Vinyl is still very much alive and so are new vinyl boots, it seems. They are just much more expensive now (but the pressing runs are more limited as well).
Vinyl is still very much alive and so are new vinyl boots, it seems. They are just much more expensive now (but the pressing runs are more limited as well).
Source: Mining the Live Aid radio broadcast from July 13th ’85 for two double sets. Selected were the performances by David Bowie, Bryan Ferry with David Gilmour), the Wembley Finale, Paul McCartney, F.Mercury & B.May, the Power Station and Duran Duran.
ETS 2588 A: TVC 15 / Rebel Rebel / Modern Love / Heroes / Sensation / Boys and Girls / Slave To Love / Jealous Guy
ETS 2588 B: Do They Know It’s Christmas / Is This The World We Created?
ETS 2589 A: Let It Be / ? / ? / ? / Murderess / Get It On (Bang a Gong)
ETS 2589 B: A View to a Kill / Union of the Snake / Save A Prayer / The Reflex
[Not an accurate track list, I just tried to piece it together from various sources.]
Volume 2 presents Eric Clapton, Led Zeppelin (with Phil Collins), The Who, Black Sabbath, Mick Jagger (w. Hall&Oates, Eddie Kendricks, David Ruffin and Tina Turner), Bob Dylan (w. Keith Richards & Ronnie Wood) and the finale in Philadelphia.
ETS 2590 A: White Room / Rock & Roll / Whole Lotta Love / Stairway To Heaven
ETS 2590 B: My Generation / Love Reign On Me / Won’t Get Fooled Again / Paranoid
ETS 2591 A: Lonely At The Top / Just Another Night / Miss You / State of Shock / It’s Only Rock & Roll
ETS 2591 B: Ballad Of Hollis Brown / Ship Comes In / Blowing In The Wind / We Are The World
Meanwhile, someone in Europe went “the whole hog”and issued everything on a 12 LP box (ca. late ’85/86):
Peter Blake art work
Japan: 1983/84 – the first Japan Bowie bootleg since MARC Record’s DON”T TOUCH THAT DIAL
2536 A: Intro (named Stick McGee on this release) / Star / Heroes / What In The World / Golden Years / Fashion / Let’s Dance
2536 B: Red Sails / Breaking Glass / Life On Mars? / Sorrow / Cat People / China Girl
2537 A: Scary Monsters / Rebel Rebel / White Light White Heat / Station To Station / Cracked Actor 2537 B: Ashes To Ashes / Space Oddity – Band Intro / Young Americans / Hang on To Yourself / Fame
2538 A: Stay / Jean Genie / Modern Love / Blue Moon Of Kentucky
2538 B: Look Back In Anger / Joe The Lion / Wild Is The Wind / I Can’t Explain / Soul Love / TVC15
Run Time: 2:10:15
Source: The majority of this recording comes from an audience recording from Birmingham, NEC Arena
on 6 June, 1983. The first 5 tracks on the last side are from Brussels, Vorst Nationaal 18 May, ’83 and the final song was taped at London’s Wembley Arena on 3 June, 1983
Quality rating: “Bassman Says: All songs are in excellent sound quality.”
“Ziggy In Concert says: The complete Birmingham show with some nice bonus tracks from other shows. This title is often called “Stick McGee” after the name of the song that plays prior to the concert starting. This is a very good (for the time period) recording of a nice 3xLP set. There is a little bass echo that can be a little annoying at times when listening with headphones, but for a 1983 audience recording this is a good one.”
From a comment left on this blog: “i don’t like the mastering of the Birmingham show,(not enough bass). there is another birmingham 83 2LP boot with different mastering but its incomplete, distorted and has backwards tape bleed through on it, can’t tell if its the same source but the distortion makes cracked actor sound amazing!” [My comment: bassmann’s Bowie bootlegs site lists no other release for this date]
The famous and elusive neon permafrost, Oslo 5 June 1978 – Scandinavian bootleg, originally released in 1979
The seller happened to be at the right place at the right time:
“I used to go to record fairs all the time in the late seventies and eighties and pretty much bought all releases of this ilk from Stardust from the Seventies to Modern Feeling. I knew most of the dealers, in the South East back then, one of whom was particularly good at helping me out source titles. He had a stall, at a London fair, when a Scandinavian came in and wanted a heavy trade for two copies of Neon Permafrost….four double LP’s for the pair i.e 2 for 1. Normally it was 1.5 to 1 for Swedish titles such as caught in the act, one magical moment, etc. Fortunately he did the deal and I got one of those two copies. It could have been that in subsequent weeks there was a deluge of them and I would of felt I overpaid. However, I never got a sniff of another copy, even a Swedish dealer I frequently purchased from had not seen one but had merely heard of it.“
The number that’s missing from the copy above:
And here shown with the two single LP re-issues that contained the first part of the show only.
Did the originals have blue labels?
Japan: Second half of 1976
Source: David Bowie at Wembley Empire Pool, 07 May, 1976. Night # five of a six night run.
Side 1: Station to Station (cuts in, first 3 mins are poor/fair) / Suffragette City / Fame / Word on a Wing / Stay / Waiting for the Man [28:15]
Side 2: Queen Bitch / Life on Mars? / introductions-Changes / TVC 15 / Diamond Dogs [29:15]
Concert set list:
Station to Station
Word on a Wing
I’m Waiting for the Man (Velvet Underground cover)
Life on Mars?
Panic in Detroit
The Jean Genie
For years, I have been led to believe that the audio quality of this recording is terrible – Heylin calling it “godawful”. In fact, this might actually be one of the better recordings from this series of concerts.
Have a listen to two samples here: http://floorboards.blog.co.uk/2011/06/18/david-bowie-tvc15-11336034/
” it is a good sounding audience recording for the era. The performance is excellent and is great fun to hear, with Bowie in great voice and jovial mood (drunk again!) Tony Kaye really shows his class on this too. […] It’s a shame the intro to Station To Station is cut as Stacey Heydon was a class act and really did a magnificent job on it. Several tracks are missing but that’s the way with boots of this era. I remember DB created the howling effect at the end of Diamond Dogs by standing on the edge of the stage and swinging his microphone Roger Daltry style in front of the PA stack to get the feedback on every pass. Too funny.” [uploader comments]
While in the US, the FBI was busting bootleggers, the UK had the British Phonographic Institute (BPI) and it’s Anti-Piracy Unit. The BPI represented the interests of British record companies since being formally incorporated in 1973 when the principal aim was to promote British music and fight copyright infringement. Unfortunately (for the BPI), while the FBI was part of law enforcement, they were just a private limited company.
In 1979, the BPI ended up copying MARC’s LP – contrary to common belief, they had not picked the original bootleg and made that decision but claim to have been “forced” in order to continue their investigation, a classical case of ‘the ends justify the means’.
“The investigations started following a tip about a Manchester-based bootleg operation importing US bootleg product into Holland…” [Billboard, 8 September 1979]
“[The Wembley Wizards] weren’t pressed to implicate. They were purely pressed so the guy could maintain his cover … All the investigator did was to act as the middle man. He was approached by the gang and the gang said to him. ‘Look, you say you can manufacture records, we would like you to get 2,000 manufactured for us.’ The guy had to say yes because of his cover. But there is no question of those records being used to implicate anybody. There were literally tens of thousands of them around at the time. It’s in the press releases. They were being pressed in America and coming over via Holland.” [Richard Robson [BPI] in New Musical Express, 2 August 1980]
Robson’s final statement must have been about all Bowie bootlegs ever made and simply cannot have been about the MARC album, pressed in a run of perhaps 2-300 and imported into the UK in tiny quantities by a mail order company in the Netherlands called Unique Records. At least, he got it right about product coming in from Holland! This is probably a good point to explain that bootlegs by Western artists with material recorded before 1978 (when Japan which had become a member of The Phonogram Protection Convention),
Heylin comments Robson’s statement with “Either Mr. Robson was very good at the bare-faced lie or astonishingly ignorant ignorant …” [Bootleg, p. 214]. There is another Robson quote where gets it spectactularly wrong: “All we did was re-press and mark an album that had already been in circulation.” I would tend to lean towards ignorance, mixed with a good dose of PR exaggeration. This was going to be another proof that the institutions who dedicated themselves to fighting bootlegging in the late 1970’s usually didn’t understand this sub-culture at all.
“The BPI’s main investigator at this time wa one Bill Hood. He had hooked up with a motley crew of Manchester bootleg retailers and was convinced that they could help him unravel the entire chain of bootleg shops in the UK. The Mancunians were operating from Bookchain, a shop on Peter Street inhabited by staff familiar to anyone who had ever frequented Manchester’s original bootleg store, Orbit Books.” [Bootleg, p. 215]
“Hood successfully infiltrated the gang and actually visited the home of a supplier. And yet, mysteriously, he was still ‘unable to gain concrete evidence against the major suppliers’ … Hood chose not to follow the tortuous path back to origins but to ‘involve myself in the manufacturing process. It was decided by me and my supervisors that I pose as a presser of bootleg records … I had been told that one of the members had some metal casts and that he wanted some pressings done urgently. … I was given these metal casts and asked to press 2,500 records from them. I took the casts back to London where a member of the BPI did the necessary pressing for me’ … And not only did Hood’s pressing amount to practically the grand total, but the whole Moonbeam bust […] hinged on this one pressing … There were no Wizards to speak of until Hood did his pressing.” [New Musical Express, 2 August 1980]
In my opinion, this bootleg would have been pressed regardless if the BPI had lent a helping hand or not; as we can read above, the mastering and transfer to the pressing plates had already been done, someone was taking care of the art work (clearly not a Bowie connaisseur – they also forgot to list “Stay” on the wrap-around insert), the BPI’s involvement was limited to pressing the records. Not that it wasn’t entrapment, of course.
UK: Summer of 1979 (ca. 2.5 years after the release of the Japanese original)
Four different versions can be identified:
1. b&w folded wrap around around insert. Blank white lables, stamped matrix: CCIA (side A) plus “The Actor 79” / CCIB (side B). “There are also the letters “EG” together with a long horizontal stroke stamped on each side. The etchings are all quite deep.” All copies seem to suffer from clicks during “Queen Bitch” and “Life on Mars?”
2. Plain white sleeve with a sticker labelled in green print and bold letters: “The Wembley Wizard Touches The Dial” “Limited Edition”. As expected the disc itself is identical to the one described above in every way, The obvious explanation is that they ran out of inserts and substituted the green stickers instead.
Both versions came in dated inner sleeves that were also used for officially released records. Was this normal for UK bootlegs or could this have been a sign of a Trojan horse? On the other hand, I doubt bootleg dealers paid much attention to inner sleeves.
Writing on the left:
3. 1 / 2 labels and pressed on thicker PVC than the standard copies shown above, however the matrix markings are still the same as described above. One can faintly see the ‘1’ on the label here:
“The pic sleeve of [versions 1 & 3] has been printed quite dark. Since I have seen a more detailed, less dark printed cover, I started to question whether my copies are part of the original BPI release, or a release pressed soon after the raids when the album became a hot must have item.” [collector comment]
4. 1982 reissue with printed labels and a new/different matrix. Runs slow.
“I got my copy at a record fair in Leeds when the BPI ones first came out. The usual price for single LPs was always £8 to £10 depending on how much bargaining you could do with the seller. I remember knowing exactly where to go when I got in to the hall, the stall with loads of people all trying to get it quick! So I got in to the small but tightly packed throng and I think it was £10. The dealer didn’t have to make any deals that day. […] on the day of the fair plenty of Bowie fans were after it, the stall I got it off was busy as soon as it was apparent he’d got them, that I do remember.” [Quotes and many of the images in this section taken from the Illustrated gb discography forum]
Most of the Wembley Wizard’s were not recovered, of course but sold as described above and injected into market of eager bootleg buyers. It is said that only 250 copies were eventually seized.
“‘Britain’s recording industry has cracked a bootlegging syndicate!’ screamed the tabloid press. ‘Undercover agents working on an investigation code-named OPERATION MOONBEAM have carried out raids in London, Manchester, Newcastle and St. Helens.’
Beneath familiar mug-shots of Bob Dylan, David Bowie, and Elton John (‘BOOTLEGGED!), the reports went on to stipulate how, in April 1979, a telephone tip-off had set into motion the greased wheels of Operation Moonbeam.
‘Inquiries led to Manchester where stocks of bootleg records were being imported from America.’The ingenuity of the Moonbeam agents was such that ‘One investigator posed as a manufacturer to infiltrate the network’ while ‘Suspects were trailed all over the country by BPI investigators with long-range cameras’.
Both Orbit Books and BOOKCHAIN (the third Savoy outlet, Peter Street) were hit by the operation. David Britton found himself in the High Court in London, agreeing to pay the BPI a sum of £7,250 for damages and costs, as well as to a permanent injunction, not to make, sell or offer for sale any bootleg recordings.
“We were two days late making the first payment of £l,000,” says Butterworth of the fine. “They sent the cheque back and instructed the bailiffs to move in straight away and stuck further costs on top. This was our second bust… at Orbit Books we had been done over by the BPI as early as 1976.” [http://www.savoy.abel.co.uk/HTML/hdprss.html]
In a meeting on June 24, 1981 the BPI celebrated the profitable conclusion of ‘Operation Moonbeam’. The association’s lawyer Tony Hoffman tallied up the final numbers. $100,000 had been spent by the BPI with won damages of $60,410 already received and another $44,562 expected. Seized equipment was valued at $4,000 and the street valued of confiscated bootlegs was valued at $200,000.
Ironically, Hoffman called the album “a great success” and mentioned the favorable review it had received in Hot Wacks Quarterly as if the BPI had been involved in its artistic creation. “The final accolade, he said was a new American bootleg album of Bruce Springsteen which carried on the jacket the legend “Produced by William Hood and manufactured by Moonbeam Records Inc.” [Billboard, 4 July 1981]
Operation Moonbeam’s most significant result was the implication of Rough Trade Records as a bootleg retailer. The store, on the verge of becoming an independent record label was fined GBP 10,000. “Virgin had been busted in 1973 for carrying shifty product, and the spotlight now turned to Ladbroke Grove.
Today’s hipster darling label was mostly a shop back then and Punky bootlegs were part of its scheme, especially for mail order customers in the States. That stopped. However, the rest of Operation Moonbeam was covered in dog mess steam. Stores that never had a bootleg before stocked the BPI knockoff, and charges were served to the wrong names with duff addresses. The Police first were frustrated, then livid. The Courts were even less helpful – reminding all that stung wholesalers were “perfectly entitled to stay silent about their customers and suppliers…alleged offenders protected from self incrimination by long standing legal privilege.” The Judges involved curled out much angry scat on the BPI and its faux cops.
Retarded press statements were made by Bill and the BPI, a lot of congratulations all round until the dust settled on a pint of the cold piss that is reality. A tonne of punters had been turned on to bootlegs. And the confusion around international copyright had also been exposed. Western acts had no protection in Japan, and on the Continent major loopholes about what was recorded live, when, by whom and the nationality of the artists concerned appeared like magic in the dusty law books. The stage was set for a new explosion of bootlegs from Europe. Bill retired in mockery. Ken cracked a knowing smile and put up the mainsail.” [http://www.ratrecordsuk.net/blog/item/99355-loose-booty-3-the-man-strikes-wack.html]
“Inevitably. Hot Wacks was not the product of some dispassionate observer but someone who had been getting his own hands dirty. Kurt Glemser was already dipping into the mire at the time of Hot Wacks IV. K (as in Kurt) & S Records’ first release, a collection of live Led Zeppelin recordings, had appeared at the beginning of 1976. In the grand tradition of copycat bootleggers, Sin City Social was a shoddy mix’n’match drawn exclusively from TMQs Bonzo’s Birthday Party, Three Days After and Blueberry Hill.” [Heylin, Bootleg, p. 131]
**** 1976 ****
And in blue:
The ‘insider joke’ – and it took me a while to get this as well – is that the title is an alternative spelling for “Hurrah!)”.
A K&S original release, the Who recorded at Maple Leaf Gardens on 11 December 1975. Unfortunately, not a great sounding source tape to start with and since then surpassed by the CD releases presenting the complete show. One thing’s for sure, The Who tended to always put on a good show in Toronto.
Side 1: I Can’t Explain / Substitute / My Wife / Baba O’Riley / Squeeze Box / Behind Blue Eyes
Side 2: Dreaming From The Waist / Boris The Spider / Magic Bus
As hinted at by the label shown, above, this title was also issued by TMoQ as part of their deluxe 820x series – and this time with a famous William Stout cover design:
BECK-FAST already has its own post on another blog: http://rockonvinyl.blogspot.de/2011/01/jeff-beck-beckfast-1976-ex-bootleg.html
Link to concert review: http://www.dustyhat.com/images/Concert_Tix/Reviews/JeffBeck75.pdf
006: DAVID BOWIE ‘IN AMERICA’ – 100 copies on red PVC pressed from original TMoQ plates; does anyone else find it strange that “IN PERSON” was not ordered as well?
100 copies on red wax from original TMoQ plates.
And then there was yet another re-issue on mult-color wax, reminiscent of the Mushroom series:
008: ROLLING STONES ‘BURNING AT THE HOLLYWOOD PALLADIUM’ – 100 copies only.
“Q: Was it just Dub & Ken that you knew from that world or did you also get to meet Kurt Glemser (your drawing of Mick Jagger was used on the K&S version of ‘Burning At The Hollywood Paladium’), John Wizardo, Andrea Waters, the Rubber Dubber guy or any of the other bootleg producers from that era?
W. Stout: I met a few of the other bootleggers, usually at the Hollywood Record Swap Meet in the Capitol Records parking lot. For the most part they were pretty sleazy and seemed untrustworthy. This intuitive feeling was borne out when the other bootleggers started stealing TMOQ’s recordings and putting them out on their own labels. Meeting them made me glad I was working with “Ken” and Dub. I don’t think I ever met the Rubber Dubber — but I bought his records. I don’t think I ever heard of Kurt.
Q: Did anyone else approach you to do work for them?
W. StoutI think the other bootleggers were too intimidated by “Ken” and Dub to ask me to do covers for them. It was probably perceived of as a “turf” thing.”
The copy shown below reached GBP 1220 at auction in March of 2011.
009: LED ZEPPELIN ‘BLUEBERRY HILL’ – 150 pressed from the EV666-664 plates and either because they felt it looked better with labels or these just happened to be available: With TAKRL and 1970’s GLC labels. The copy shown here sold for $1,325.00 in January of 2014. K&S may have done mostly copy jobs but they certainly increased nicely in value in many cases.
The cover “inspiration” – Humble Pie’s 1970 album.
150 copies made as well but this classic Who release can be had for much less (under $300) compared to the two preceding titles.