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Monthly Archives: May 2017

Pink Floyd Pompeii FT

USA: 1985 (don’t mind the label, it always said the same, just like the old “Duck Records” and Ruthless Rhymes labels). The copy shown here sold at auction last month for a healthy $157.50

Repressing from the original plates of the fairly rare single LP CBM release (matrix: 1036 A/B), a straight copy of the Pompeii movie soundtrack, released ca. 1975 on the King Kong sub-label (using Instant Analysis or dragon paper labels). CBM stopped operating ca. 1977.

Pink Floyd Live At Pompeii yb

Pink Floyd Live At Pompeii disc 1

Pink Floyd Live At Pompeii disc 2

To the best of my knowledge this is the only time that the mid 1980’s reissue label Full Tilt re-pressed a CBM title.

That raises a few questions:

  • How did Full Tilt acquire the plates?
  • Where were they in the meantime?
  • Where are the remaining CBM pressing plates?

There might be a story in here somewhere.

I have penciled in the following the labels for the future:

  • Melvin Records (as we have that wonderful background article and it’s never really been done before, I think, unlike for example Tobe Milo, which had a print article in THE 910 some years ago)
  • WCF and early Berkeley up to where the (boring) b&w covers started
  • TMOQ I & II – the most challenging of them all

 

Is there any other label you would like to see reviewed? No pure copy labels please (so, no LXXXIV, Full Tilt, Verzyl, etc.)

Thanks to Mark. here’s the link to the complete article:

http://www.delpher.nl/nl/kranten/view?query=%22pictures+of+pink+floyd%22&coll=ddd&identifier=ddd%3A010957700%3Ampeg21%3Aa0262&resultsidentifier=ddd%3A010957700%3Ampeg21%3Aa0262

Here are two excerpts:

In the first one they provided a list of existing bootlegs, no doubt whetting the appetites of a couple of readers in the process.

Witte Platten Delpher News 71 list

Many of these are very familiar to us but a few seem to have sprung from someone’s imagination.

Witte Platten Delpher News 71 photo

Bootlegs confiscated in Rotterdam. The Dutch made Santana LIVE IN ROTTERDAM and Rubber Dubber’s THE BAND LIVE AT THE HOLLYWOOD BOWL clearly visible. The text on the left talks about bootleggers taping the Concert For Bangladesh and threatening the original idea of raising further funds through the sale of the official live album when they were much faster in offering bootleg recordings.

Usually, one could expect only $20 – $40+ for this title but this copy was different in that it shows a previously unseen insert:

Beatles LS BB alt 3626

Definitely not a fan made insert (except for the stickers), I would say. The label isn’t mentioned but this can also be seen on other inserts of the Contraband “umbrella label group” (for example super tracks 1, BEFORE THEIR TIMECinelogue LET IT BE, LIVE IN VANCOUVER CANADA & LIVE In Melbourne, Australia – July 16, 1964, , Paris SPORTS PALAIS, RARE BEATLES, SWEDEN 1963, Cream – ’67 – ’68, CSNY – Reunion Concert – July 25, 1974, Dylan: BLOOD TAKES and SEVENTY DOLLAR ROBBERY, Harrison: chicago 11 30 74 and EXCERPTS FROM THREE MAJOR CONCERTS, etc.).

Beatles LS BB alt 3626 d

http://www.popsike.com/Beatles-LS-Bumble-Bee-not-TMOQ-Unique-version-of-WEC-3626/201843644392.html

Dylan B LatPS 78

Dylan B LatPS 78 st 2

Dylan B LatPS 78 st

For the longest time, I thought the image showed Elvis & Bob inside a car but I have since learned that it was Bob & Sarah. If anyone has a clearer image, which we obviously very much need, please leave a comment.

bobsboots shows a different previously unseen stamped label:

Dylan B LatPS 78 st alt lbl

and confirms that black vinyl copies also exist.

USA: summer – late 1979

Source: More nostalgia from this label for what appears to be their swan song: An excellent mono audience recording from the Hec Edmondson Pavilion, University Of Washington, Seattle, 10 November 1978

Side 1: It ain’t me babe (acoustic) / One more cup of coffee / Blowin’ in the wind  
Side 2: Where are you tonight? / Forever Young / Changing of the guards

The slip sheet lists side 2’s songs as: Journey to The Dark Heat / May You Stay Forever Young / Sixteen Years

 

The concert set list (the whole recording is on YouTube as “78 seatle” (sic)):

01. Set I Intro
02. My Back Pages (Instrumental)
03. She’s Love Crazy
04. Mr. Tambourine Man
05. Shelter From The Storm
06. It’s All Over Now Baby Blue
07. Tangled Up In Blue
08. Ballad Of A Thin Man
09. Maggie’s Farm
10. I Don’t Believe You
11. Like A Rolling Stones
12. I Shall Be Released
13. Senor

Set II
14. Set II Intro
15. Rainy Day Women #12 & 35
16. It Ain’t Me Babe
17. One More Cup Of Coffee
18. Blowin’ In The Wind
19. Girl From The North Country
20. Where Are You Tonight
21. Masters Of War
22. Just Like A Woman
23. To Ramona
24. All Along The Watchtower
25. All I Really Want To Do
26. Band Introductions
27. It’s Alright Ma (I’m Only Bleeding)
28. Forever Young
29. Changing Of The Guards

 

Dylan 78

“is that dude taping the show?”

Grateful Dead Head Trip 4

Grateful Dead Head Trip 2

Different colored slip sheets this time around. I only found one type of stamp and only the clear/red PVC version so far.

Grateful Dead Head Trip

The only release by this label to come with dated sources. If you have better quality images for this title, please leave a comment.

USA: 1979

Although this release is usually described as excellent sounding, sides 1 and 2 sound OK at best. Instead of dedicating all four sides to one concert as before, they decided to feature short excerpt from four different shows, including one well known recording.

The tracks and supposed sources are:

Side 1: Scarlet Begonias – Fire on the Mountain – recorded at Portland’s Paramount Theater on 2 October 1977 (this date can be confirmed)

Side: 2: China Cat Sunflower – I Know You Rider / From the heart of me – an audience recording from the Kiel Auditorium in St. Louis, MO on 11 February 1979

Side 3: Jack Straw / Sugaree – from FM broadcast, Capitol Theater, Passaic, NJ on 24 November 1978 (already or soon to be featured on the multiple set FOR DEADHEADS ONLY (POOW PRODUCTIONS)

FDHO 2

and in part on DEAD A HEAD (ATT GD102680))

Side 4: Werewolves Of London / Bertha / Good Lovin’ – supposedly from the Red Rocks Amphitheater near Denver, CO on 7 July 1978 but the set list on archive.org proves it’s from next day’s concert.

***

So what are “Betty boards” and how were they almost lost forever?

“Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead’s brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead’s Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman’s Dead).

While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.)

“My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed.” [source: relix.com]

If you have any interest in this topic at all – and some time – I can highly recommend the following article, which should answer all questions you have ever had about the Grateful Dead and the largest archive of live recordings by any band on the planet:

http://www.newyorker.com/magazine/2012/11/26/deadhead#ixzz2CilrjV1R

and as it’s specifically singled out in the article, this audio clip will come in handy: https://www.youtube.com/watch?v=vR2_JiwxdE8

Also, if you listen to Betty’s soundboard from the date featured here on side 1 – although probably from an audience source on the vinyl bootleg – it is a very sweet sounding recording:

https://archive.org/details/gd77-10-02.sbd.unknown.278.sbeok.shnf

“She mixed to her own taste. “It has my tonalities. My sound is beefy. My recordings are very stereo, very open, with a lot of air in them. You feel like you’re standing in the middle of the music. My feeling is everyone wants to play in the band.” “