Beacon Island Records

Pink Floyd Knobs

Pink Floyd Knobs b

Even though the date and venue are correct, the last track “Us And Them” must come from a different source as it had not been performed on the 15th and it’s a Frankenstein creation to boot, with the first verse repeated several times. More information on these Pink Floyd shows can be found here:

Pink Floyd Knobs

Although listed as a Toasted release, the reissue is commonly found with Beacon Island labels.


The extended IMP 2LP re-releases of older TAKRL titles:

2-08  Mott The Hoople – Rest In Peace
2-14  Jackson Browne – Live At The Main Point

were added to the original entries for these recordings and can be found by clicking on the artist’s name on the rignt.

Zappa Tiny Nightmares

[The back cover has Frank (in bib-and-braces overalls) and Gail with one of their babies.]

In 1977/8 Frank Zappa made a movie called Baby Snakes combining live footage from his Halloween concert at the New York Palladium with “backstage antics, band interviews, and some outlandish clay animation from Bruce Bickford, with whose work Zappa was obviously smitten. Onstage, Zappa is a live wire, the audience is appropriately rambunctious, and the band–an especially potent incarnation of the famous Mothers of Invention–is tight as could be.”

Now, I’m no Frank Zappa fan but this is amazing stuff that I want to hear again & again.

When the nearly three hours long oeuvre was done no distributor would touch it, “fearing that Zappa’s “cinematic style” had lost considerable appeal in post-’70s pop culture”. This attitude did not change after the movie was edited down to a more “commercial potential-enhancing” 90 minutes, nor after Bruce Bickford’s sequences won first prize at a French animated film competition. Zappa ended up distributing the movie himself and selling it directly to the public via mail order. The release date was December 21, 1979.

Zappa Zurkon Music

Part of the NY Palladium show was released on this bootleg (ZX 3659) and Hot Wacks claimed Tiny Nightmares copied this album – although as Ken was famous for mining KBFH broadcasts for his TAKRL series, maybe this was not a copy after all..

Side 1: Intro/ San Ber’dino/ I Wanna Be Dead/ Tiny Lights/ Big Leg Emma (23:25)
Side 2: Audience Participation Time/ Black Page No. 2/ Camarillo Brillo/ Black Napkins (24:17)

An alternate and more likely explanation is that this was not taken from the video soundtrack but from a 1978 KBFH broadcast:

Beacon Island then repackaged Tiny Nightmares together with another release taken from a ZX release named:

Zappa Stringban

One website claims only “100 pressed in 1978/79 with b/w gloss front and back slipsheets. Contains June 28 1973 Melbourne (slipsheets have relevant concert photo, ticket & reviews)”.

A1    Uncle Meat         
A2    Dog Breath         
A3    Uncle Meat         
A4    Montana         
A5    Fifty-Fifty         
B1    Mudshark         
B2    Father O’blivion


Beacon Island retained the same album title:

Zappa Tiny Nightmares

Zappa Tiny_Nightmares_Back

Cover images “borrowed” from the photo book The Concerts by Laurie Lewis, released in 1979 and mined by Ken for a number of front and back covers for his Beacon Islands label.

From an review: “There has been more than one Frank Zappa bootleg circulated under the title Tiny Nightmares. An earlier bootleg included the entire broadcast of Zappa’s Halloween 1977 Felt Forum concert (the first of two shows there that evening) as heard on the syndicated King Biscuit Flower Hour program in early 1978; this Australian product is a two-LP set that adds excerpts of a June 1973 audience tape (taken from a 2 ½ hour concert tape that was circulating among collectors in the mid-’70s), which had been previously issued separately as the bootleg Ultra Modern Stringbean. The 1973 songs have okay fidelity, though there is some distortion. Zappa’s opening medley includes a prelude that hints at “Uncle Meat” before segueing into an energetic version of “Dog Breath,” which is immediately followed by “Uncle Meat.” Zappa’s humorous (but excessively long on this occasion) tribute to dental floss, “Montana,” and a rather distorted instrumental version of “Fifty-Fifty” conclude the first side. The remaining 1973 tracks consist of the lengthy and somewhat tedious “Mudshark,” made famous during Zappa’s Fillmore East June 1971 LP, which segues into a portion of “The Be-bop Tango.” The band on this occasion included keyboardist George Duke, violinist Jean-Luc Ponty, and percussionist Ruth Underwood.

At the beginning of the 1977 concert, Zappa walks on as the band plays a musical excerpt (which eventually appeared in his song “Flakes”) and introduces the group. This concert gives a better idea of what a Zappa concert was like in his later years, where his musicians had been so tightly rehearsed they moved directly from one complete song to the next. At the time of this spring 1978 broadcast, many of the songs had not appeared commercially, including the hard rocking “San Ber’dino,” the great punk parody “Tryin’ to Grow a Chin,” the intense “City of Tiny Lites,” the dark instrumental “The Squirm,” “Black Page No. 2,” and another hard rocker, “Jones Crusher.” Some of the tracks were later re-recorded with overdubs for the LP set Sheik Yerbouti. Also present are oldies like “Big Leg Emma,” the mildly amusing “Camarillo Brillo,” the somewhat silly “Dance Contest” (this version was included in one of Zappa’s commercially issued videos), and one of Zappa’s most brilliant instrumentals, “Black Napkins.” Zappa’s band includes keyboardists Tommy Mars and Peter Wolf, guitarist Adrian Belew, bassist Patrick O’Hearn (prior to his journey into new age), percussionist Ed Mann, and the superb drummer Terry Bozzio. “

Talking Heads Electrically

Source: UCLA, supposedly from December 1978 but details are sketchy. Audience recording.

Tracks:   A

          The Big Country
          Warning Sign
          Stay Hungry
          Artists Only
          The Girls Want To Be With the Girls


          Love Goes To Building On Fire
          Psycho Killer
          Take Me To the River
          I’m Not In Love

Re-released later as sides 1 & 2 of a double on Ken’s Beacon Island outfit:

Talking Heads Electrically

Talking heads Electrically b

Sides 3 & 4 was supposed to be a repressing of Compassion Is A Virtue IMP 1-30 but a mix-up happened with the masters and some sets had LP 1 of Music For Palaces by Brian Eno(Centrifugal label) instead.

Eno Music For Palaces

This eBay text than shows that this worked the other way around as well:

“BRIAN ENO – Music For Palaces (2LP)
Rare 2LP Centrifugal Rec. Label, Deluxe Cover
Sides 3-5 Studio
Sides 1 & 2: This disc is the Talking Heads Compassion Is A Virtue But…’ (Impossible Recordworks 1-30). Undoubtedly it should have been Brian Eno’s ‘Floating In Sequence* (same label and number)”

Talking Heads Compassion IAVB

Talking Heads Compassion IAVB b

Source: FM broadcast from Boston Garden, Boston, MA – December 11, 1974

Side 1: Sound Chaser (9:36) / Roundabout (8:13)                                                                                          Side 2: The Gates of Delirium (22:10)


Set List:  Radio intro., Firebird Suite, Sound Chaser, Close To The Edge, To Be Over,  Gates Of Delirium, And You And I, Roundabout, Radio outro

This tape comes from the DIR archives and was broadcast over the King Biscuit Flower Hour back in the seventies and has unfortunately never seen official release, but is one of the most popular recordings of Yes in circulation.

The two LP set Affirmery (Beacon Island Records 2S710) and its clone The Affirmery (TAKRL 1981) [it was in fact the other way around as TAKRL releases preceded Beacon Island ones] has “Firebird Suite,” “Sound Chaser,” “Gates Of Delirium,” and “Roundabout.” 

The above paragraph fails to mention that LP 2 of the Beacon Island title is from a different show altogether: Rainbow, London, December 1972.

Yes The Affirmery 2LP

The Affirmery 2 LP set on Beacon Island Records (2S710)

“Stellar Attraction (Beacon Island Records 2S719) is a 2LP set that has all but “To Be Over,” but Stellar Attraction (Singer’s Original Double Disc SODD 008) is the only vinyl title to have the complete broadcast [Stellar Attraction on Beacon Islands is simply a re-release of the SODD title, so this statement makes no sense.].”

Yes Stellar Attraction

Stellar Attraction on Beacon Island Records (2S719)
Yes’ winter tour in 1974 lasted about a month and was a quickly arranged way to try out the new material on the road.  These shows featured a very short (for Yes) set list that was focused on the new songs.  Later Relayer tours would feature the long solo spots and acoustic set, but these are very focused ensemble playing.  There are many documents on tape including the recently excavated Baton Rouge tape, but Boston remains the only professionally recorded tape in circulation.

Unfortunately it is not complete, missing the final song of the set “Ritual” and quiet possibly another encore since “Siberian Khatru” pops up in some of the gigs.  This release begins with the announcer speaking about the special two part Yes and Gryphon special before the “Firebird Yes SA bSuite” and the new song “Sound Chaser.”  The song was so unusual in dynamics that even the radio engineers don’t know how to handle it and the backing vocals sound a bit out of tune.

A perfect Moraz-tinged “Close To The Edge” follows before Jon Anderson says, ”It’s nice to be with you again… What we’d like to do is play our new album to you.  And some other things later on.  Now we’d like to play something called ‘To Be Over.’”  What follows is a pristine version of one of their most sublime creations.

The DIR announcer has a few words afterwards before Anderson introduces the first side of the new album “Gates Of Delirium.”  Much like “Sound Chaser,” the sound engineer plays around with the mix and sometimes Moraz’ backing organ sounds are louder than Howe’s stratocaster.

Having such a clean recording strips the number of some of its excitement since the audience’s reaction is hardly visible.  However, some of the Boston faithful do get some of their whistles in during the song and thankfully the engineers figure the song out enough to capture a great version of “Soon,” the closing peaceful section of the new epic.

“Thank you very much.  Hope you like the new songs.  We’d like to play for you ‘And You And I’” he says before one of Yes’ most popular stage numbers.  It was on this tour that Chris Squire began to play the harmonica during “The Preacher The Teacher.”  Anderson encourages the audience to dance along for the final song of the night “Roundabout.”

From a collector report: “…an entire audience recording of this show has surfaced from ‘DLampinski’ that sounds incredible. There’s quick tape splices in ‘gates’ & ‘ritual’, but the difference between this audience tape & the KBFH version is like the difference between the specific Detroit show in August 76 & the butchered versions from that show which eventually ended up on “Yesshows” 2LP…”

As with many KBFH recordings, their new owner wolfgangsvault has this one as well in complete form:

Source: FM broadcast from the Great American Music Hall in San Francisco on August 13, 1975

Released officially by the band as ONE FROM THE VAULT in 1991

Review from

“Of the literally hundreds of potential dates that could have been chosen for this package, there were multiple factors that made the band’s August 13, 1975 show the best candidate for the debut installment in the Grateful Dead‘s One from the Vault series. For starters — as is evident by the outstanding fidelity — the audio quality of the master tapes was excellent. Another obvious plus is that the entire band are eager to dig in, dust off their collective chops, and prove that their 19-month sabbatical hadn’t made them rusty. Deadheads concurred as the temporary cease in touring increased speculation as to the Grateful Dead‘s future. So it was with great anticipation that Jerry Garcia (lead guitar/vocals), Phil Lesh (bass/vocals), Bob Weir (guitar/vocals), Bill Kreutzmann (percussion), Mickey Hart (percussion/crickets) — who hadn’t been a participating bandmember since 1971 — and the husband and wife team of Keith Godchaux (keyboards) and Donna Jean Godchaux (vocals) took to the stage of The Great American Music Hall in San Francisco — for what was only their third public appearance in over a year-and-a-half. Add to the equation that they were not only going to preview material from their new album Blues for Allah (1975), but most every Deadhead in North America would hear the gig via broadcast on the nationwide Metromedia Radio Network. Proof that the Grateful Dead were still in demand was evident by the double-LP bootleg Make Believe Ballroom, which was lifted right off the radio and offered for sale within months.

In terms of content, Disc One is heavy on Blues for Allah, commencing with a flawlessly and passionately executed “Help on the Way” and the tricky syncopated instrumental link “Slipknot!” that connects it to a prototypical “Franklin’s Tower” preceding a note-perfect take of “The Music Never Stopped.” The latter two tunes would become permanent fixtures in the Grateful Dead‘s repertoire for the remainder of their existence. Most notably, this is the third (of only six) live rendering of the intricate instrumental “King Solomon’s Marbles” (aka “Stronger Than Dirt”) that evolves out of the excellent “Eyes of the World” via a feisty percussion duet between Hart and Kreutzmann. It should be mentioned that producers took the liberty to resequence the running order to accommodate the time considerations of the CD medium. Whereas the actual first set concludes here and would pick back up with a version of Chuck Berry‘s “Around & Around” to begin the second set, the song is tagged onto the end of Disc One. Disc Two opens with the familiar favorites “Sugaree” and the cover of Johnny Cash‘s “Big River” — both part of the Grateful Dead‘s songbook since 1971. Rarer is the inaugural performance of Weir‘s beguiling acoustic composition “Sage and Spirit,” which had grown from a finger exercise the guitarist used when warming up. In fact, the only other time he unveiled the melody was during the final evening of the legendary 1980 multi-night run at Radio City Music Hall that saw the combo play unplugged (read: acoustic) before their two usual electric expeditions. Other top-shelf and not to be missed offerings include “Eyes of the World,” a note-perfect “It Must Have Been the Roses,” as well as the funky and driving staple “Goin’ Down the Road Feeling Bad.” “


Re-release on Ken’s Beacon Island Records outfit ca. 1979/80:    

                                                                                                         Grateful Dead MB Ballroom                     Grateful Dead MBB back

TAKRL says: “Disc-to-disc copy of European underground.” [ US underground actually, as it was a  1975 Wizardo release (see below) ]

Live at Empire Pool, Wembley, London, England, 17 November 1974 

A1         Raving And Drooling     10:37     
A2         You’ve Gotta Be Crazy     12:12     
B1         Shine On You Crazy Diamond     23:06

Cover says: Recorded During The 1974 Tour Of Great Britain  Tape Courtesy Of W.Z. ARDO, Long May It Wave



RARITY RATING: ***(TWO COLOUR INSERT) ****(TRI COLOUR INSERT) – A copy reached $123 at auction in January of 2013.



The LP source:

Pink Floyd Screaming AbdabA         Shine On You Crazy Diamond     21:47     
B         Raving And Drooling (12:25) / You’ve Gotta Be Crazy (12:16)     24:41

The source tape was an audience recording, London, 17 November, 1974; alternate LP title is ‘You Gotta Be Crazy (sources: WWW.DigiLander.Libero.IT and WWW.VinylCult.Org). Side A on cover is Side B on LP, and vice-versa [ this was likely just a label mix up ].

From “The bonus cdr for Raving Lunatics [ a 3CD bootleg on the Siréne label ] is a copy of the vinyl release The Screaming Abadab on Wizardo (WRMB 330). Also released as Raving And Drooling (TAKRL 1973), Raving And Drooling on Beacon Island Records (2S722) along with the KQED 1970 broadcast, and many others, Sirene copied straight from a vinyl copy complete with surface noise. It is a good and clear mono audience recording that cuts out at the end of “You Got To Be Crazy”. It is listenable but flat and lacking in dynamics. The entire show was taped and might someday make a really nice two-disc release that would be very much welcomed since the performance is actually better than the previous night.

This almost looks like a fake TKRWM cover design. Interesting how it has the TKRWM and part of the TAKRL logo.

Raving And Drooling on Ken’s later Beacon Island label:

Pink Floyd Raving and Drooling

Pink Floyd Raving and Drooling b

Disc 1 was a repressing of Ohm Suite Ohm (TAKRL 1933). Some copies still contain(ed) the same mispressed side as the first release : “JONI MITCHELL ON SIDE FOUR”.

Source:  Nassau Coliseum, NY – August 15th, 1974


A: love the one you’re with, wooden ships, immigration man, down by the river, grave concern    B: johnny’s garden, almost cut my hair, teach your children, the lee shore, time 
after time, simple man, it’s alright, only love can break your heart, love art blues
C: hawaiian sunrise, pardon my heart-> the old homestead, blackbird, myth of sisyphus
D: suite: judy blue eyes, deja vu, first things first, on the beach, carry me, pre-road downs, walk on, black queen, roll another number, long time gone, ohio, carry on

Audio quality listed as “Vgm”

From collectorsmusicreviews: “[…] two 1974 [Neil Young] rarities.  […]  ”Pardon My Heart,” played in the 1974 Bottom Line show in New York and once more on August 15th that year in the Nassau Coliseum with CSNY. “



Reissued around 1979 with a color cover on Beacon Island (# 2S718):

CSNY Nice To See You

Warning: Some copies have as disc 2 a re-issue of The Rolling Stones’ “Sonic Barbecue” instead.