´s musicians……

    • Please be fair, Gary Glitter (Paul Francis Gadd) was actually convicted of the charges and there is little doubt that he engaged in physical acts with minors in Viet Nam. Pete made an error of judgement and accessed a website he shouldn’t have.

  6. Erik T said:

    I was led to believe Such A Night was from a not- great dub of an available tape, but that was from a serious Who collector who was trading waaay back… On the topic, a few years ago he and everyone else got to enjoy a major upgrade of Dayton 1971, which was only available as an l.p. for decades, to the mid-nineties I knew some die-hard collectors and nobody had that one… Great tape of a hot show, by the way…
    D.j./ dance music bootlegs…. A huge yet little known universe, I don’t know much about it, but I like a lot of genres of music, I host a radio show with a wide open format, and I have read a few edifying articles about the wide world of dance music bootlegs. Someone on a disco music forum was allegedly working on a veritable Hot Wacks for dance music a few years ago, dunno how far he got. One thing that fascinated me as a Canadian bootleg nut- my home province of Quebec was an international hub of disco bootlegs in the 1970s, yet Canada has produced almost no rock bootlegs ever. on the other hand, the last great vinyl bootlegs seem to have had Canadian involvement, I might have guessed Robert Godwin was involved with RSR, but I never did, even after reading Clinton Heylin’s book… I read somewhere online he named the classic Zep boot “Listen to this Eddie”.
    Back to disco boots- there is a parallel world of vinyl bootlegs in the dance music world, and they never really went away in the dance world, whereas rock vinyl boots virtually disappeared for a long time. A sort of recent example of this side industry continuing would be the tale of a Chicago rapper who put out a “miixtape”(usually a cdr these days) and someone pressed it on vinyl after it became a local hit- the rapper wasn’t in on it… The pressing plant was located via matrix numbers or something like that and the owner of the plant denied knowing what the deal was with the miixtape cdr vinyl bootlegs that had been manufactured on his premises.
    The crew at the Número Group, one of the greatest reissue labels ever, legit, not bootlegs, is based out of Chicago and someone in the city pressed up a batch of breaks and beats compiled from various Número funk and soul comps… The piece sold well enough to attract the Número folks’ attention, and they pressed up their own legit batch it is probably a hot item for breaks fans. To go way back in this field, if interested, look up “ultimate breaks and beats”- it is a classic bootleg series that compiled out of print rarities, at a time when they were rare. I think the series has since been legitimately reissued,I believe the guy who made the originals has long been outed and has given interviews.
    In this world, an unlicensed re-edit of a hot track is sold as a bootleg. I know, it’s different from rock bootlegs. The possible misuse of the term or concept of bootleg doesn’t bother me nearly as much as the “remix” term, terribly misused. To re-mix a tune, one needs master tapes. Tough to do as an outsider! To re-edit a tune can yield impressive results, it might really rock a dance floor, but it has not, in my opinion, been re-mixed. But what about the addition of drum beats, other snippets of other tracks,added samples, and so on… One can argue the new version cannot itself be unmixed back to the old components once it has been released as one track, on a record, cdr, mp3 or whatever else… I know I am straying way off topic, I just got excited… I know I go off topic and then I forget where I posted stuff, but I hope anyone reading is digging the thread as I do out here…

    • I see I misunderstood your comment about SUCH A NIGHT. For me, it’s a given that most vinyl bootlegs (50%? More?) are either copies of other bootlegs that came before or the tape that was used was many generations removed from the master. The releases featured on this blog show this again and again.

      The Who live in Dayton, OH 1971 on the Ohio based Collector’s Item label:

      I have no comments about dance remix “bootlegs”. Not a topic I will ever get into.

    • John said:

      nice read Eric….far away from the ‘Original ‘ bootleg term, and by far not of interest for rock bootleg collectors… but thank you for the writing….!!

      • Erik T said:

        Glad it was worth a look… I was just checking in and thought I would follow this up, for Trivia’s sake, with the tale that Ken Douglas blogged in which he and Dub tried to knock off dance music in 1969ish, when they released some Motown knock off. interestingly enough, Motown related goons tracked the perpetrators down in no time, while the authorities took so much longer to catch up with Ken.
        Just tying a couple of loose ends together!
        Another point I think is sort of interesting is that while Quebec was a notorious hotbed of disco bootlegging, there were virtually no rock boots made in Canada ever. A few rumours about a few titles, like Pb, and Springsteen’s The Promise, both allegedly west coast productions. I have a Gene Vincent live album of vintage stuff, released in the seventies, looks like one of those “semi- legit” or quasi- boots, with an address in Alberta, Canada. Some contributions from Canadians certainly, but that’s about all.

  7. John said:

    Spinal….more than 50 % of the vinyl boots are copies of other boots?…

  8. DTusk said:

    I did the artwork… I was 15 years old in 1980. The title came from The Who’s own lyrics for “We’re Not Gonna Take It”. We were rebellious teenagers when we put this boot out. The artwork was meant to be crude but also somewhat snarky. I was attempting to draw a stark contrast between Archie Comics and Underground Comix (which were very crude).

  9. DTusk said:

    Also, this boot was made from a Sony D5 stereo recording with 2 mics from the audience. We were sitting in the nosebleed seats of The New Haven Coliseum. Then the cassette was EQ’d before it was pressed onto vinyl.

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