Manufactured in the Los Angeles area: 1977. Apparently, the planned part 2 never happened.
Likely only 100 copies pressed. Matrix: 75281 (‘wrmb’ scratched)
Source: Patti mentions seeing the Stones at Earls Court in London a couple of months ago (when she was in London as well to perform at the Roundhouse and appear on the BBC’s Old Grey Whistle Test). death records tended to record concerts in the Seattle or L.A. area only, so my best guess is that this comes from her Roxy, L.A. concert from November of 1976.
Quality comment: “The sound quality is good to excellent (but Patti sounds completely worn out).”
Side A: “Free Money”, “Pale Blue Eyes/Louie Louie”, “Ask The Angels”, “Time Is On My Side” Side B: “Pumping (My Heart)”, “Ain’t It Strange”, “Gloria”
Thanks to Andrew for pointing out this release and reporting back on the content.
Recorded November 18, 1976 – NBC TV Studios, New York, NY
A1 George Harrison, Lorne Michaels, Don Pardo, Paul Simon – Opening A2 Paul Simon – Still Crazy After All These Years A3 Paul Simon – Fifty Ways To Leave Your Lover A4 George Harrison, Paul Simon – Here Comes The Sun A5 George Harrison, Paul Simon – Homeward Bound A6 George Harrison – Crackerbox Palace (promo video soundtrack) B1 Paul Simon – Something So Right B2 Dan Aykroyd, Paul Simon – Skit B3 George Harrison – This Song (promo video soundtrack) B4 Paul Simon – Bridge Over Troubled Water
In other words, someone videotaped the broadcast episode and used that to master this bootleg LP. This is not even the rehearsal tape as I had thought, which would have at least offered a rare recording.
Matrix / Runout (Side A): XXXX 532-A
Matrix / Runout (Side B): XXXX 532-B
“17 1/2 minutes of the Saturday Night Live taping exists as a fair quality audience tape. Most of the performances are fragmentary and consist of little more than a single line. Better quality excerpts of the recording (which appears n its most complete form on [the CD] Living In The Underground) can be found on the 2LP set Somewhere In Utopia. The performances included in the broadcast do not appear on the rehearsal tape.”
1. Here Comes The Sun (2 passes)
2. Homeward Bound
3. By Bye, Love
4. Don’t Let Me Wait Too Long
5. Yesterday
6. Bridge Over Troubled Water
7. Rock Island Line
8. Ride Of The Valkyries
9. Here Comes The Sun
[Madinger, Easter: Eight Arms To Hold You, p. 456]
Also this gem of a Dylan site http://www.searchingforagem.com/ [no longer exists] states that the song is copyrighted under the title “Nowhere To Go”
NOWHERE TO GO Bob Dylan/George Harrison, 1968 H Actual copyrighted title for the song performed at Woodstock, New York State, as a duet by Bob and George in November 1968 and circulating mainly under the title EVERY TIME SOMEBODY COMES TO TOWN
**** On a side note: ****
3:22 of this recording had also been released in 1977 on the original 20 X 4 LP on Ruthless Rhymes JPGR 1177. It was reissued in 1979 and 1981 on JPGR REMIME OBS-204 with the last track on Side 2 omitted and in lesser sound quality. That last track was the released version of ‘Homecoming Queen’, the bootleg has as track 7 an offline recording of the song mistitled as ‘Penny O’Dell’. The performer is Kenny O’Dell and the song was issued in 1972 on the B-side of his single “Lizzie And The Rain Man” on Kapp K-2178 – no Paul or Beatles involvement and certainly not from Paul’s 1974 Nashville sessions as claimed.
****
“I liked I’d Have You Anytime because of Bob Dylan. I was with Bob and he had gone through his broken neck period and was being very quiet, and he didn’t have much confidence. That’s the feeling I got with him in Woodstock. He hardly said a word for a couple of days. Anyway, we finally got the guitars out and it loosened things up a bit. It was really a nice time with all his kids around, and we were just playing. It was near Thanksgiving. He sang me that song and he was very nervous and shy and he said, ‘What do you think about this song?’ And I had felt strongly about Bob when I had been in India years before, the only record I took with me along with all my Indian records was Blonde On Blonde. I somehow got very close to him, you know, because he was so great, so heavy and so observant about everything. And yet, to find him later very nervous and with no confidence. But the thing he said on Blonde On Blonde about what price you have to pay to get out of going through all these things twice, ‘Oh mama, can this really be the end?’ And I thought, ‘Isn’t it great?’ because I know people are going to think, ‘Shit, what’s Dylan doing?’ But as far as I was concerned, it was great for him to realise his own peace and it meant something. You know, he had always been so hard and I thought, ‘A lot of people are not going to like this,’ but I think it’s fantastic because Bob has obviously had the experience.” (George Harrison in his book I, Me, Mine)
“Well known for his unsophisticated musical approach, particularly in comparison to the Beatle’s broader “harmonic palette”, author Simon Leng suggests, Dylan was eager to learn some more-advanced chords. Harrison began demonstrating various major seventh, diminished and augmented chord shapes – “all these funny chords people showed me when I was a kid”, as he later put it. While playing a G major 7 chord and taking the shape up the guitar neck to B♭ major Harrison realised, “Ah, this sounds like a tune here …” Keen to break down the barriers that Dylan had imposed during the visit, Harrison came up with the song’s opening verse:
Let me in here I know I’ve been here Let me into your heart Let me know you Let me show you Let me grown upon you.
At the same time, he was pushing Dylan to come up with some words of his own. Dylan duly supplied a rejoinder,[30] in the form of the song’s bridge-chorus:
All I have is yours All you see is mine And I’m glad to hold you in my arms I’d have you anytime.
“I was saying to him “write me some words”, and thinking of all this: Johnnie’s in the basement, mixing up the medicine, type of thing, and he was saying, “show me some chords, how do you get those tunes? I was saying to him, ‘You write incredible lyrics,’ and he was saying, ‘How do you write those tunes?’ So I was just showing him chords like crazy, and I was saying, ‘Come on, write me some words,’ and he was scribbling words down and it just killed me because he had been doing all these sensational lyrics. And he wrote, ‘All I have is yours/All you see is mine/And I’m glad to hold you in my arms/I’d have you anytime.’ The idea of Dylan writing something, like, so very simple, was amazing to me.” – George Harrison, on writing “I’d Have You Anytime” with Bob Dylan
“Beautiful – and that was that,” Harrison concludes in I, Me, Mine. He subsequently finished the composition alone.” (from the wikipedia article on I’d Have You Anytime)
What “cute” album titles US bootleggers come up with when confronted with a German band – sex or technical stuff it is! On the other hand, Germany did have that “heady” Kraut Rock movement paving the way for some rather technically centered performers such as Kraftwerk (and I am only scratching the surface here).
The above poster was for the Portland, OR show at the Paramount Theater on April 17 ’77. Now the insert below for what is supposed to be the Seattle recording says “Paramount” also, someone must have gotten confused.
A few copies got out undetected that have a different matrix on side 2: W 532B and play four Who songs: A Quick One, Easy Goin’ Guy, Shakin All Over and Boris The Spider
Also the usual limited run on K&S:
The Death/K&S LP has:
Side 1: Dreamer / Rudy (Gs) / Fools Overture Side 2: Lady / Crime Of The Century
Described as “Vgs”. My issue is that I have looked at every surviving recorded fragment from this tour and “Rudy” was never played or captured at any other time and it is singled out here for worse quality. Could it be from a different source and year (it was part of their 1976 shows)?
Set lists for 1977 “Even In The Quietest Moments” Supertramp shows: (a. Dan Lampinski ‘Boston June 12’ recording):
01 School
02 Ain’t Nobody But Me
03 Give A Little Bit
04 Bloody Well Right
05 Sister Moonshine
06 From Now On
07 Hide In Your Shell
08 Poor Boy (cut)
09 Babaji
10 Asylum
11 Dreamer
12 Another Man’s Woman
13 Fool’s Overture
14 E: Two Of Us
15 Crime Of the Century
b.) Jaap Eden Hall, Amsterdam, Holland, 11 Oct 1977
1 School
2 Ain’t Nobody But Me
3 Give A Little Bit
4 Bloody Well Right
5 Sister Moonshine
6 From Now On
7 Hide In Your Shell
8 Asylum
9 Poor Boy
10 Babaji
11 Dreamer
12 Another Man’s Woman
13 Fool’s Overture
***
Set list for Procol Harum (identical with LP track list):
Conquistador
Simple Sister
Grand Hotel
Whaling Stories
The Mark of the Claw
Pandora’s Box (listed as “The Spanish Maine”)
The Unquiet Zone (listed as “No Wings”)
A Salty Dog
Side 1: It’s All I can Do / Jolene / My Tennessee Mountain Home / Do I Ever Cross Your Mind / Coat Of Many Colors / Apple Jack Side 2: I Will Always Love You / Your Memory Keeps Getting In My Way / Me And Little Andy / How Does It Feel / The Seeker / I’m Holding On To You
“R: Exs. S: The Roxy April 15 ’77”
Date is confirmed, see a collection of 1977 DP tour dates here:
This must have been Death Records’ best seller as it met with the band’s rocket-like rise after the Budokan album leaked as an import. Also on clear vinyl (looks like a re-pressing). This LP was plentiful around 1979/80, try finding one now that isn’t an arm and a leg.
Side 1: Oh Candy / Southern Girls / Cry Cry – rated “Fair mono” in Hot Wacks. I actually think it is better than that. Never did they sound heavier than on this recording as the recording emphasizes the bottom end. Recording is from my collection.
Side 2: Big Eyes / Taxman, Mr. Thief / He’s A Whore / Goodnight Now
Below, one of only about 50 copies pressed on yellow wax:
Side 1:
1. Queens Of Noise 2. California Paradise 3. Take It Or Leave It 4. Don’t Abuse Me 5. Heartbeat
Rated “Fair mono” in Hot Wacks and this seems accurate to my ears. Cover image in the YT clips shows the K&S re-pressing – “very limited pressing from Death 525 plates” as HW states.
Side 2:
6. Alright You Guys 7. I Love Playing With Fire 8. American Nights 9. Cherry Bomb 10. Come on
