I have penciled in the following the labels for the future:
Is there any other label you would like to see reviewed? No pure copy labels please (so, no LXXXIV, Full Tilt, Verzyl, etc.)
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:
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
“is that dude taping the show?”
Different colored slip sheets this time around. I only found one type of stamp and only the clear/red PVC version so far.
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)
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.” “
in red & gold (or yellow – HOTWACKS says ‘orange’) or in black. They must have come with stamps as well but none of the images I found show them.
USA: 1979
Source: Audience recording from one of the two concerts played at Seattle Coliseum on either April 16 or 18, 1979 during their Breakfast In America tour. It does not appear that this label mixed up concerts if a band played two shows at Seattle Coliseum.
This was the second time the band had been bootlegged inside a two week period, resulting in a double album – see From Lunch To Ecstasy on Ken’s IMP label – and the second time on two consecutive tours that they had been bootlegged in Seattle – see Supertramp LIVE on the Wizardo sub label death records
Quality: Described as a “nice recording” by one of the eBay sellers.
Looking at the set list and comparing it with the other existing audience tapes, it becomes clear that this is not the complete show. All BIA shows on this leg started with “School”. On the other hand, not every concert saw “Take the long way home” being performed, the first track here, so Seattle got lucky that night. So, the first five songs are missing:
1 School
2 Ain’t Nobody But Me
3 The Logical Song
4 Goodbye Stranger
5 Sister Moonshine
then we get the concert in sequence until “Breakfast…” and then missing the rest and finale with “Fool’s Overture” and “Crime Of The Century” unfortunately, just like From Lunch To Ecstasy
Supertramp, Milwaukee Mecca Arena March 22 1979
10th row right center main floor
01 School
02 Ain’t Nobody But Me
03 The Logical Song
04 Goodbye Stranger
05 Sister Moonshine
06 Oh Darling
07 Hide In Your Shell
08 From Now On
09 Child Of Vision
10 Even In The Quietest Moments
11 A Soapbox Opera
12 Asylum
13 Give A Little Bit
14 Bloody Well Right
15 Breakfast In America
16 Dreamer
17 Rudy
18 If Everyone Was Listening
19 Another Man’s Woman
20 Fool’s Overture (cuts at start)
21 Two Of Us
22 Crime Of The Century
LA Forum, Inglewood, CA 4/4/79
01. School
02. Ain’t Nobody But Me
03. The Logical Song
04. Goodbye Stranger
05. Sister Moonshine
06. Oh Darling
07. Hide In Your Shell
08. Child Of Vision
09. Even In The Quietest Moments
10. Soapbox Opera
11. Asylum
12. Give A Little Bit
13. Bloody Well Right
14 Breakfast In America
15 Downstream
16 Another Man’s Woman (fade out)
Supertramp
Venue: Coliseum, Houston, USA
Date: 5 May 1979
01 School
02 Ain’t Nobody But Me
03 Take The Long Way Home
04 Goodbye Stranger
05 Breakfast In America
06 Oh Darling
07 Hide In Your Shell
08 From Now On
09 Child Of Vision
10 Even In The Quietest Moments
11 A Soapbox Opera
12 Asylum
13 Downstream
14 Give A Little Bit
15 Bloody Well Right
16 Dreamer
17 Rudy
18 The Logical Song
19 Another Man’s Woman/band intro
20 Fool’s Overture
21 Two Of Us/Crime Of The Century
22 Sister Moonshine
The original. Both records on clear vinyl?
With alternate stamp:
The version shown below appears to have a printed cover and b&w printed labels (a copy made by someone else?).
USA: 1979 (for the original)
Source: Audience recording of one of two performances at the Seattle Coliseum on either April 12 or 13, 1979
You can listen to the concert here: http://www.themightyvanhalen.net/1979/04/12/1979-center-coliseum-seattle-wa/
Quality comment: “This is an audience recording that gets about a B/B+ rating.The source is definitely lifted from the original boot record as you can hear slight crackles. The sound on this cd is one of an “intimate” setting without the distant , hollow big arena sound. Ed’s guitar sound is basic and gutsy and along with Daves vocals both are clearly distinguishable. Mike’s bass is heard but there is no depth. This is not a “crank out” shitty audience recording. Audience noise is very minimal.” [vhboots.com]
***
Below, a copy without a stamp, or perhaps it’s on the back.
And a black vinyl copy, so they do exist:
USA: 1979 – this was the start of a trilogy where they released three double albums recorded at the same venue within six or eight days; this one, Van Halen and Supertramp; the only bootleg label I have come across to have done this.
Source: Audience recording from the Seattle Coliseum, April 10th 1979. One of the last concerts featuring bass player John Glascock, who would take his final bow at the end of this leg on 1 May 1979, in San Antonio, TX.
Regarding the album’s title, was it an insider joke or an honest mistake? When introducing “Dark Ages” from the then still unreleased new Tull album STORMWATCH, Ian Anderson would draw out the pronunciation, so that it did sound like “Dark Haiti” but when listening to the song, it becomes clear that it’s “ages” (by the way, does Ian have the best on stage pronunciation or what? I could listen to him all day long). I do not suppose that the person(s) behind the 78/79-1XX label were Tull fans.At least, as all the first second generation bootleg labels had been put out of business and could no longer cover the latest Tull tour, as they had done so well in ’72, ’73 and after, at least these guys filled that gap quite nicely.
This used to be one of the most sought after & valuable titles by this label in the last decade, reaching a staggering $670 in 2008 for a lucky seller. Prices have more than halved since then though.
Side 1: One Brown Mouse / Heavy Horses / My God (including God Rest Ye Merry Gentlemen, Kelpie and Bourée)
Side 2: Dark Ages
Side 3: Cross-eyed Mary / Thick As A Brick
Side 4: Quatrain, Aqualung (medley) / Locomotive Breath, The Dambusters’ March and Aqualung (medley)
***
1979 tour poster
USA: 1979
This is a rarely seen bootleg that used to bring $90 – 130+ at auction. If vinyl or stamper versions exist is not known at this time.
Source: Video soundtracks of the Elvis’ performances on the Dorsey Brothers, Milton Berle and the Ed Sullivan shows in 1956.
Side 1; intro-Money Honey (DB, 24 March ’56)/ Shake Rattle & Roll / I Got A Woman (DB, both 28 January ’56) / Blue Suede Shoes / Heartbreak Hotel (DB, both 11 February ’56) / Tutti Frutti (DB, 18 February ’56)
Side 2: Hound Dog (long version, MB, 5 June 1956) / Don’t Be Cruel / Love Me Tender / Ready Teddy / Hound Dog (E.S., 9 September ’56) / Don’t Be Cruel / Hound Dog (E.S., 28 October ’56)
Not sure why they bothered with such fan-focused quality bootlegs such as THE KING GOES WILD (E.P. RECORDS PRP 207), ca 1974/5:
DORSEY SHOWS (Golden Archives 100), released September 1976;
FROM THE WAIST UP (G.A, 150), rel. 1977:
THE ROCKIN’ REBEL (G.A. 250), rel. 1978:
and THE ROCKIN’REBEL VOL. 3 (G.A. 350), rel. 1979:
***
Milton Berle Show rehearsal:
I have only found this on colored vinyl and stamp-less. Do other variations exist?
USA: 1979
Source: Incomplete FM broadcast of the Warner brothers promo album TALKING HEADS LIVE ON TOUR, which had been recorded at the Agora in Cleveland, OH on 18 December 1978. The promo album, needless to say beats the boots hands down.
More information regarding the legitimate first and second pressing and the counterfeit version can be found here: http://www.diegocuoghi.com/thlive/index.html
The original master tapes can be viewed in this article: http://recordmecca.com/item-archives/talking-heads-master-tape-for-1978-promo-wb-live-album-with-unreleased-tracktalking-heads-live-agora-wbms-1978-master-tape/
The same recording was also released with all tracks present in 1979 as ELECTRICITY , the double album on Ken’s EXCITABLE RECORDWORKS label (# 2R-69, also known by the fake pseudo-German label name KÜNSTLER RECORDS created just for this release), spread over the first three sides.
***
A final bootleg vinyl issue came in the 80’s on what may have been an Italian release:
Two different stamps, as seems to be the norm for this label:
or no stamp:
USA: 1979
Matrix / Runout (Side 1 [Etched]): 79-116M W10 SIDE 1 / 79-116M W10 SIDE 2
Source: Audience recording from Seattle’s Paramount Theatre on 6 February 1979.
Side 1: Big Opportunity / Moods For Moderns / Green Shirt / Party Girl / Girls Talk (Listed As Girlschool) / Accidents Will Happen
Side 2: Big Boys / Goon Squad / Oliver’s Army / (Whats So Funny About) Peace Love And Understanding / Radio Radio
Quality comments:
“Decent audio quality considering when it was made. Apparently lifted straight from the master, judging by the lack of any tape flaws or hiss. Vinyl is surprisingly high quality, with one exception; an apparently mono recording seems to wobble along the stereo channels. (Not noticeable if you listen in mono.) Also, no banding, so don’t expect to be able to tell where the songs are. A bit “distant”, as if the recording was made a bit far back and there’s some house reverb. Still, instrument definition is pretty good and there’s no distortion. The only real crowd noise issue is between songs and one guy clapping along through a few songs. Considering when and how this was made, it’s pretty nice.
“Poor quality audience recording, dominated by crowd noise”; HOTWACKS seemed to agree, only awarding this album a “Gm” rating.
***
You do have to wonder if it was “big opportunity” or real love for Costello to become the only artist this label ever revisited – and for an audience recording that was not exactly a stellar capture to boot (OK, I’ll stop now with the puns).
Onstage at the Paramount, photographer: Bill Hanse
This was their first US show that year.
Below: Stamp variation, “FIRE VINYL”
USA: 1979
Source: FM broadcast from San Francisco’s Winterland on 15 December 1978 but with only half the concert presented here.
“Superb vinyl. No labels (look at the photo to know what I mean). Red/yellow insert as cover. Repressed in normal coloured vinyl with labels (custom). Since the material recorded on the discs is fairly common, the repress is absolutely less attractive.” [source: brucespringsteen.it]
The question at this point is, if this came out before or after Slipped Disc’s LIVE IN THE PROMISED LAND box.
If it came out later, this would mark the first time that the 78/79-1XX label had issued something already out on another label. For some reason, their standard matrix markings of 79-1XX M were left off this release.
