Monthly Archives: October 2015

Van Halen Special Offer J

Van Halen Special Offer J b

Van Halen Special Offer detail

Japan: 1981

Source: Audience recording from the Rainbow Theater in London – first nights of two dates there and the final European Tour dates on their World Invasion “Party ’til You Die Tour” Tour – 23rd of June, 1980

Side A Romeo Delight / Bottoms Up! / Runnin’ With the Devil / Loss of Control / Take Your Whiskey Home
Side B Dance the Night Away / Woman in Love / Jamie’s Cryin’ / Take a Break / Big City Blues
Side C Everybody Wants Some / And the Cradle Will Rock / Light Up the Sky / Eruption
Side D Ain’t Talkin’ Bout Love / Ice Cream Man / You Really Got Me


The same recording was first released on this U.S. bootleg in 1981  (see the copyright notice on the label, which may actually be accurate in this case), so the UD release was either copied from this or came from the same source tape:

Van Halen TGTBaVH

One of the more embarrassing spelling mistakes in bootleg history. If you can’t even spell the name of the band correctly …

Van Halen TGTBaVH.b

Not made in Sweden as claimed here. Supposedly only 250 copies made, which sounds very low for a U.S. production.

Van Halen TGTBaVH lbl

From an auction description:

The quality of audio varies throughout, due to its recording method.  Generally, it sounds very good, especially after the first few tracks.  This is a quiet recording with very little surface noise, mostly only noticeable between the songs and during the quiet sections.

The labels are clean, yellow (I don’t know why they look orange in some of the photos), and centered with the words “Centurian Records Present Tumbleweeds.”  The matrix numbers are PL-47-APL-47-BPL-47-CPL-47-D.

The photos and text on the front and back covers are on paper glued onto the cardboard […].
At the bottom of the back cover, in the right corner, it readsPL47R.R.R. Records and Tapes72 Halston StreetOrebo, 41211 Sweden”


Jam DiFFEReNt b

Jam DiFFEReNt det 1

Jam DiFFEReNt det 2

Jam DiFFEReNt lbl A

One eBay ad mentioned “First pressing (matte cover)” – I was not able to find an image showing a non-matte cover. The ‘cover as full wrap around insert’ seems also to have been discontinued.

Japan: 1980/81 (not a European bootleg as stated in HOTWACKS). Beginning with this release, UD changed to double (and triple albums) exclusively, even reshuffling the next already assigned release number (UD 6539 – Iron Maiden) to be merged into a double LP .

Source: One of the Tokyo concerts recorded during the Jam’s first Japan tour in July of 1980 – in order to avoid ‘complications’  the back cover only mentions “Summer 1980”, sufficient for Japanese fans of the group to draw their own conclusion. The date is usually given as July 10th but the tour dates I have show that there was no concert on that date – unless this was a change or late addition (see below). site states this is from the July 6 show.

03 July  Osaka (?) – if someone can confirm the city and venue (also correct me for the venues listed below, if there is a mistake I would appreciate it

04 July  Kyoto – Furitsu Taiikukan

06 July Tokyo – Nippon Seinenkan  (as this was a Sunday, the concert started at 1:30 PM)

07 July Tokyo – Nakano Sun Plaza Hall

08 July Tokyo – Nakano Sun Plaza Hall


There is a soundboard upload on Youtube under “The Jam Concert Live In Tokyo 1980”, supposedly recorded on the July 8 concert that sounds as good as an official live release.

Jam Japan 80 tour flyer

Jam Japan Tour 80 II

Jam Kyoto 1980 fl

Flyer for the Kyoto appearance on the 4th

Jam J 80 ticket

Ticket for the 8 July performance.

Jam Japan Tour 80

Jam Japan 80 III

The band would tour Japan in 1981 and 1982 again before breaking up.


Most likely the same recording was also issued later – perhaps 1983 or after – on this single LP U.S. (?) title, which fetched quite impressive auction results around 2009 (up to $300/ GBP 200). Based on one of the auction texts, this is appears to be an audience recording (rated “Vgs” in HOTWACKS.

Side 1 : The Modern World / To Be Someone / Burning Sky / Pretty Green / Start / Going Underground / Mr. Clean / Private Hell
Side 2 : Dreams Of Children / Smithers – Jones / But I’m Different Now / When You’re Young / Eton Rifles / Down In The Tube Station At Midnight / Strange Town / ‘A’ Bomb In Wardour Street

Version # 1 (numbered and with two inserts (this version achieved the highest prices)):



The back numbered insert. Supposedly limited to 500 copies, almost all will be on white PVC. Black copies seem to exist as well, as HOTWACKS does not mention white vinyl and I also found a past auction description that did not.

Jam BurSky wh v


Version # 2 (live shots insert + yellow title sticker):

Jam BurSky

Jam BurSky ins

Jam BurSky disc


Version # 3 (Single group shot insert):

Jam BurSky v 3

Some of these copies also have the same yellow title sticker, it’s just not visible here.



Japan: 2nd half of 1980 or …(see below)?

Based on how I have been estimating the release dates of the UD titles, this should have been well before the release of the official live double album in March 1981, however states in their bootlegs section about this title: “The label […] states at the bottom “The Godfather” Sister Disco, Behind Blue Eyes and See Me, Feel Me were issued on the LP Rock For Kampuchea.” I have stared at the label images as best as I can and cannot see any longer writing like this being present. Can someone confirm that this is really printed on the label?

Who Concert For Kampuchea detail

Who Concert For Kampuchea II

Who Concert For Kampuchea 3

Source: Audience recording from the Hammersmith Odeon, London on 28 December 1979

Length: 00:58:40

Quality: 7/10

Cover: “The cover is a white paper gate-fold sleeve wrapped around a white cardboard cover like what we have seen for the previous Sid Vicious album. The titles are listed around the top border and right edge of the sleeve.” Both cover images were ripped off from the booklet included in The Kids Are Alright soundtrack double LP, seen here in its Japanese version:



Vicious S VB 5

Vicious S VB b 3

The back cover was taken from an ad for the “Come On Everybody” 45

Vicious S CMon Evryb ad

Vicious S VB 2

Vicious S VB 8

It appears that there are two versions for the cover. Above, showing a standard LP album sleeve and below, a sort of one-panel gatefold open to top + bottom sleeve that wraps around another sleeve in the center:

Vicious S VB 4

Other tall tale signs for this version are the the clear plastic sleeve needed to keep it all together:

Vicious S VB 8

As well as the white line at the bottom where outside sleeve and inside cover meet:

Vicious S VB 7

I do not know at this time which version came first.

Vicious S VB lbl

Japan: mid-1980. The art department must have gotten confused, stating “UD-6535” correctly on the label but “6336” on the cover.

Source: Audience recording from MAX’S KANSAS CITY, NY., recorded 9 September 1978 (early show). “7th:  Sid performs a gig under the banner ‘Music Industry Casualties’ at Max’s Kansas City (the famous New York City rock’n’roll club) – there’s a couple of the Dead Boys playing too; Sid has enlisted The Idols: bassist Arthur Kane & drummer Jerry Nolan from the New York Dolls, and guitarist Steve Dior, later of the London Cowboys.  The Clash’s Mick Jones guests on guitar.”

This was only the second Sid Vicious bootleg ever. The first one being the USA release Sid Vicious Live (Creative Artistry Inc. JSR 21;  rel. early 1980), which presented the very same material. The UD release supposedly has the sonic edge over the U.S. title..

Side 1: Search and destroy / I wanna be your dog / No lip / Something else/ Belsen was a gas

Side 2: Steppin’ stone / Chinese Rocks / My way / Take a chance with me (listed as “Take a chance on me”)

The following track listing and times come from the Sid Vicious Live LP:

Side A
101 intro 1:26
102 Search and Destroy [Iggy Pop] 2:01
103 Now I Wanna Be Your Dog [Iggy Pop] 2:32
104 stage announcement 0:44
105 No Lip [Dave Berry] 3:03
106 Something Else [Eddie Cochrane] 1:47
107 intro 0:52
108 Belsen Was a Gas [Jones-Cook-Rotten-Vicious]] 2:27

Side B
109 (I’m Not Your) Stepping Stone [Tommy Boyce and Bobby Hart] 3:16
110 Chinese Rock [Richard Hell and Dee Dee Ramone] 2:55
111 My Way [Paul Anka, Claude Francois and Jaques Revaux] 3:03
112 encore break 1:50
113 Take a Chance With Me [Walter Lure and Jerry Nolan] 3:06

Nothing from this date was included on the official Sid Sings LP.

Vicious S Live

Vicious S Live

Vicious Sid

A 1980’s U.S. poor quality reissue with white labels. Probably a reissue of the Live LP shown above due to the matrix # (JSR 21).

Vicious Sid RE

The second pressing of the reissue, no mentioning of Innocent Records on the insert.


The idea of the “Viicious Burger” came from the Pistol’s art director Jamie Reid – probably inspired by a photo of Sid eating, Bob Gruen took during their U.S. tour; first used in June 1979 for the ‘CMon Everybody’ Sex Pistols 45.

Jamie Reid’s is most famous for jis cut-and-paste ransom note designs.  Influenced by radical politics he was exposed to while at art college in Croydon, he took to the ideas of the avant-garde political group, the Situationist International. One of his fellow students happened to be none other than Malcolm McLaren – and the rest is history.


Sex Pistols VBurger

Buttons, T-shirts and coffee mugs with this logo exist as well – punk had gone ‘full commercial’.

Sid V Max's KC 78

Sid V MKC 78 review



Hotel Chelsea

The Hotel Chelsea in 1978 – oh look, a record store…

Whenever I’m in New York and I walk by this ‘Goth castle’ on 23rd St. , I don’t think of Bod Dylan or Dylan Thomas or Thomas Wolfe (or … ) I think of the ‘king and queen of self destruction’: Sid & Nancy in room 100 on the “junkie floor”. The room was removed/converted soon after the tragic incident, after mourners and fans sneaked into the building and left flowers at the door step and owner Stanley Bard apparently was not keen on having a punk rock shrine inside the hotel.



Whenever I seek out Bank St., however, I think of John & Yoko in # 105 during one of John’s most creative periods of his solo career – and not of Sid (who passed away in # 63).






Japan: 1980/1 – one of the first Iron Maiden bootlegs, certainly the first in Japan. They toured japan for the first time in May of 1981.

Location is given as “London 1980”, nobody seems to know more and as the set list has certainly been edited, it is near impossible to tell.

“Sound quality is pretty bad.” Despite this, $700+ were achieved in past auctions, almost $500 still in 2014.

Side A:  Prelude / Sanctuary / Prowler / Remember Tomorrow / Truth / Another Way

Side B:  Running Free / Transylvania / Strange World / Charlotte The Harlot / Phantom Of The Opera / Iron Maiden

4 Be 2

4 Be 2 b

Label says “D Wing Demo”

Japan: 1981

A rather unusual release. First of all, it includes all studio recordings. Second, it is by an unknown group and the supposed producer – John Lydon, former Sex Pistols member now in P.I.L.  – is almost the main attraction here.Third, two of the tracks are by a completely different band (Killing Joke). The existence of this bootleg is probably more of a testament to the commercial pull of anything related to the Sex Pistols in Japan from 1978 onward.

To get the answer to that question out of the way: It is a definite ‘maybe’ As P.I.L. specialist website reports: “Apparently it features studio recordings almost certainly recorded in mid 1980 when the band recorded the ‘Frustration’ single. Therefore it’s possible it features John Lydon in some shape or form; possible…” while writing earlier: “The 4″ Be 2″ claimed John Lydon produced most of their material. However, as far as we know his only involvement, apart from socializing, was to possibly produce their first two singles. Though he later denied working with them at all! Claiming it was just a Jock McDonald cash in… Probably the most infamous John Lydon / 4″Be 2” “collaboration” is the trip to Dublin in 1980, where John ended up in Mountjoy Prison after being beaten up by a barman.

4 Be 2 Frustration b

By Autumn 1981 the 4″Be 2″ broke up and Jimmy retired into marriage, the rest of the band – with McDonald on vocals – had already released two 12″singles in 1980 and 1981 under the name The Bollock Brothers. Many of the Bollock Brothers (and related) releases had a habit of stating that “J. Lydon”, appeared on, or produced them. However, this easily could have been Jimmy and not John Lydon. “

4 Be 2 Frustration lbl

Matrix: UD 6533 A S 1 1 1 .I. : / UD 6533 B U 1 1 1 .I. :

We are lucky that someone went through the trouble of analyzing the content of this bootleg in depth on discogs and I will just link to that entry as I have nothing to add:

Deep Purple BiaBedsit 2

Deep Purple Bedlam

Deep Purple Bedlam in a Bedsit signed

Japan: 1980

Source: Audience recording from the Budokan in Tokyo on 25 June 1973

Side 1:   Lazy / Child In Time / Highway Star  – Length: 31’42” 

Side 2:   Space Truckin’   – Length: 26’35” 

Notes: ‘Lazy’ edited onto the ending of ‘The Mule’. very good quality recording.

“Well, whatever energy and inspiration the band displayed in Europe and North America was fading fast when they reached Japan. Unlike the show in Osaka on the 27th, where the band is just going through the motions, they seem to tap into that magical resevoir for the last time here. This is a very professional sounding show, with everyone doing exactly what they need to do, when they need to do it. There’s just not as much passion or emotion in the songs as the earlier legs of the tour. It’s almost a “paint-by-number” performance. Apparently the audience felt the same way, because when the band didn’t re-appear after Space Truckin’, the crowd went berserk. The title is an apt description of what transpired. For whatever reasons, the band played a very short show, then refused to return for an encore. Chaos ensued and the rest is history. Probably the best sounding of the 1973 tour boots. “

Set list:
01 Introduction
02 Highway Star
03 Smoke On The Water
04 Strange Kind Of Woman
05 Child In Time
06 Lazy (Intro: America)
07 The Mule
08 Space Truckin’ (Intro: Also Sprach Zarathustra)
09 End of concert announcement


The crowd was rather unhappy not to get an encore and photographer Didi Zill documented the aftermath of the audience’s reaction:

Deep Purple Budokan 73 II

Didi_Zill-Deep_Purple 2

Deep Purple Abschied 73

This article talks from German Bravo magazine about DP Mark II’s last gig in Osaka using an image from the Budokan aftermath.

Deep Purple Chaos

The band has since used this incident to boost their legendary status. The “Woman From Tokyo” video uses quite a bit of the existing footage and their now out of print LISTEN LEARN READ ON CD box set takes its cover image from one of Zill’s photos.

Deep Purple LLRO


DP – Japan Tour 1973:

23 June 1973 Hiroshima, Shiei Taikukan  [Shi Kokaido (City Hall), was a tiny venue, with a capacity of less than 1,500.]
24 June 1973 Nagoya, Shikokaido
25 June 1973 Tokyo, Budokan

Deep Purple 25 june 73 ticket

26 June 1973 Tokyo, Budokan  *** forced cancellation ***

27 June 1973 Osaka, Koseinenkin Hall

29 June 1973 Osaka, Koseinenkin Hall   (some sources claim two shows were played on the 29th)]





Japan: 1980 – the second Japanese P.I.L. bootleg after 1979’s EXTRA ISSUE (V 2612)

Side 1: Chant / Annalisa / Memories / Low Life
Side 2: Public Image / Attack / Death Disco / Another / No Birds… (Do Sing)

“Audience recording: Sound Quality: Good. Tinny, but always audible

Photography (uncredited) on back sleeve by Kevin Cummins, taken from NME magazine (15/9/1979, page 53).

Turquoise with black close up of Lydon taken from Old Grey Whistle Test 5.2.80 on front. And black photograph of Lydon’s backside from the gig, plus track listing etc, on the back cover. Labels feature turquoise PiL logos on both sides.

The LP was later reissued with a different sleeve, and poorer sound quality. Only the front cover features artwork, the back cover is plain card. Another otherwise identical issue of the original release features the catalogue number 6631/A.” []


PIL SCI FI lbl 2 a

PIL SCI FI lbl 2 b

Vox – John Lydon
Guitar – Keith Levene
Bass – Jah Wobble
Drums – Richard Dudanski


Futurama 79

“PiL headline ‘Futurama 79: The Worlds First Science Fiction Music Festival’. Promoter John Keenan comments, “It may be odd to connect PiL with Sci-Fi but it isn’t really, because the sci-fi idea was only something of a joke, the main aim is encourage progressive bands, which PiL are, and raise money for a local record label.”

Also on the same bill are Joy Division and OMD. PiL don’t take the stage until 1am and by this time the natives are decidedly restless. Lydon spends the majority of the set with his back to the audience. He later claims he was trying to get Richard Dudanski to keep time, and comments,”We did a shit gig, to a shit audience in a shit place. We all had a horrible time”. This gig was later cited by Keith Levene as the reason PiL decided to play (even) less live shows…

 PiL were on right at the end of a very long list (I think the first band was on at teatime – this was about 10 hours later). Everyone was tired and drunk. Queens Hall was an uncomfortable echoing hall with a cold concrete floor and was patrolled by coppers! Perhaps unfortunately they were preceded by Joy Division who did a very excellent set indeed. From the audience’s point of view this was a hard act to follow (not that PiL would have given a damn).

Johnny did spend most of the gig with his back to the audience. I also think he had a cold because he kept blowing his nose — without a hanky. I was really impressed as he was able to propel the snot very neatly right out of one nostril straight onto the stage. The sound quality was very bad and the ‘Metal Box’ tracks (which had not been heard before) were I recall completely bewildering, quite indecipherable. The Old Skool punks in the audience, and there were many, must have been disappointed. The gig was short and there was no encore, in fact I seem to remember after prolonged applause, whistling etc the lights went up and the announcement came over the PA “Public Image have left the building” – yes, really.”


“Joy Division, Pil et al: Futurama ’79 Festival — Set The Controls For The Squalor Of Leeds

Andy Gill, Ian Penman, NME, 15 September 1979

The World’s First Science Fiction Music Festival
Words: Ian Penman and Andy Gill. Pix: Kevin Cummins

Three daring men board their spacecraft for a disturbing journey into Futurama ’79
A selection of the year’s best music is brutalised and crippled by incompetence


FOR SOMETHING claiming to be “The World’s First Science Fiction Music Festival”, Futurama ’79 had, on the face of things, precious little to do with science fiction. If it comes to that, it didn’t have an awful lot to do with music, either. And if you take the dictionary definition of “a joyful or honorific celebration,” the “Festival” bit’s a trifle out to lunch, too.

In fairness, the “SF” angle was apparently only intended as a (quite unnecessary) hook to hang a hat on, although, as Saturday wore off, the affair began to resemble nothing so much as a production of National Lampoon’s Lemmings directed by J G Ballard, complete with “Bob is here!” rumours updated for the 70s.

It’s only to be expected that the presence of John Lydon should overshadow everything, given the scarcity of PiL gigs. Speaking personally though, the day was overshadowed more by a pervasive, depressing sense of “the end of an era” — this is, after all, the last great festival of the ’70s — and of a wheel having turned full circle, Buddhist-style: exaggerated by personal memories of the Isle of Wight festival of (almost exactly)a decade ago, parallels with the start of the ’70s were painfully evident; in the music of The Edge, The Invaders and Punilux; in the disgustingly condescending, cossetted attitude of PiL; and in the absolute squalor of the whole affair.

I’ve always felt that one of the main troubles with this beast called rock’n’roll is that it lacks dignity (by which I do not mean the laboured pomposity of Yes and Styx, but just simple, honest-to-goodness self-respect). For all its claims to be dynamic and energetic, it just seems to flop around, grunting occasionally with pleasure at the gratification of its basest desires.

Decades of being told that rock’n’roll is “all about” fun, frivolity and fashion have made the average fan into a passive, malleable, utterly predictable animal which seeks peer-group respect through conformity to the most trivial of tribal mores — attitude-dancing, acquisition of over-priced tribal regalia — and which is quite prepared to wallow in the most utterly squalid conditions I’ve encountered for quite a while.

A quick double-take between those people bouncing on the inflatable and those spread over the floor amongst the remains of their rampant consumerism is quite illuminating here.

No dignity at all.

Leaving aside the organisational inadequacies and general filth of the occasion, the line-up of bands looked quite tasty on paper. What they looked like onstage, however, is still something of a mystery, thanks to the extremely clever placing of the lighting gantries behind the stage, so that instead of illuminating the band, they blind the audience.

Here again, something was remiss: a varied selection of the year’s best musics brutalised by bad sound, crippled by incompetence…

The ulterior motive of Futurama was the financing of a Leeds-based label for local bands; a better motive than most, admittedly. But of the three local outfits I saw, only Stranger Than Fiction — situated somewhere between XTC and Pink Floyd — seemed a worthwhile vinyl proposition. The Expelairs, prole-rockers with a masturbation fixation, ground on for far too long, and The Void would be well advised to change their name, it being embarrassingly appropriate.

The Edge were the first ‘big-name’ to play, and I have to admit that they drove me to drink (a cup of tea in the local British Home Stores, actually). When I returned, they’d finished.

What a pity.

More of a pity, though, is that I missed much of Spizz Energi’s set, for, although I’ve never liked Spizz’s anal monotone rantings, his current band possess a quite pleasing chunky power, rounded and abrasive, especially on ‘Soldier Soldier’, which I believe is their new single.

Who knows — Spizz could yet become the star he already thinks he is…

Both prag VEC and Cabaret Voltaire suffered cruelly from unsympathetic sound.

At times, it seemed as though of all the directions open to them after the Bits EP, prag VEC had chosen the least interesting ones to investigate. But it’s difficult to be definite on this showing. Some of the guitar-work was interesting, but then that was all I could hear for much of the set. Things improved slightly towards the end, ‘Third Person’ being particularly impressive; but by then it was too late.

The Cabs had no vocals at all for the first few numbers, which ruined ‘Nag Nag Nag’, but at least they did manage to dispel the notion that they’re impossible to dance to with ‘Here She Comes Now’; just as the treated-drum tapes on ‘On Every Other Street’ dispelled that old rhythm-generator millstone.

The most compelling part of their performance was the mounting tension of ‘The Set Lip’, a more urgent, unnerving reading than that on record. ‘No Escape’, like Joy Division’s ‘The Atrocity Exhibition’, took on a rather ironic meaning from my position in the pig-sty, but I was getting a bit tired by then…

A Certain Ratio, first of the Factory package, battled manfully against the bad sound and lost.

I imagine it’d be quite useful, given their unusual matching of jazz-funk drums with grainy drone-guitar textures, to be able to hear the latter once in a while. But the man on the mixing-desk apparently disagreed with me, as such men usually do. Funny, that…

Orchestral Manoeuvres, notable for the prat-of-the-year scale posing of vocalist Andy McCluskey, are mixed by their manager and get the best sound (and reception) so far. Hmmm.

Am I the only one, I ask myself as all and sundry go ga-ga over the irredeemably twee, puerile ‘Electricity’, who finds them completely worthless?

Is there anyone else who thinks they’re about as satisfying and substantial as a bag of crisps? I never realised so many people dug the Magic Roundabout theme.

Joy Division. Leeds Futurama. Sept 79 ©Credit Kevin Cummins

Joy Division. Leeds Futurama. Sept 79 ©Credit Kevin Cummins

Unquestionably, the real stars of the night were Joy Division.

Just as each song is an exercise in controlled musical dynamics expressing a particular emotional state, so the set as a whole builds from a somewhat sombre start to a feverish, cathartic climax, pressure added little by little rather than piled on suddenly. Small details add to the tension, like the slight tinge of vitriol Ian Curtis lends to the line “I remember when we were young” in’Insight’ — because, after all, we’re not children any more, so let’s stop pretending.

The final build-up and resolution of ‘Shadowplay’, ‘She’s Lost Control’ and ‘The Atrocity Exhibition’ is quite magnificent, proof that rock’n’roll and dignity can co-exist without lapsing into pomposity.

Joy Division moved me, physically, emotionally and mentally. They did not insult me. This is rare, and it is good.

To follow their harrowing intensity with a comic magician is an act of supreme bathos masquerading as light relief. The Invaders must have been grateful for the break, as their brand of ‘clever’ power-pop would have appeared even worse in direct comparison with Joy Division.

They don’t seem to have realised that tarting-up weak, insipid pop with fancy keyboard frills is just not good enough in this day and age: what ‘Gimme Some Space’ — their (ostensibly humorous) sour-grapes dig at the press — overlooks is that they don’t deserve any.

Tymon Dogg, an eccentric, whining fellow with a fiddle who kicked various kinds of incongruous shit around, was followed by Punishment Of Luxury, who, though they went down well enough to get an encore, disappointed me immensely.

Since I last saw them, they’ve become a lot slicker, more professional, but they’ve lost the grass-roots spontaneity and intimacy which gave their gigs that electric edge of unease, a state of affairs exacerbated by the transition from small club to large hall.

In a nutshell, their music — that idiosyncratic and often enervating Gothic HM funk — has expanded to fill the larger stage, but their presentation hasn’t; the theatrics are dwarfed, their sense of personal assault lost. They just look silly.

In the circumstances, Punilux were probably right to concentrate on riff-bombardment; unfortunately, the net result was that their most impressive pieces on record — ‘Laughing Academy’ and ‘Obsession’ — came across as heavy-handed, overblown and pompous. And after 12 uncomfortable hours, I could do without that.

And so to the unveiling of the emperor’s new clothes…

Public Image Ltd were so dire, so totally devoid of musical merit, that I have great difficulty in seeing their performance as anything other than a continuation of the exorcism begun with their album, or a kind of Zen Lesson concerning idolatry and expectation.

Certainly, these are the only explanations which leave John Lydon’s credibility intact.

The Zen Lesson Theory’s quite attractive — taking the anticipation, the curiosity and expectation which pervaded the whole affair (the true star of the show, in fact); taking the star syndrome and the ‘headlining band’ syndrome; taking the spokesman/figurehead albatross (and by extension, peoples’ willingness to delegate their responsibilities to others); taking the desire to be “where it’s at”, and the gullibility of those prepared to wait in squalor just to see you.

Taking, in short, the entire edifice of falsehood, fantasy, fashion and foolishness which is rock’n’roll, and throwing it back in their face. The ultimate joke.

Who knows?

The difference between the individual numbers in PiL’s set is negligible: nearly all have an amorphous, booming bass intro, followed by what is, to all intents and purposes, an undifferentiated, formless thrash, over which Lydon wails incomprehensibly.

‘Public Image’ and ‘Death Disco’ are just about discernible, and the applause they receive is probably due as much to the relief of recognition as to any merit in their performance. I think I heard ‘Annalisa’ mentioned in one song, and ‘Low Life’ in another, but I wouldn’t swear to it. As for the rest, your guess is as good as mine.

It is dreadful.

For almost the entire performance, Lydon has his back to the audience; bar the occasional scathing comment, there’s no attempt at communication, and he stalks off mid-way through the ninth “number” without so much as a backward glance.

In fact, he’s a model of clockwork predictability: he behaves exactly as I expected.

Wobble spends most of the set in his armchair, a posture which matches his bass-playing perfectly, and Levine wanders aimlessly about the stage, a manner which matches his.

Any other band would have been canned off by the second number, but the reaction to PiL is one of spineless deference. Some people really do ask for it…

And for this rubbish, PiL apparently got £3,000. Rarely have supreme arrogance and absence of talent coincided in one person to such an (economically viable) extent.

Before Punilux went on, the entire backstage area was cleared so that PiL could evade the prying eyes of the plebs. During the clearing operation, a girl was said to have had her nose broken.

Boy, am i glad the star-system crumbled in 1977!

Andy Gill


DISMANTLE A weekend’s splash of sensory indulgence, crop it into shape, question the relation between youth music and festivals of same… before the moon falls; before the stomach juices revolt; before the heart aches begin.

The idea that the press have it too good, wouldn’t recognise a ‘good time’ if it hit them, and sneer at festivals for the sake of it, is frequently heard. Personally, the idea of travelling miles to a weekend of inadequate accommodation, food, drink, toilets, sound and sights stinks regardless of notepads and expenses.

The festival space is stagnant; the relation between it and beatmusic is tenuous.

It’s a spectacle, and as such it promotes mostly mouldy older aspects of the music — ways of judging that are lodged in the past. Audiences behave the way audiences should, passively admiring the grand performance: no spontaneity, intimacy or frequency. The dull thud thud thud of youth music going through (some) motions.

The Leeds SciFi Festival was another occasion to gape in disbelief at the impersonality of the festival institution…

Amongst all the paraphernalia — the fairylight lawn sprinkler lasers, the stalls — was a ritualistic routine which seemed unreal. For an event whose banner (no one knew why) purported to celebrate the future, the past was dismally in evidence: from swastika T-shirts to Hawkwind’s ‘Silver Machine’ encore.

The Queen’s Hall was about as big as two aircraft hangers, the PA straight from Reading. A big air cushion in one corner provided people with a neat excuse not to regard onstage activity as anything but a sideshow.

Everyone who played was loud — 21 bins loud, and two stages strong.

Openers Nightmares In Wax and the Gotham City Teenage Werewolves are two groups sleeping in image — some ’70s pose, all day-glo po-faced angsty and starchy.

“This one’s a love song… to Einstein.”

Wow, Werewolves!

Moving up the rungs, it got less hacky but only relatively more bearable. The Tunes and Agony Column play slick, formal, retread beat music, humourless and dull; suits and guitar solos and Op Art and… it’s not even dance music.

From this dodgy area onwards, critical tolerance rose and fell with tiredness, disbelief and alcohol supplies.

Ex-Bonzo Dog Roger Ruskin Spear supplied a set of fairground ‘robots’ and nauseous sub-Goodies undergraduate humour. It would’ve been limp in rag week circa ’69; it was an insult now. The laughs really came when I realised that the Rasta bible reading of (token) nice reggae band Revelation coincided with Sunday tea-time, normally the prerogative of the TV Godspot.


Revelation’s lightweight Britreggae went down well, but was too end-of-the-pier — a Seaside Special red, green and tombola knees up, however well the rhythms rolled off the section.

Echo And The Bunnymen (trio) and Teardrop Explodes (quartet) played one after t’other with only the Teardrop drums separating the levels and textures of the two.

I couldn’t raise much interest in their respective music-makings as they stand. The regularity and pace put me in mind of a brass band, the leaky cheap organ frills lead back to other Doors. Solid noise; no playground; just showroom.

Echo And The Bunnymen have tightened up a lot since I saw them at the YMCA gig, when they were best summed up by one jovial punter’s comment, “Let’s have the real Neil Young!!” But they have to sound less like it’s their hobby; those peaches and cream ‘new pop’ lines don’t mean much to me, not hard enough, no definition.

With both there didn’t seem to be much difference between live and recorded sound (a criticism applicable to many). In something as massive as that Queen’s Hall, constraints placed on the musical idiom were enormous: usual problems blown sky high.

Only three groups tackled this difficulty realistically: PiL, using an arrogance that verged on utter contempt; Scritti Politti with an arrogance flawed by inexperience but restored in belief; The Fall… by simple arrogance.

Another interesting common aspect with Scritti and PiL is the fairly unique lack of gigging experience. Whereas The Monochrome Set and The Fall are well into the hundreds, Scrits are on about 20, PiL maybe less.

Scritti Politti Leeds 79

Scritti Politti onstage at Queen’s Hall.

Scritti Politti were obviously nervy at the off, but publicly dealt with it — demystification in action; praxis.

The first song was made up on the spot and mostly revolved around the phrase “Can I have more bass in my monitors please?” Every second ‘song’ in their set was made up there and then.

There were songs spilling over, splitting apart, lots of subtle resonances, invention and courage. Along with the other two bands mentioned (and others not here such as Pere Ubu), they’re questioning what’s normally taken for granted, accepted as ‘second nature’ in beat music: a blatantly silly idea to cut away at.

What’s being taken apart is rock ‘n’ roll’s daft trad codes — which is why it’s so risky to do it in the holiday camp atmosphere of the Queen’s Hall (people seemed quite fascinated by a certain kind of silver balloon you could waste a lot of your money on).

But no big deal: one more thing to talk about.

When their sound was finally sorted out it was the freshest of the day, the one most primed to trip up preconceptions and puncture chit chat. There was nothing legitimate about either the improvised or the more familiar bits of the set — songs like ‘OPEC Imac’, ‘Hegemony’, ‘Scritlocks Door’, ‘Knowledge and Interest’ are still all evolving. A reconstituted audience/performance relation is being aimed for. There are problems and contradictions — but they’re important ones, decisive ones, decisions, conversations.

Ditto The Fall.

I’m about to write a lot about them so some secrets get kept for now. They’re a different group now — physically and in terms of approach. This is a Fall which seems to be maintaining the constancy without losing the arrogance and perspective that has always been the group’s core. It shows in both the newer songs (‘Shadow Walks Behind You’, ‘Before The Moon Falls’) and the treatment of older ones (their ‘Psycho Mafia’ was wonderful).

The music didn’t seem immediately inventive, but that’s the (pit) fall… the difference between signifier and signified (we’ll get to this later).

They won the weekend unnervingly when I didn’t think anyone could bully back the environment — they are tall, do talk back, and not with the usual language.

The ‘usual language’ is what I expected and what I got from the remainder of the bill, dotted here and there.

Nik Turner’s Inner City Limits and Hawkwind were indistinguishable; The Only Ones and The Monochrome Set slightly less so. The Only Ones obviously got a good deal somewhere — it was one of their very fast nights.

But after PiL’s accusation, Scritti’s advance, and The Fall’s anger I had no time for the chemical and cosmical head pelling of those others.

If that’s rock’n’ roll here to stay then I’m off. Bye Bye!”

Futurama would take place at least four more times.


Remembering Leeds’Queens Hall


Leeds Queens Hall

From 1960 onward, this was one of the largest concert halls in the UK and its stage hosted the biggest names in rock: The Beatles played here in 1963, the Rolling Stones a year later; the Who twice in 1966 and Pink Floyd also twice a year later. Followed in the 1970’s and 1980’s by all big name bands (AC/DC, Rush, Black Sabbath, Motorhead, Rainbow, the Police, Duran Duran, Kiss). Originally built as a tram and bus depot at the turn of the last century, this was also a most unlikely and even unsuitable venue for a concert hall.

Leeds Queens Hall trams

Sex, trams & Rock’n Roll.

The following image taken in 1968 at a concert by Cliff Richard clearly shows the venue’s limitations and hints at a less than ideal acoustic ambiance:

Leeds QH Cliff

Copyright : © David Hickes

To give an idea of how big this ‘barn’ was, the venue was licensed to hold 5,500 patrons and the city would have raised this to 7,000 if the emergency exit situation had been improved.

In terms of bootleg releases, this venue barely left a mark; apart from the Public Image Limited title shown here, only one more recording from this venue was pressed on vinyl and that is the gig immediately preceding P.I/L. at the Futurama Festival by Joy Division. A CD-R release by Rainbow exists and tapes by the {Police and Duran Duram circulate and that seems to be it. There are also not that many concert photos available.

Concert memories:

“The Queens Hall, supposedly a top venue ……. a converted tram shed, with the appalling acoustics, a floor of rock solid concrete, appalling climatic conditions, stinking toilets & terrible catering set in those days the most dismal part of the city! But then as a teen when my heroes arrived in town, there was no other place to be!

First QH gig: Jan 24th 1981 Black Sabbath (supported by the utterly sh#t* AIIZ and the utterly superb Max Webster). A bizarre experience with a number of hand held crosses being set alight

Weirdest QH gig: No question, Rainbow 1981 …….. day after riots in Chapeltown, real tension in the air, masses of police, taxis radio bursting out over the PA ……. utterly brilliant gig (oh aye, I caught one of the drummers drumsticks).

Worst QH gig: with the benefit of hindsight probably Motorhead (nothing wrong with the band ……. but in a hall with the acoustic characteristics of a concrete mixer, it really didn’t work)

Best QH gig: Whitesnake (I think December 1982 Saint and sinners tour) with what I think was the QH record audience of 10,000 + [this is very doubtful] The place was heaving and bounced the whole night long to the full back catalogue of classic heavy blues!

“As for the hall,it was pants really.The pillars blocked any decent view and the low ceiling trapped all the sweat from the crowd which collected in the ceiling and then condensed and fell to the floor,mixing with the spilled beer and god knows what else. The catering was provided by burger stalls that you get outside football grounds on match days and the toilets,well lets not go there. However as usual i have only fond memories of the place,no negative experiences occurred at all,which is more than i can say for places like the MEN.”

“The thing I seem to always remember about the Queens Hall was that after every gig my footwear was always coated in red paint or something very similar.”

“Reputedly it was the fourth biggest venue in the UK at the time, but my God it was a shambolic place. I remember looking up at the stars through the holes in the roof…”

“Saw the Jam there in April 82. My feet were off the ground the whole gig and you just moved with the sway of the crowd. The floor melted so your shoes were covered in blue paint.”

“I went to the Queens Hall just after it had been converted from being the bus/tram sheds. It was really basic then and they put a stage right in the middle as though they couldn’t decide what to do with it. Cant remember any chairs or many anything.
My first concert was on 28th June 1963 and I went to see the new sensational group called The Beatles. It cost me 6s /6d. It was standing only of course. I managed to get to the front of the stage and even though it was about 6foot tall, I grabbed Johns foot and he let me hang on to the front of his shoe most of the concert. It was hilarious for Paul and George who laughed most of the concert. “

With the first wave being the very first bootlegs and rise of the OG label 1972 – 1975 and the second, the rise of MARC Records and others until 1978.

The UD label was very active from 1980 to 1982. Most of it releases were double albums (5 single LP’s and 3  triples) and the majority recorded live in the UK or the USA. So, what had changed was that the producers had access to tapes recorded abroad and had shifted their focus from domestic to foreign shows (mostly) in response to the legal change of 1978.

If a recording had been taped in Japan, this is never mentioned, to the point of making up a different location. The only exception is Deep Purple’s BEDLAM IN A BEDSIT, where it is done indirectly via its cover image. This is also the oldest of all the recordings, so the bootleggers must have felt that the law did not apply here.

Two tone or color covers with b&w labels that usually included a graphic design. The same typewriter font we have already seen on the 1981 John Lennon/Beatles copies shows up here on spines and sometimes labels as well.

King Crimson Discipline det

Rolling Stones Never Too Old To RnR lbl

The values for these once extremely rare and sought after exotic titles (pre-internet & eBay days) have since come down a lot and range from $30 to several hundred $$$, depending on the bootleg appreciation of the collectors of the artist in question (titles by AC/DC and Iron Maiden in particular seem to attract many more bidders). Each title likely limited to 200-300 copies, as had been the usual quantity for Japanese bootleg vinyl.

The following list seems to be complete now and the missing numbers do not exist. Thanks to Karl for the correction.

UD 6531        PUBLIC IMAGE LTD – SCI FI – Queens Hall Leeds, 08 September 1979

UD 6532        DEEP PURPLE – BEDLAM IN A BEDSIT – Budokan Tokyo, 25 June 1973

UD 6533        4 BE 2 – D WIND – Studio recordings plus two uncredited songs by KILLING JOKE

UD 6534        IRON MAIDEN – SANCTUARY – London, 1980 (unconfirmed)

UD 6535        SID VICIOUS – VICIOUS BURGER – Max’s Kansas City New York, 07 September 1978

UD 6536        THE WHO – CONCERT FOR KAMPUCHEA – Hammersmith Odeon London, 28 December 1979

UD 6537-8    JAM – DIFFERENT – Tokyo, (06 or 08) July 1980

UD 6539        see IRON MAIDEN – KILLERS

UD 6540-1    VAN HALEN – SPECIAL OFFER – Rainbow London, 23 June 1980

UD 6543-4    CLASH – SONGBOOKS – Hammersmith Palais London, 17 June 1980

UD 6546/7    BLACK SABBATH – BUER ALBUM – Budokan Tokyo, 17 November 1980

UD 6548-9    SAXON – STRONG ARM OF THE LAW – Hammersmith Odeon, 19 December 1980

UD 6550    / 6539    IRON MAIDEN – KILLERS TOUR OF UK 81 – Rainbow Theater London, 21 December, 1980

UD 6551-2    ERIC CLAPTON AND HIS BAND 1981 – Budokan Tokyo, 04 December 1979 (cover states ‘London Rainbow, 31 January 1981’)

UD 6553-4    AC/DC –  ROCK AND ROLL AIN’T NOISE POLLUTION [THE BACK IN BLACK TOUR ’80-’81’] – cover states: Brussels, January 1981: Actually: Budokan Tokyo, 05 February 1981


UD 6557 / 6562    SEX PISTOLS – SWEDEN – Diskotek Stranden Halmstad, 15 July 1977 and Student Karen Stockholm, 28th July 1977

UD 6558/9    ADAM & THE ANTS – A.N.T.S. – Empire Ballroom London, 08 June 1980

UD 6560-1     ROXY MUSIC – OH YEAH – Wembley Arena London, 02 August 1980

UD 6565-6    RUSH – TOM SAWYER – Long Beach Arena, 14 June 1981

UD 6567-8    KING CRIMSON – DISCIPLINE – Her Majesty’s Theatre London, 10 May 1981 (?)

UD 6569-71   KRAFTWERK – COMPUTERWELT – London Hammersmith Odeon, 03 July 1981

UD 6572-4    CLASH – HITS – Lyceum Ballroom London, 19th October 1981 and Bond International Casino New York, (09?)June 1981

UD 6575-7    WHITESNAKE – THE DEEP PURPLE OLD BOYS CLUB – Listed as Hammersmith Odeon, 09 June 1981 but actually recorded during their ’81 Japan tour

UD 6578-80    GENESIS – KEBAB – Wembley Arena London, 19 December 1981

UD 6581/2    OZZY OSBOURNE – LONG BEACH ARENA – 27 June 1981

UD 6583-5    ROLLING STONES – NEVER TOO OLD TO ROCK’N ROLL – Memorial Colosseum L.A., 09/11 October 1981

UD 6586-8    TOTO – L.A. FORUM MAY 1982 – 28 May 1982  (also released as XL 1571/2/3)

UD 6589-90    AC/DC – LIVE! at L.A. FORUM in February 1982 – actually recorded at Expo Hall in Osaka on 7 June, 1982


I will try to make a guess when each title was released in each post. In order to date these one would have to know if there were gaps between releases and  how long were they, which is information that is not available. Still, I  do believe that the producers did have a quite busy schedule, with little gaps between releases.

I also believe the slightly later XL label releases, which I will get to next, were made by the same team.

Around 1980, the Japan ZAP label appeared, presenting good quality copies of relatively fresh U.S. titles. These are to be distinguished from the Japanese attempts at copying the look of Ken’s Ze Anonym Plattenspieler label insert design a couple of years before via the titles Queen Free In The Park, Deep Purple Never Before and Wishbone Ash Ashes Are Burning.



Beatles Ed Sull S

There are many different vinyl versions of this title. This is the Japanese version described in HOTWACKS as having a “deluxe green/white cover”. The original in the dark cardboard cover with the copied wraparound insert (also marked ZAP-0514) was a copy of Melvin Records’ ED’S REALLY BIG BEATLES BLASTS and released in 1980.


Back of the original used for the Japan version and the rainbow label featured on one side:


Finally, the true original, MM05 from 1977:

Beatles Ed's Really Big Beatles Blast


Beatles – THE ROYAL VARIETY PERFORMANCE 1963  ZAP 1042 (UK-2826)

Beatles TRVP 1963

Beatles TRVP 1963 b 2

Beatles TRVP 1963 lbl a 2

Beatles TRVP 1963 lbl b

Although a Japan only LP release, this is till very much a copy job as it was crafted out of the BY ROYAL COMMAND and TOP OF THE POPS EP’s plus five Deccagone 45’s.

Beatles By Royal Command 2Beatles TotPops EP


Beatles – THE DECCA TAPES  ZAP 1047

Beatles Decca Tapes

Beatles Decca Tapes b

Beatles Decca Tapes J lbl

Deluxe blue cover copy of the Circuit Records US title, originally released December. 1979.



The pink cover version, released ca. 1980

Beatles LFTSHCCompare to the original version from 1979, brought to you by the Tobe Milo folks:

Beatles LftSamHoustonC

Beatles LFTSHC bBeatles LftSamHoustonC b

Beatles LFTSHC lbl 1Beatles LFTSHC lbl 2

Beatles Houston 65Onstage at the Sam Houston Colosseum. Few images convey the madness of a Beatles performance and that “in the eye of a hurricane” felling JPG&R must have felt better than this one


Beatles – Studio Sessions 1 ZAP 1061 and Studio Sessions 2 ZAP 1062

Copy of the 1973 Contraband LP’s, which were itself copied from TMOQ’s OUTAKES 1 + 2 (first released in July of 1972). CBM elected to move TMOQ’s opening track “Do You Want To Know A Secret” from the A 1 to the A 6 position. 

Beatles Studio Sessions ZAP 1061

Beatles Studio Sessions ZAP 1062Beatles Studio Sessions ZAP 1062 lbl A

First time a JASRAC logo (Japanese Society for Rights of Authors, Composers and Publishers) makes an appearance, elevating these releases to an almost official status, indicating that copyright fees may have been paid. Were they really or was this just a hoax? Released ca. 1980. The person behind the sadly recently taken offline niigata1116/Beatles/boot pages stated they had bought their copy in 1985.





John Lennon – IMAGINATION LIVE  ZAP – 1064

Lennon J Imagination ZAP 1064Lennon J Imagination ZAP 1064 bLennon J Imagination ZAP 1064 label

A straight copy of the TMOQ release TELECASTS dressed up as an official release.

Lennon Telecasts t.l.

Lennon Telecasts 2


Beatles – COMPLETE CHRISTMAS COLLECTION 1963 to 1969  ZAP – 1065

Beatles CCC Zap 1065Beatles CCC Zap 1065 b

Another straight copy of an old TMOQ title but this time copying the cover design as well. Uses an insert, not a deluxe printed cover for the authentic bootleg feeling.

Beatles Complete Christmas Coll 2


Beatles – SHEA STADIUM  ZAP – 1071

Beatles Shea Stadium ZAP 1071 II Beatles Shea Stadium ZAP 1071 bBeatles Shea Stadium ZAP 1071 lbl



Most of these were released in 1981 in the wake of John Lennon’s murder when the demand for musical mementos spilled over into the bootleg realm.

The typesetting on several of these covers was done using a simple typewriter, giving these a rather improvised and unfinished feel, as far as the artwork is concerned. Almost all copy previously released titles by Wizardo, TKRWM, Melvin, Audifon, CBM and Hoffman Avenue Records but do not hide this fact. There were also two new creations.


Lennon Angel B O t OLennon Angel B O t O bLennon Angel B O t O detailLennon Angel B O t O detail 2




Beatles Live Paris Olympia SheaBeatles Live Paris Olympia Shea b

Disc 1 is a copy of Contraband’s LIVE PARIS OLYMPIA (correctly dated on the back cover, just getting the venue still wrong).

Beatles Live Paris Olympia first

Disc 2 presented what was then the most complete video sourced version of the Shea Stadium concert, including four tracks by the opening acts in excellent mono quality.

Beatles Live Paris Olympia Shea det


Matrix: 63 A 1 M * 63 B 1 M * 63 C 1 M * 63 D 1 M (machine stamped)

Beatles PGTH YBeatles PGTB b1Beatles PGTB b1aBeatles PGTB b1b

Sides 1 + 2 combined the newly upgraded material just made available on the 1980 EP FOUR BY THE BEATLES (L-1453)

Beatles FourbtB EP

with nine other BBC tracks to form a new creation. Disc two was a straight copy of Audifon’s YOUNGBLOOD.


Beatles EOADream 20 X 4Beatles EOADream 20 X 4 b

Stylistically fitting right in: A Japanese copy of INDIAN ROPETRICK and 20 X 4 with an outtake from the photo session that 20 X 4 used. HOTWACKS states the cover is blue & white. Blank white labels.

Matrix · IRT 614 A / B J1 / TBF 615 J1 A / B  (handwritten)


I spotted this on eBay being offered as a genuine promo for over $1,000 (!) showing that this was one successful pirate job. Some bootleg knowledge or at least research can be useful. Originally released in 1979 and 1980 by “Richard” (as he is called in Heylin’s book) who wanted to make a “real record” and disliked bootlegs with their shoddy slip sheets. His entrepreneurial spirit also extended to some of the tracks as he created ‘frankenstein’ versions that never before existed (like a mono “Penny Lane”with the extra trumpet ending and the long intro + extra bar version of “I Am The Walrus”).

Beatles Casual Coll It

Beatles Casual Coll It b

Beatles Casual Coll It det



JL FlowerJL Flower b