Archive

Audifön label

Rolling Stones SatisfGuar 78Rolling Stones SatisfGuar b

“Love In Vain” and “Tumbling Dice” are actually in reverse order on side 3.

Label variation 1

Rolling Stones SatisfGuar alt lbl

Rolling Stones SatisfGuar ECCAnd # 2 from a later reissue.

MATRIX: IMP 1023-A Re-1 / IMP 1123-B /C /D

IMP # 1123 would slot right in between Kiss – Destroys Anaheim Part 2 and Neil Young – Old Man’s Fancy in the Idle Mind discography.

“…first released as a classic 2 LP in 1978. The venues sampled on the original LP were: St. Louis July 11, 1978, Buffalo, N.Y., July 4, 1978, Greensboro, N.C., June 26, 1978, Oakland, CA, July 26, 1978, and Chicago IL., July 8, 1978. A really nice “best of” effort. The printed color LP jacket was exceptional at the time. The white and yellow record labels were “Ruthless Rhymes, Ltd.”. The most fantastic version of Beast of Burden was recorded on this LP, and it was from St. Louis […]. Note: The original vinyl release in each case is BETTER Quality than these audience source tapes! ” [rollingstonesnet.com]

Dylan Life Sentence 2Dylan Life Sentence b

The Bob Dylan World Tour 1978’s first leg consisted of seven shows on seven consecutive nights at the Los Angeles Universal Amphitheater.

This double album presents 3 sides from the second show on 2 June and the last side from the end of the last night on 7 June. From bobsboots.com: “The labels are either Ruthless Rhymes, “Horweite Stereo” or blank.  The quality is good … the performance excellent.”

Two more labels to add:

Dylan Life Sentence VerzylDylan Life Sentence POD

Dylan Life Sentence pig

Audiofön – RZ 004

A1     Love Her With A Feeling     2:31     
A2     Stop Crying     5:05     
A3     Mr. Tambourine Man     4:53     
A4     Shelter From The Storm     4:41     
A5     Love Minus Zero (No Limit)     3:29     
B1     Tangled Up In Blue     7:06     
B2     Ballad Of A Thin Man     4:22     
B3     Maggie’s Farm     4:33     
B4     Like A Rolling Stone     6:00     
C1     I Shall Be Released     3:51     
C2     Another Cup Of Coffee     3:09     
C3     Blowin In The Wind     4:27     
C4     I Want You     2:36     
C5     Senor (Tales Of Yankee Power)     5:12     
C6     Just Like A Woman     5:07    

D1     Simple Twist Of Fate     4:35     
D2     Oh Sister     3:28     
D3     All Along The Watchtower     3:42     
D4     All I Really Want To Do     2:58     
D5     Forever Young     5:10    

Set list:

June 2 ’78:

A Hard Rain’s A-Gonna Fall (instrumental) / Love Her With A Feeling / Baby Stop Crying / Mr. Tambourine Man / Shelter From The Storm / Love Minus Zero – No Limit / Tangled Up In Blue / Ballad Of A Thin Man / Maggie’s Farm / I Don’t Believe You / Like A Rolling Stone / I Shall Be Released / Going, Going, Gone / Rainy Day Women # 12 & 35 (instrumental) / One Of Us Must Know (Sooner Or Later) / You’re A Big Girl Now / One More Cup Of Coffee (Valley Below) / Blowin’ In The Wind / I Want You / Señor (Tales Of Yankee Power) / Masters Of War / Just Like A Woman /

June 7 ’78:

Don’t Think Twice, It’s All Right / Simple Twist Of Fate / Oh, Sister (Bob Dylan–Jacques Levy/Bob Dylan) / All Along The Watchtower / All I Really Want To Do / It’s Alright, Ma (I’m Only Bleeding) / Forever Young / The Times They Are A-Changin’

Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).
 

Bob Chat:

June 2 ’78:

“Thank you. Thank you very much. This is a song off our new Columbia Records album, Street-Legal. Soon to be released.” (before Baby, Stop Crying)

“Thank you. This song’s the story of my life.” (before Tangled Up In Blue)

“Thank you all right. All right thank you. Thank you very much. This is a song I recorded with The Band while we were hanging around up in Woodstock.” (before I Shall Be Released)

“Thank you. We’ll play another song and take a break now, eat something. This is another song that I recorded with The Band a few years back.” (before Going, Going, Gone)

“Thank you. This is another song from the forthcoming album, ha ha, Street-Legal. Remember that! This one’s called Tales Of Yankee Power.”

June 7 ’78:

“Thank you. Well, like Jerry Garcia would say. We’re gonna beat it on down the line. Well, we hope you had a good time. We think these songs do mean some thing to you. So, have a real safe trip home. We’re gonna be out of the country for awhile, though we’ll be back from far distant lands, so I hope we see each other again sometime.” (before Forever Young).

Dylan LA 06 78Image by Barry Goldstein

***

Re-pressed in 1982 from the same plates and under a new title with the large font GLC labels:

Dylan Tales of YankPow

OLYMPUS DIGITAL CAMERA

Photo taken at the Majestic Ballroom in Birkenhead on 10 April 1963 

Beatles Majestic B B

Beatles Youngblood altThe rare alternate front cover. Photo taken in Liverpool near the Albert Docks in late September 1962 by Peter Kaye

Beatles Bally 62

Beatles Youngblood b

The 1970s release was issued on blank, yellow Audifön (pictured), green ‘hörweite stereophonie’ and Ruthless Rhymes labels.

Beatles Youngbl Audifon lbl

Release date: June 1978; Matrix BVP-005-RE

01.  Too Much Monkey Business (Berry) – YOUNGBLOOD’s first issue used a fair and incomplete tape taken from Pop Go The Beatles #13, recorded 3rd of September 1963.

02.  The Hippy Hippy Shake (Romero) – same as above

03.  Sweet Little Sixteen (Berry) (incomplete) – Pop Go The Beatles #06; recorded 10 July 1963; Presenter: Rodney Burke; Broadcast on 23 July 1963

04.  (There’s A) Devil In Her Heart (Drapkin) – Pop Go The Beatles #10; recorded 16 July 1963; Presenter: Rodney Burke; Broadcast on 20 August 1963

05.  A Shot Of Rhythm And Blues (Thompson) (incomplete) – Pop Go The Beatles #03; recorded 1 June 1963; Presenter: Lee Peters; Broadcast on 18 June 1963

06.  Memphis, Tennessee (Berry) – Pop Go The Beatles #03; recorded 1 June 1963

07.  Sure To Fall (In Love With You) (Perkins/Claunch/Cantrell) – Pop Go The Beatles #03

08.  Youngblood (Leiber/Stoller/Pomus) (incomplete) – Pop Go The Beatles #02
Recorded 1 June 1963; Presenter: Lee Peters; Broadcast on 11 June 1963

09.  Crying, Waiting, Hoping (Holly) – Pop Go The Beatles #08
Recorded 16 July 1963; Presenter: Rodney Burke; Broadcast on 6 August 1963

10.  Kansas City/Hey-Hey-Hey-Hey  (Leiber/Stoller/Penniman) – Pop Go The Beatles #08, recorded 16 July 1963; Presenter: Rodney Burke; Broadcast on 6 August 1963

11.  I Forgot To Remember To Forget (Kesler/Feathers) – From Us To You #3
Recorded 1 May 1964; Presenter: Alan Freeman; Broadcast on 18 May 1964

Quality is fair to poor throughout

***

In the 1980’s, a reissue with matrix BVP-005 and labels pictured here used the same cover art but changed the master for side 1 as follows:

Tracks 01. + 02. were replaced with earlier versions, possibly from Saturday Club, 16th of March ’63

Track 03. used an upgrade copied from the bootleg Beautiful Dreamer

Tracks 06. + 07.  were changed to the 1st of January ’62 Decca audition versions

Beatles Youngblood Gotham lblBeatles Youngblood Goth 2Beatles Youngblood RE

***

The Liverpool Empire 7 December 1963 concert, as broadcast by BBC TV later that evening on “It’s The Beatles!“, survived as a recording taped from a TV speaker (including the occasional cough from a person in the room) and made its debut on Youngblood.

A few months later it was also issued on the LP DEC. 1963 on the ODD label. The final song, an unlisted “From Me To You (reprise)/Harry Lime (Third Man Theme)” is a bit more complete here.

The last four tracks on side 2 are:

  • Rock And Roll Music – Saturday Club # 325, rec. 25 November 1964; broadcast 26 December ’64
  • Everybody’s Trying To Be My Baby and I’ll Follow The Sun – both from Top Gear #20, recorded 17 November 1964, broadcast 26 November ’64                 
  • Kansas City/Hey Hey Hey Hey Hey! – also from Saturday Club # 325                      

All of these tracks were altered by overdubbing here with audience screaming either by the Audifön/Ruthless Rhymes producers or someone along the tape supply chain. Original versions would appear in 1980 & ’81 on Broadcasts and Air Time as significant upgrades.

Beatles Dec. 1963 ODD 4Beatles Dec. 1963 blu

This Youtube clip shows all the surviving video with inline sound. “Backstage, [the Beatles] watched in disappointed amazement [at the poor audio and visual presentations the BBC came up with] on a TV set brought over from the NEMS department store.” [quote from Way Beyond Compare, p. 107]

***

ODD reissued the master one more time under this misleading title (also attributed to Modern Jazz Records):

Beatles FIRST U.S. SHOW

***

While Youngblood was not spared another life on Rat-o Cat-o Records:

Beatles Youngbloods rat o cat

Beatles Youngbloods rat o cat 2

Matrix: ODD-Four-A & ODD-Five (erased) Four-B

Beatles FUTY greeBeatles FUTY redBeatles FUTY no lblBeatles FUTY s blue disc

These are by no means all color but all found label variations (save blank white ones) for this release. Range of colors included a multi-color run plus similar colors as used for John Lennon’s 10″ “A guitar’s all right John but…”.

Date of release: May 1978

Matrix LMW 28 IF, later copied on matrix 10 A/B

Beatles FUTY stamper 1Bootleg stampers for this title. What is interesting is that the writing on the envelopes for this US pressed release is in German.

Beatles FUTY stamper 2

This was the first new BBC material since Contraband’s Stockholm LP presented tracks from the Easy Beat show of July 21, 1963, “in dreadful quality” in December of 1974. Obviously, a copy of a rehearsal tape had survived as this material was never broadcast in this form. More from the raw tape has surfaced on the digital release Unsurpassed Broadcasts – Volume Nine and there is extra material to extend the length of the available material from 24:40 to 27:00.

BBC Paris Studios London, recorded 17 July 1964 (aired: Monday 3 August 1964) – “From Us To You” 4th edition recording session

Track 01     From Us To You (Version 1) (John sings “From me…”)     0:53    
Track 02     Kansas City     2:28
Track 03     Long Tall Sally (Beginning & Solo incomplete)     1:56
Track 04     If I Fell     2:03
Track 05     Boys     1:58
Track 06     I’m Happy Just To Dance With You (Instrumental)     1:52
Track 07     I’m Happy Just To Dance With You     1:46
Side 2
Track 01     I Should Have Known Better (False start)     –
Track 02     I Should Have Known Better (w/o Harmonica)     2:34
Track 03     I Should Have Known Better (w/Harmonica)     2:31
Track 04     Things We Said Today     2:23
Track 05     A Hard Days Night     2:27
Track 06     From Us To You (Version 2)     0:50

BBC_Paris_Studio_1BBC paris_cubicle

Beatles FUTY bhttp://www.youtube.com/watch?v=Qh-_xvsWibE

Lennon AGAJ r red

Lennon AGAJ insertThe insert that was included with the first edition only.

Lennon AGAJ r gree lblAvailable also in red, blue, clear and orange (I will believe Hot Wacks in this case). These JL labels were also used on the reissues, plus blank and Ruthless Rhymes labels.

As a reissue, available in a range of colors, including a white based multi-color.

Lennon AGAJ b

When I first bought this, I remember being disappointed by the audio quality of the Madison Square Garden recording and that the tracks were faded out (is this true or is my memory playing tricks on me?). Then, when I bought it a second time many years later, I found that the official recording had been substituted – can someone confirm this as well?

Side 2 is a bit of a let down. “Slippin’ And Slidin’ ” and “Stand By Me” come from the Old Grey Whistle Test broadcast on 18 March 1975.

“Oh My Love” is not John at all, although with the extra noise added on the bootleg vinyl and due to the faithful reproduction, you could think it is. This is a Canadian band called The Wackers and their 1972 LP was called Hot Wacks

hotwacksthe-wackers-70s-oh-my-love-mono-elektra“Lady Marmalade” is John ad libbing what he remembers from Labelle’s, which was a number 1 hit in the U.S. just before John was interviewed for French TV on 7 April 1975.

“Working Class Hero” is apparently another outfake/Frankenstein creation and “Day Tripper” is just the Jimi Hendrix Experience live on the BBC on 15 December of 1967 with no Lennon involvement at all – we remember Contraband trying to squeeze a whole album out of the assumed collaboration on DAYTRIPPER JAM around the same time.

The first edition has John looking at us from the right and Stuart Sutcliff standing on the left. This was reversed for later reissues but the original photos show that this is how these photos were taken in November of 1960 at the site of the tri-annual funfair in Hamburg on a square called Heiligengeistfeld. Their German friend Astrid Kirchherr had taken them there to shoot a number of photos:

http://www.beatlesource.com/savage/1960/60.11.00%20astrid%20pics/60.11.00astridpics.html

John HH Dom 60Photo session “outtake”

John HH Dom 60And another. For me, these early Hamburg pictures taken by Astrid have always been the best way to bring that era to as much life as possible and show some kind of a foreboding of what was about to start in only a few years.

Paul HH Dom 60“A bass is all right Paul but…”

John Lanz 60Can we read any ‘Paul is dead’ clue into this license plate?

Isn’t it ironic that the low point in the Beatles’ career ended up being the best documented, especially in the realm of bootleg releases? We have enough material from January 1969 to keep us going for days or until we cannot take anymore, which is the case for most people who try to listen to this material en masse as they fail the “January Listening Challenge”.

Back to the ‘waves’. The first one followed the broadcast of Glyn John’s acetate on North American radio stations in September 1969, leading to the very first Beatles bootleg – KUM BACK – in January 1970 and all subsequent copies and re-packaged versions like SILVER ALBUM , DIG IT!, HOMOGENIZED BEATLES & RENAISSANCE MINSTRELS VOLUME II , GET BACK TO TORONTO , GET BACK SESSION , etc.

Details regarding those exciting times when the world wondered what the Beatles were up to after the White Album & Yellow Submarine can be seen in series I published in this blog called “How the first Beatles bootleg material was leaked – The Great Elusive “Get Back” Radio Search, Part One”

The “second wave” consisted of material recorded off of the LET IT BE soundtrack, perhaps with a method as primitive as recording it in a movie theater with a portable recorder.  The results were the GET BACK SESSIONS 2 / MORE GET BACK SESSIONS releases on TMoQ & Michael & Allison Records.

The third wave came in December of 1974 via Contraband’s two SWEET APPLE TRAX volumes, which presented 90 minutes of previously unreleased Nagra reels, mostly from January 8 to 10 at Twickenham. These releases have their own entry on the blog as well.

Then, for two and a half years there was nothing, until this much hyped EP came along in February of 1977:

Beatles Twickenham Jams EPBeatles Twickenham Jams EP bPressed in Canada? L.A. is more like it. From the same pressing plant that also produced the Tobe Milo bootleg EPs.

Beatles Twickenham Jams EP discBeatles_twickenham-jams-1ste_sheetBeatles Twickenham Jams EP pageThis is the text from the above promo flyer, misrepresenting the date, source/purpose of the recordings and mostly the sound quality.

Below is an image of the ‘cover plus sleeve’ version mentioned in the flyer above. This particular copy sold for the high start price of $118 in April of 2017:

Beatles Twickenham Jams dual

**

January 8th was the Beatles fifth day of filming at Twickenham studios. The idea of a culmination in a live show was still alive at this point (in the afternoon, the idea of continuing rehearsals on a passenger ship taking them to North Africa to perform at an amphitheater there, will be discussed).

Following George’s premiere of his newly written song “I Me Mine” and everyone’s arrival,

Nagra tape roll 71A – (16:02 in length)  records them trying to play these songs:
Honey, Hush
Stand By Me
Hare Krishna Mantra
“Well, If You’re Ready”
Hare Krishna Mantra

Out of these, 8.08 and 8.10 – 13 (based on DDSI numbers) make up the 6 minutes 49 seconds found on side 1 of this EP.

A little later, Nagra tape roll 74A – (16:05) captured the following songs:

Mean Mr. Mustard
Don’t let me Down
All Things Must Pass
Fools Like Me
You Win Again
(improvisation
She Came In Through The Bathroom Window

Highlighted DDSI numbers 8.40 to 8.42 make up all of the 6 minutes 28 seconds on side 2.

****

In the summer of 1977, the Dragonfly LP INDIAN ROPETRICK repeated “All Things Must Pass” but also offered something new: A playback of a Nagra reel from 14 January 1968 on Radio Luxembourg, offering the tracks “Watching Rainbows” and “Mean Mr. Mustard” with the DJ frequently talking over them to assert the station’s exclusive rights to them.

The “Watching Rainbows” broadcast pre-dated the “Abbey Road” LP

“Excerpts from the “Watching Rainbows” reel [recorded at Twickenham Studios , Jan. 14, 1969, DDSI 14.27-14.29] were taken out of EMI’s tight-lidded vaults and broadcast by Radio-Television Luxembourg as early as March 1969. During the “one-time-only” broadcast an RTL commentator claimed the occasion was “a gift that the Beatles made us, at RTL, send to you.” Station identification was announced throughout the broadcast to prevent pirates from taping and re-transmitting or pressing the music onto vinyl.

Bootleg vinyl of “Watching Rainbows” without the incessant RTL voice over had surfaced by May of 1977. Of course, the RTL broadcast also had been pirated. A poor quality copy appears on Indian Rope Trick the mid-70s collection of mostly bogus Beatleg material. “Rope Trick” wins the prize for most horrendous reproduction of the “Rainbows” reel – recorded off a radio receiver, passed down at least one generation and then pressed onto cheap vinyl. At least the disruptive French voice overs provide copyright documentation, coming, as they do, at intervals of 45 to five seconds. RTL’s broadcast began with the RTL dee-jay talking over “Watching Rainbows.”

RTL:
“And here’s the gift that the Beatles made us, at RTL, send to you… two new titles which are worldwide exclusives…”

LENNON:
“Standing in the garden waiting for the sun to shine. Hand in my umbrella… ” and the DJ comments over.

RTL:
“And here is the first one… exclusive from RTL …. …If you hear this song somewhere else other than RTL, it means it has been stolen from us.”
[Free jam . Lennon on mustard fuzz organ; George with angry Clapton inspirations.]

RTL:
“The first time, it’s always like this. You don’t like it very much. But in two months, when this record comes out, you will see. You’ll like it!”

RTL:
“Listen carefully, because you won’t hear this record for two months!!!”
[Tape cuts to Mr Mustard (Dirty Bastard) /Madman .]

RTL:
“This is a working tape that the Beatles lent us. This is why you will hear it only once, but we wanted to let you hear it first from RTL before anybody else… ”
[mustard organ]

RTL:
“…It’s strictly forbidden to tape this, especially for those of you who work for another radio station.” The DJ continues dispersing bursts, at 5 second intervals, of self-promotional anti-piracy tags: “The Beatles with an exclusive on RTL.” “Don’t tape. ” “R – T – L.” “The Beatles are on RTL exclusively,” and “It’s the first time in the world that people hear this new Beatles song…. on RTL, of course.”

Why RTL was allowed to broadcast a Twickenham tape at such an early date might be explained by the group’s relationship with Radio Luxembourg and commercial “pirate” radio just before the hysteria of Beatlemania broke. In the early 1960s, radio in England was dominated by the state-owned and operated BBC. There wasn’t much time for pop music programmes, but Radio Luxembourg was privately-owned and offered more opportunities for aspiring, unknown pop and rock artists.

George told a journalist during the 1964 Australian tour that the first DJ ever to play a Beatles recording was at Radio Luxembourg.

GEORGE:
“Originally we were played on Radio Luxembourg because that’s a commercial station, and the, ah, the record companies, you know, they pay for time, air time on these shows. So they promote the record. So that’s the show we were on first… but they’ve still got to transmit from Luxembourg, which makes the reception (in England) not as good as the BBC.”

Harrison also endorsed England’s independent “pirate” radio, whose broadcasts were legal in 1964 only because they originated from ships in international waters. “Well, it’s great,” Harrison told the journalist. “Yeah… We could do with a couple right in there, in London.”

(by Ron Synovitz; French translations from “Indian Rope Trick” by Ariane Julie-Synovitz)

***

Beatles WR EP 1Beatles WR EP 2Beatles WR EP bBeatles WR EPI used to own this and should have kept it, the multi-color vinyl really adds something. The selected cover images do not really fit as they are from the White Album era, taken on the “Mad Day Out” photo shoot on 28 July 1968.

***

Back to Twickenham studios, 45 years ago. On 10 January ’69, George has finally had enough and walks out of the sessions (and again on a meeting they had on the 12th). Surprisingly, the reason was not in his artistic relationship with Paul but George was very unhappy with John (as discussed in the Sulpy/Schweighardt book Get Back). On the 14th, the last day at Twickenham before filming and recording resumed in the basement at Apple, John premieres a new composition “Madman”, a bit of another new one, “Mean Mr. Mustard” and an improvisation born out of Paul playing the guitar part for “I’ve Got A Feeling” and John improvising three verses based on lyrics from “I Am The Walrus”: The improvisation known as “Watching Rainbows”.

February 1978 saw the release of the expanded LP version:

Beatles WR LP frAvailable with Dragonfly (first pressing?), white & yellow Ruthless Rhymes and green “hörweite stereofonie” labels:

Beatles WR Duck

hörweite Stereophonie lbl

Beatles WR LP b pinkFewer versions have the above three tone color back but these do not automatically mean a first pressing, as stated on the vinylegs website. They exist with Ruthless Rhymes labels as well.

Beatles WR LP b bl

The first two tracks are from 14 January ’69 as mentioned above.  “Blackbird” (takes 1 + 2) was recorded by Paul on August of 1974. The rest of the tracks on side 1 and side 2 including “She Came In Through The Bathroom Window” come from Twickenham, 8 January.“Golden Slumbers/Carry That Weight” is take 13, recorded 2 July 1969 and would become the opening track on another famous Audifon Beatles LP: No 3 Abbey Road NW 8 . The unlisted last song “Her Majesty” (with the final chord intact) was recorded on the same day. John’s take on the Who’s “A Quick One While He’s Away” (with a little help by Paul and the sarcastic comment “OK, George, take it”) was the next available recording from Twickenham on 10 January ’69 after George had walked out.

John Winn writes in Beatlegmania – Volume Two: “Although the Twickenham tapes are slightly longer here than on the EP’s, they don’t sound any better. Brand new here are “Blackbird”, “Two Of Us”, “One After 909”, “A Quick One While He’s Away/improvisation” and “Her Majesty”. A second pressing of this LP in July 1978 used an upgraded but slightly shorter tape of “Watching Rainbows/Madman/Mean Mr. Mustard”. “

Research comments:

“I wanted to add too, that the recordings heard on “Rainbows” (1st pressing) and “Indian Rope Trick” are different sources (i.e. different original tapes). This is determined by a difference in radio interference and static. The “WR” LP is better overall quality but contains more interference and while “IRT” is cleaner, the quality is not as dynamic. There is also a different edit between “Rainbows” and the “Madman/Mustard” jam. But, of course, the edit doesn’t really determine anything. It could have come from anywhere.

“The original recording from Twickenham – without the French voice-over – is found in the best quality, taken from a tape source (the Nagra tapes, roll 145A) on Yellow Dog’s “Day By Day” vol. 17, disc 2.
Unfortunately the tape runs out so the end of the “Watching Rainbows”-jam is missing.
The complete recording, however, is found on the old LP “Watching Rainbows” where it’s taken from the B roll that has gone missing.
Finally, the missing ending on “Day By Day” is found on on one of the “Get Back Journals” and for the best result (soundwise) you can edit those two together.”

http://beatlesource.com/bs/mains/audio/zzBS/unigue.html

“I don’t know about the provenance of the original tape that made it to the RTL broadcast, but I would like to make this observation – although the version on the “Indian Rope Trick” is sonicallly inferior to the slightly-better-sounding one on “Watching Rainbows”, it doesn’t have some of the “scraping” noises heard at certain points on the WR LP – noises that sound to me like dirty panpots or faders/sliders. Which suggests to me that the appearances of Mustard, Madman & Rainbows on “Indian Rope Trick” and “Watching Rainbows” were from two different tape dubs or “passes” from a higher-generational source. If it makes any sense, or indeed matters.”

****

In the 1980’s, Watching Rainbows was ‘recycled’ in Japan as disc 2 of this double set:

Beatles AR NW 8 + WRBeatles AR NW 8 + WR b

ACR 16

Cheap Trick 78 CM

Also available with blank white labels but mostly found with a white and a yellow label with side markings. A large number must have been pressed as the bootleg is very easy to find up to this day, even sealed copies.

Cheap Trick CM

Cheap Trick 78 CM b

Sides 1 – 3: WBCN broadcast of an edited performance from the Paradise in Boston on 10 June 1978; side 4: KBFH broadcast of an excerpt from the Palladium in New York on 22 September 1978 – mislabeled as coming from the Bottom Line in NY

Side 1:  Hello There – Come On, Come On (4:00)  / Stiff Competition  (4:21) / On Top Of The World (5:50)  / Guitar Solo  (2:29)  / Big Eyes  (3:04) / High Roller  (4:54)                                                         Side 2:    Clock Strikes Ten  (4:48) / Need Your Love  (8:13) /  Southern Girls  (3:49)                       Side 3:    Surrender  (5:59)  /  California Man  (4:02)  /  Goodnight Now  – Bun E. Carlos drum solo (3:23) / Auf Wiedersehen  (4:45) 

Quality: Muddy sounding FM broadcast, perhaps 3rd generation or higher, perhaps not well recorded in the first place. The only alternative source I have ever found was torrented on dime in August of 2007.

Side 4:  Hello There (1:44) / Southern Girls  (3:33)  / Need Your Love  (10:13)  / California Man  (4:13)  / Goodnight Now  (2:12)    

Quality: Excellent stereo recording, mix favors drums and Robin Zander’s rhythm guitar and is somewhat heavy on the treble and bass deficient. Nice overall room ambiance and audience mix Overall, I like this almost better than the Budokan mix. Love the drum sound and certain details like the ‘pick hitting strings sound’ at the start of “California Man”. For decades I had hopes that we would get a complete recording but it seems that will never happen as the master was not kept after the edit was assembled.

CT Paradise Boston '78

wolfgangsvault.com released the tape source with two additional songs (“Big Eyes” & “Clock Strikes Ten”) but labeled it at first as being from 1977. The following shows how the correct date and venue was found:

  • simonc | Sunday, November 01, 2009 | 6:47 am

must be just about the only ct concert edit that doesn’t have either surrender or iwytwm. still great though.

  • spinalcrackerbox | Sunday, November 01, 2009 | 11:00 am

simonc, this is because these are only excerpts and not the whole show. This first appeared on side 4 of the vinyl boot ‘California Man ’78’ and I loved it back then and wished we’d get the whole show one day. 30 years later, we got 2 more songs :-). At this rate I have to live a really long life, lol. Funnily, this is the only band on this website where we are always promised a new recording – this is the second time now, and we are always given the one we’ve already had. At least it’s a great one. The Bottom Line had 400 seats. For those who doubt this was recorded there, all shows that were recorded there have a similar ambiance. Check them out. Compare this, for example, to the two Peter Gabriel shows recorded a few months later on October 4th and you will agree that this is indeed the same venue.

  • spinalcrackerbox | Sunday, November 01, 2009 | 1:38 pm

And since I’m feeling like a detail freak tonight, I found the setlist for the NY, Palladium, 11/12/77 show – in case the Vault finds it after all: 1. HELLO THERE 2.COME ON, COME ON 3. ELO KIDDIES 4. SPEAK NOW OR FOREVER HOLD YOUR PEACE 5. BIG EYES 6. SOUTHERN GIRLS 7. DOWNED 8. MRS. HENRY 9. GOONIGHT NOW 10. CLOCK STRIKES TEN

  • spinalcrackerbox | Tuesday, November 03, 2009 | 11:46 am

Dear Wolfgangsvault, the correct venue is: The Bottom Line, New York & the correct date is still June 12, 1978

  • Dopeburger | Wednesday, November 04, 2009 | 11:26 am

Hey spinalcrackerbox, thanks for the input. We originally listed this show under the date/venue you suggest but, based on the audio, we decided this show could not have been recorded at the Bottom Line…the crowd noise, announcer, and Zander’s mic all indicate otherwise. Also, I believe we found out why this set was often mislabeled as the BL — it was broadcast with a BL Rockpile show and was so mistakenly assumed to have also been recorded there. Because they thank NYC, we narrowed it down to the Palladium in 77 or 78 and, thanks to recent help pinpointing this set as taking place in ’78, we’ve updated the date from ’77. It’s been a long, strange trip, but we’re pretty confident we’ve gotten to the bottom of this. thanks, pete

  • spinalcrackerbox | Sunday, November 22, 2009 | 2:59 am

Hi Pete, thanks for the message. I had always assumed that the original venue and date was correct and really hear a similar room feel compared to other BL recordings but I stand corrected. Have you ever found the rest of this show as obviously we have only selection of the full set here with many songs missing in between?
This is perhaps my favourite ever live recording, despite a lack of bass.

  • spinalcrackerbox | Sunday, November 22, 2009 | 4:05 am

Just to round out things, here’s the setlist for their Passaic, NJ show recorded in early December of ’78 (mostly listed as the 8th, also as the 5th – we only know for sure that CT played Calderone Hall in Hempstead, NY on the 9th as there is a ticket stub for this): 01 Hello There
02. Come On Come On
03. Stiff Competition
04. On Top Of The World
05. Guitar Solo
06. Big Eyes
07. Ain’t That A Shame
08. Southern Girls
09. Need Your Love
10. I Want You To Want Me
11. California Man
12. Surrender
13. Goodnight Now
14. Heaven Tonight.
15. Auf Wiedersehen
16. Clock Strikes Ten

  • Anonymous | Monday, November 23, 2009 | 11:01 am

spinal,

Is it possible CT only played seven songs that night since thye were opening for The Cars? The Cars have a full show from the Palladium that same night. Seven songs still seems like a paltry set, but I just thought I’d throw that out there.

  • spinalcrackerbox | Sunday, December 13, 2009 | 5:51 am

Regarding CT only playing 7 songs and The Cars actually headlining: a.) I hear cuts between some songs: between 1. and 2. and 2. into 3. at least. b.) the ticket stub says:
Cheap Trick with The Cars – The Palladium (New York, NY) – September 22, 1978
So either it was a double bill or The Cars opened for CT but not the other way around.

  • spinalcrackerbox | Sunday, December 13, 2009 | 7:05 am

One more point to support my claim that this is not the complete show. CT’s setlist didn’t change much and in those early years “Come On, Come On” ALWAYS followed “Hello There”. They were more like a medley than two separate songs.

http://www.concertvault.com/cheap-trick/palladium-september-22-1978.html

Footage from the after show party at the Palladium.

***

78 California Man was produced at the same time in 1979 as the Springsteen title Bruce Springsteen ’78 ACR 61. Copies of the CT title went out that contained one disc from the Springsteen set. I know, as I was one of the unlucky recipients of just such a set, ordered via the Pied Piper Catalog from Chapel Hill, NC. They did recall and exchange the sets though. Their next catalog talked about how they had left the running of the business to someone else, who hadn’t done such a good job, but now the real Pied Piper was back. Hmm, were they assembling albums as well? …  Funny that I still remember that but have forgotten infinitely more important details of my past life.

****

ACR 25

Bowie Live in Stockholm

DAVID BOWIE not in Stockholm and not in 1979: Gothenburg, Sweden 4 June, 1978

Unfortunately incomplete but with excellent audio quality, another great Bowie bootleg from Vickie Vinyl. “Warszawa” mislabeled as “Secret Life of Arabia” and “Sense of Doubt” present but not listed and neither listed nor present are the encores of the last three songs.

Complete concert set:

01. Warszawa
02. Heroes
03. What In The World
04. Be My Wife
05. The Jean Genie
06. Blackout
07. Sense Of Doubt
08. Speed Of Life
09. Breaking Glass
10. Fame
11. Beauty And The Beast
12. Five Years
13. Soul Love
14. Star
15. Hang On To Yourself
16. Ziggy Stardust
17. Suffragette City
18. Art Decade
19. Alabama Song
20. Station To Station
21. Stay
22. TVC 15
23. Rebel Rebel

 

Bowie Stockholm 79 b

Overstock copies of disc 1 supposedly exist with an insert called Live In Gothenburg but I did not find another image for this other than the small thumb nail on Bassmann’s Bowie bootlegs page.

In 1983, the 1980’s GLC label reissued this title with a corrected date:

Bowie Stockholm 78

****

ACR 52

Cars 78Cars 78 b

I do believe that the same venue mis-identification issue applies here that we saw on 78 CALIFORNIA MAN : The Bottom line tracks are actually from the New York Palladium, 22 September 1978 (this recording is also available at wolfgangsvault and with even more tracks than the CT recording (12)). The bad news is that the sound is not good on either side of this album. The worst part of 1970’s bootlegging was the general lack of care applied to the mastering part, to release mediocre and azimuth misaligned material when that was not really necessary.

Side 1 (NY Palladium):

The Good Times Roll / My Best Friends Girl  / Since I Held You  / Just What I Needed  / You’re All I’ve Got Tonight   

Compare here: http://www.concertvault.com/the-cars/palladium-september-22-1978.html

If you were interested in this show, you had made a much better choice picking up 59 STUDE’ (THE BACKSEAT ) on Excitable Recordworks, which had more songs and sounded much better too.

Side 2: (Boston Paradise Theater, 01 July 1978 – Suicide & The Cars, broadcast on WBCN):

Bye Bye Love  / The Nights Fast  / I’m In Touch with Your World  / Moving In Stereo  / All Mixed Up

Original set list:

01 intro 2:00
02 Let the Good Times Roll 3:48
03 Bye Bye Love 4:30
04 Night Spots 4:27 (announced as a “new one”)
05 My Best Friend’s Girl 4:00
06 Moving In Stereo 5:04
07 In Touch With Your World 4:00
08 Take What You Want 4:32
09 They Won’t See You [?] 4:26
10 You’re All I’ve Got Tonight 4:16
11 Just What I Needed 3:46
encore break 1:14
12 Doncha Stop 3:26
13 encore break 0:49
14 Hotel Queenie 3:16

total time: 53:42

This bootleg has it’s own in depth review page here: http://badcatrecords.com/BadCat/CARS.htm

****

ACR 61

Springsteen 78 xSpringsteen 78 b

Live broadcast from the Capitol Theater in Passaic, NJ – 19 September 1978. Misidentified city on the back cover – was this done intentionally to create an apparently different product from the Piece De Resistance box?

This is a new master, not just two of the Piece De Resistance discs sold in a new sleeve. I wonder which of the two came out first? Unfortunately there are no dates given on the brucespringsteen.it site.

Side 1: Badlands / Streets Of Fire / Independence Day / Promised Land
Side 2: Racing In The Streets / Thunder Road / Meeting Across The River / Because The Night
Side 3: Kitty’s Back / Not Fade Away – She’s The One
Side 4: Backstreets / Rosalita

Springsteen 78 lbls

More individualized Ruthless Rhymes labels but who is Bruce “Sprinsteen”?

From brucespringsteen.it:

Two different pressings may be spotted looking at the matrix on the records:
Some have ACR 16 CHEAP-A // ACR 16-B // ARC 61-C Bruce // ACR 61-D
Others have ACR 61-A // ACR 61-B BRUCE // ARC 61-C BRUCE // ACR 61-D

Springsteen 78