Fake Idle Mind Label – Japan

Genesis AWNAHGenesis AWNAH b

Genesis AWNAH lblGreat capture of the hand-written matrix

The first Japanese Genesis bootleg, released in 1977, before their Japan tour and before the hits and triple box set bootlegs ( KEBAB ) would actually happen. This may have been the last bootleg released as part of this series. Just a few hundred pressed but not so hard to find these days.

Matrix: GR -1597 A 12- / GR-1597 B 11-


Side 1: Squonk / One For The Vine  [Earls Court, London June 23, 1977]
            Your Own Special Way     [Free Trade Hall, Manchester Jan. 11, 1977]
            Inside And Out / The Carpet Crawler / Afterglow  
Side 2: Eleventh Earl Of Mar / I Know What I Like / Dance On A Volcano    [Earls Court, London June 23, 1977]
            The Lamb Lies Down On Broadway / The Musical Box  [Earl’s Court June 24, 1977]   


Apparently, all used source tapes were quite distant and miserable sounding, earning this one just a “Fair mono” rating.


Genesis 77 Tour

Genesis poster 77

Genesis Man FTH Jan 11Genesis Earl's Court June 23

The rise of the bootleg industry in Japan from 1975 onwards coincided with the visits by new rising stars, such as Queen and Rainbow.  Their 1976 tours were not just being taped by a number of enterprising fans and collectors – like Mr. Peach, who taped every single performance – but multiple titles were made available on the underground market. There were three for both bands: ZOOM, INVITE YOU TO A NIGHT AT THE OPERA and LAZING ON A SUNDAY EVENING  for Queen and BLACKMORE THE RAIDER, plus the lesser known CATCH THE RAINBOW and Seven Bridge Rainbow bootlegs.

In addition, a recording of the Nagoya concert on December 7th made its way into the hands of Vicky Vinyl and was released in 1977 as GUITAR VANGUARD with Dragonfly, Duck and Ruthless Rhymes labels. Yet another Japanese release – SORT OF FUCKING BORING OLD FART – made use of a tape from the Munich, Germ,any concert.

BLACKMORE THE RAIDER contains an excerpt of the first show of the tour, which took place at the Tokyo Taiikukan on 02 December, 1976(its English name is Tokyo Metropolitan Gymnasium).  Built in 1954 for the World Wrestling Championship and also used as the venue for gymnastics at the 1964 Summer Olympics, this venue was only used in a few occasions for rock concerts. Pink Floyd and Rory Gallagher had previously played here on their second Japan tours in 1972 and 1975, respectively. It seems that the first show had a crowd problem already, something that would repeat in other shows as well and culminate in the death of a fan at the Sapporo concert on their next tour in early 1978.

Matrix: IMP 1202 A II” / “IMP 1202 B II  (handwritten, like for all fake IMP releases)

Japan: 1977 (doubted by the excellent Rainbow bootlegs website but this is not a US release, which becomes clearer when seeing all these fake Idle Mind titles presented together). Tapio states 300 – 500 may have been pressed.

Audience recording rated. VG+/EX- Total time: 57:56

The following is the original set list and bold titles are on the LP (or excerpts of these). “Catch The Rainbow” has a cut. In “Stargazer”, the keyboard solo intro has been omitted, “Still I’m Sad” is only the second half.

Band Tuning – Over The Rainbow

Kill The King

Mistreated Introduction, Riot, Promoters Speech, Mistreated

16th Century Greensleeves

Niji, Herz and Mund und Tat und Leben BWV147 – Catch The Rainbow

Band Intro

Guitar Solo

Lazy – White Christmas – Man On The Silver Mountain – Blues – Man On The Silver Mountain – Starstruck – Man On The Silver Mountain

Ronnies MC – Keyboard Solo


Still I’m Sad, Keyboard Solo, Drum Solo – 1812 Overture – Drum Solo – Still I’m Sad (reprise)

Do You Close Your Eyes (guitar clashing) – Over The Rainbow

Rainbow Blackmore The Raider 1202

Rainbow BtRaider xl

Rainbow Blackmore The Raider detail

Rainbow Blackmore The Raider b

The insert is described as “rather thin and brittle paper”. Some copies appear orange while others lean more towards a faded red/almost pink appearance.


Rainbow J Tourbook 76

The tour book and a ticket for the final day of the tour.

Concert description based on the Aquarius source tape used for one of the later CD releases:

“Rainbow’s first Japanese tour in December of 1976 is well covered in traders circles as recordings for all the gigs circulate and some shows have multiple recordings, also the band professionally recording some of the dates for the On Stage record. This release covers the first show in Japan and the first of three shows in Tokyo. The recording is slightly distant and muffled and becomes distorted at the really loud parts but you can make out the individual instruments for the most part and there is little if any hiss present.

The recording is said to come from the master cassette from Aquarius. The show opens with a typical brutal version of Kill the King that starts the crowd off, by the time Ronnie James Dio does the introduction to Mistreated the crowd is so worked up they beginning to get out of hand and a rush the stage so the concert is halted while order is restored. While know for his fantasy based lyrics Dio does very well singing this classic song and it is very well received.

Niji is nothing more than Ronnie lighting up the large rainbow that would cover over the stage and serves as the introduction the a beautiful Catch The Rainbow. The studio version is merely a introduction the live versions from this era,  14 minutes of fantastic playing as Blackmore pushes himself in a flurry of notes.

Band introductions, a brief snatch of Purples Lazy and a little White Christmas flows into a nice Man On The Silver Mountain, the sound of the band and the clapping of the audience is almost too much for the recorder the handle, typical of the era the track includes a nice blues section and a snippet of Starstruck. What is nice when Blackmore goes into a solo with out the band the recording clears up significantly so you can really enjoy the sound.

Disc 2 begins with Ronnie introducing a song about wizards and a typically heavy version of the classic Stargazer follow a brief solo from Tony Carey that sound a little like a Jon Lord solo at times. Stargazer on stage is stunning and is a shame that the recording is not clearer to even further enjoy is magnificence even more.

The old Yardbirds classic Still I’m Sad is up next, used as a vehicle for Cozy’s drum solo and the 1812 orchestration is it an essential part of the show. His drumming gives such a powerful backbone to the music it is often overlooked by Blackmore’s guitar, which leads us the what you would guess is the encore. The crowd is whipped into a frenzy by this point and goes crazy as Blackmore demolishes his guitar. The recording comes to an end, the band leaves the stage to the sounds of Judy Garland sing the famous Over The Rainbow. ” []

Rainbow Tokyo 76

Wings Zoo Gang blu

Wings Zoo Gang tan


Wings Zoo Gang lbl 1

Wings Zoo Gang lbl 2

Japan: 1977/8, made to appear like product released by Vicky Vinyl on the Idle Mind label in the U.S.


Spirits Of Ancient Egypt
Lady Madonna
The Long And Winding Road
(Los Angeles, CA, Inglewood Forum, June, 23,1976 – taken from the Idle Mind 3 LP box WINGS FROM THE WINGS  IMP 1117-9)

Live And Let Die
Picasso’s Last Words
(Inglewood Forum, June, 21,1976 – taken from the Wizardo LP LASER BEAMS  WRMB 382)

You Gave Me The Answer
(Cow Palace, San Francisco, CA, June, 14, 1976 – taken from the Wizardo LP WINGS OVER FRISCO  WRMB 503)

Magnito And Titanium Man
Go Now
(Inglewood Forum, June, 21,1976 – taken from the Wizardo LP LASER BEAMS  WRMB 382)


My Love
Let ‘Em In
Silly Love Songs
Beware My Love
(Cow Palace, San Francisco June, 14, 1976 – taken from the Wizardo LP WINGS OVER FRISCO  WRMB 503)

(Inglewood Forum, June, 23,1976 – taken from the Idle Mind 3 LP box WINGS FROM THE WINGS  IMP 1117-9)

Zoo Gang (pirate of the 45 B-side of ‘Band On The Run’


An entirely forgettable release copied from Wizardo’s and Vicky Vinyl’s original bootlegs in degraded sound.

Free Reminiscence tan

Free Reminiscence tan b

Free Reminiscence

Free Reminiscences pi lbl

Japan: 1977

Source:  The venue for the 30 April 1971 concert was Kyoritsu Kodo Kanda in Tokyo, a multi-purpose auditorium with a capacity of 2010 (Yes would also play their last night in Tokyo during their Japan tour in March of 1973)   ^ noted tracks on side 2: Free opening for ELP at Tokyo’s Korakuen baseball stadium on 22 July 1972

Side 1: Fire and Water / The Stealer / I’m a Mover / Heavy Load
Side 2: The Highway Song / My Brother Jake / Soon I Will Be Gone / Lady^ / Seven Angels^ / Honky Tonk Women^

Quality rating in HW: “Vgs”

1971 set list:

01 – Fire And Water
02 – Ride A Pony
03 – I’m A Mover
04 – Be My Friend
05 – The Stealer
06 – Heavy Load
07 – The Highway Song
08 – My Brother Jake
09 – Soon I Will Be Gone
10 – All Right Now
11 – Mr. Big
12 – The Hunter

I have listened to a short sample of the start of this concert and while technically lacking, I preferred the start of “Fire and Water” found here to any other live version of the song I have heard.

An eye witness account of the 1 May 1971 concert at Sankeii Hall as well as a Melody Maker article about ELP & Free at Osaka’s baseball stadium in ’72 can be found in this lengthy post about early Japan tours by Western rock acts. 

1972 Japan Tour set list:  I’m On The Run / Like Water / Lady / Seven Angels / Unseen Love / Heartbreaker / Honky Tonk Women / Fire and Water.

Free Tokyo 1971


While researching this article I came across this early Japanese Free bootleg I had never seen before:

Japan: 1973 – earlier/later?

Free Live Japan

Seller description:

“FREE / LIVE IN JAPAN ’71  (CL1015 Japan)

Ultra rare early ’70s Japanese private pressing live LP from their first Japan tour ’71 April Tokyo show. This is original first pressing with printed (front+back) deluxe cover, white label with stamp. Later, second pressing exist, with wrap around insert cover (from back cover of first edition) and blue label but this genuine first edition is now impossible to find.”

Side 1: Fire and Water / The Stealer / I’m a Mover / Heavy Load
Side 2: The Highway Song / My Brother Jake / Ride a Pony / Crossroads

Free Live At Tokyo 71

“FREE / LIVE AT TOKYO 71 (no label, ’73? )

Ultra rare vintage early ’70s Japanese pressing live LP from their first Japan/Tokyo show ’71 by original line up!! Never turns up in these days even in here because of very limited pressing at that time. Nice b&w wrap around/paste on cover.
Songs are: Fire and water/The Stealer/I’m a mover/Heavy load/The Highway song/My brother Jake/Ride on a pony/Crossroads. April 30 ‘1971 Tokyo.”


Free’s tumultuous biography has distinct pivot dates just after their first and before their second Japan tour, as found in descriptions such as these: “Frustrated by HIGHWAY’s commercial rejection and unsure of their future musical direction, Free was consumed by internal friction and a nagging sense of self-doubt. In May 1971, following a turbulent Asian Tour, Free disbanded.”

“On the eve of their [1972] Japanese tour Fraser fought with Rodgers and once again left the band, to be replaced by Yamauchi.”

Here is a longer excerpt from the book HEAVY LOAD by Clayton and Smith

CHAPTER 14  Free – The Japan Riots

“The only band I knew to go on without thinking they’re superstars, were Free. To me they were a great band. They were far ahead of any other band I know. I think they’re the only English band that people should feel they’re lucky to have.” – Ritchie Blackmore (Deep Purple) Sounds interview, January 1974

For Island Records Manager Johnny Glover and the rest back at Island’s round table, plans were put together for a fortnight’s stay in Japan and four big shows in Australia. The tour would then continue with the talented package of Free and Mott The Hoople storming through the United States, capitalising on the popularity of Free’s two previous stints. Likely tours of Europe and the UK would then be booked to round out the itinerary before the band headed back to the studio and finished off another album.

Management had no indication that the band was about to self-destruct. “They’d become a big act,” noted Glover. “So I said to Chris [Blackwell], ‘Look, I’d really like to do something properly, like a three-month world tour’. We were going to put them in a different bracket.”

Johnny Glover’s relationship with Andy Fraser was much closer than with the other members of the group because of the bassist’s prominent role in the band’s business affairs. The two spoke almost daily constructing the intricate details that were then surrounding a soon to be ‘world-class’ band. The first unsettling indication of a split, for Glover, was on the plane flight to Japan. Unusual for the two, Paul Rodgers and Fraser chose not to sit together. Simon Kirke and Paul Kossoff tried to lighten it up in their usually style, Kossoff with his comical impressions and Kirke with his sailor-like humour.

Sitting next to Glover, Fraser leaned over and said, “I’m gonna be quite sad when we get off this tour’.” Glover asked, “Why?” “Oh, yeah,” Fraser went on nonchalantly. “It’s always difficult coming to the end of something.” Glover remained speechless as Fraser confided that, the night before, he and Rodgers had broken their code of silence and gone in to see Blackwell. They told him they were going to “knock it on the head because it just wasn’t happening”. In short, Fraser and Rodgers were breaking up the band at the end of the tour. Andy said that basically he and Paul had fallen out and that was it. Free was over.

The intensity of the songwriting team that had pushed Free to its most successful heights was now the leading factor in their destruction. “Andy would tell everybody what to do because he was that way inclined,” said Johnny Glover. “Andy is a tremendously strong personality, and was very much the business driving force of the band. They all accepted that. Then one day, Paul Rodgers realised that he was quite capable of making those decisions too. The two clashed at that point. All of a sudden Andy was being questioned.”

Exhaustion added to the conflicting emotions. “I had made it clear to everyone that I wasn’t ready to do an American tour straight after Japan and Australia,” says Rodgers. “That was one of the frustrations. It was booked regardless and I thought, ‘Wow! I’m really not being listened to here’. Everything was going along flat out and you felt that you were on a big wheel turning and it was out of your control entirely, and that really brought it home to me: ‘Another tour, is everybody deaf?’ I was not ready for it, and actually I’d just bought my cottage in the country and I needed to chill a little bit – sit back and take stock, that’s really all I wanted, but I was so frustrated by the fact that it just went steaming ahead. They ignored anything I had to say about the subject so I said ‘Right, I’m out’.

“Another serious wall of contention would be that there came a time when I felt we needed to add more blues back into the set. We’d kept ‘The Hunter,’ made it our own, and I felt we could do the same with other blues songs – similar to what Zeppelin would do later. I could feel Koss’s frustration not being able to freewheel the material we’d been playing. Each attempt we made to play a blues song, Andy would either, put his bass down and walk out, or deliberately sabotage it by playing like shit. His inflexibility seriously pissed me off. I tried on a number of occasions and then gave up. Andy had the idea that the band was his creation alone – playing the little Emperor.”

“Simon and Koss didn’t want to break the band up. They would have been happy to play in Free forever.” ~ Johnny Glover

Everyone was looking for someone to blame as the plane descended into Tokyo airport. The imminent break-up hung heavy over the band and its management. Glover recalls, “There I was sitting on the plane with two months ahead of me on the road in Japan, Australia and America with Andy not talking to the other three. And that’s exactly how it was from that minute on.”

Though the band was in Japan for nearly a fortnight, Andy rarely left his hotel room apart from brief business meetings and press calls. He secluded himself from the rest of the world, ordering and eating in and becoming involved with a Yuki Shibata, a young Japanese public relations girl from Atlantic Records.

“Everyone got involved with Japanese chicks,” remembers Glover. “Rodgers fell in love with one and later married her. Kossoff fell in love with one who was going out with somebody else, so he was heartbroken all through the tour. Kirke fell in love everywhere he went.”

Japan enveloped the group in its exotic scent. Kirke says: “The group was almost over, and we had never seen anything like Japan. We took full advantage of our situation. The Japanese girls knew everything about us and they were doing everything for us.” From Rodgers standpoint “Tokyo was wild. They had never seen anything like us.”

Free played two nights in Japan: Kyoritsu Kodo, Kanda, on 30 April and Sankei Hall, Tokyo, on 1 May 1971. The first night was absolutely electric, stretched to the very edge with tension. Free hit the stage, a vision of fury boiling over the top in front of 5,000 screaming fans.

“I think Kossoff and Kirke were playing better because they were trying to will the thing to stay together,” Glover speculates, “or they were desperate.”

An American singer named Alan Merrill (later in the UK band The Arrows and, with Jake Hooker, co-writer of Joan Jett’s massive American hit I Love Rock & Roll) saw the Kanda show. It just so happened that the girl Andy Fraser was dating invited Merrill along.

“Yuki was my public relations girl at Atlantic,” says Merrill. “I’d heard about Free, but I wasn’t really familiar with their records. Then I went to this show and was just blown away. It was such magic I still get goosebumps even now talking about it. I walked in about the third number and I stood at the back of the hall and was just transfixed. The sound was incredible. It was so powerful. I’ve never heard anything like it since. It was just unbelievable.”

Merrill wasted no time becoming friendly with the group and joined the ranks of their Japanese entourage. Recently commenting on Free’s after-hours escapades he said, “Yuki was friendly with Machiko Shimizu, who was a big lyric writer. We all went out to this place called Spiglow, which was like speakeasy. We had some burgers and Paul [Rodgers] and Machi were all over each other. They were attached at the mouth like kiss fish.”

Later that same evening the friends continued their party moving on to a nightclub called Byblos. The alcohol continued to flow and after a very lively evening they decided to head back to the hotel for some long-overdue shut-eye. As they were leaving the club, Merrill – somewhat the worse for wear, noticed that Rodgers’ hair was on fire! “I guess it was caused by a cigarette – his hair was so LONG,” says Merrill. “I didn’t know what to do. Paul had a reputation for a quick temper and no fear of fighting at all – not the kind of guy to take kindly to being smacked on the head out of the blue. So I told Machi, ‘Your boyfriend’s hair’s on fire!’ She grabbed a glass of water and dampened it. This all happened in a matter of seconds, but to me it was like a slo-mo camera.”

Merrill’s connections included the Japanese bassist Tetsu Yamauchi. Born in Fukuoka, Japan, in 1947, Tetsu had been playing in bands since high school. His parents hated the idea of him playing rock ‘n’ roll, so Tetsu’s elder brother, who was doing some jazz drumming, helped nurture his talent. Tetsu later joined a progressive band called Samurai who recorded a couple of albums for the Philips label. In 1969, they managed to break out of the country and do some work in Europe. Tetsu first saw Free while in Geneva at a club called the Black Cat. “I thought they were a really good band,” he says today, “and in the next year they came to Japan.”

Tetsu Yam 71

When Samurai returned from Europe they broke up and Tetsu became a gun for hire. “One day someone in the studio came up to me and said, ‘Free is coming, why don’t you come and see them.’ I said, ‘Okay’, and went to see them at their hotel. Then I started talking to Paul Kossoff about Europe and music and all that. He said, ‘What do you do?’, and I said, ‘I play the bass’. Then we started talking about the gig in Geneva. He said with a laugh, ‘I didn’t notice you there’. He then asked to hear me play. The next day I had studio time so I said, ‘If you have some time, you can come to the studio’. I wrote down the address and phone number thinking he probably wasn’t going to make it. But if he did come, I would be really pleased.

“The next day he came, with his guitar – his Les Paul – and we ended up playing for about two hours non-stop. The next day after that he brought Simon and Paul Rodgers down. So we did a session, the four of us in the studio. After that we went for a drink and Kossoff told me that they were going to split up after the Australian shows. He said, ‘Maybe we can form a band,’ and I said, ‘Why not?’ Free was a really good band and I really liked them so I asked Koss why were they splitting up. He said there were too many things happening in the band so they had to split up. He was saying, ‘It’s just a bad time’.”

Free’s second Japanese gig was at Sankei Hall, Tokyo. The venue had a revolving stage with the headline act on one side, the support band on the other. Free blazed through their set and were called back for three encores by the exuberant crowd. The band retreated, sweat-soaked, backstage. Kirke jumped into the shower while the others went to their independent corners of the dressing room. No one was speaking much.

Within 15 minutes the promoter came running up to Glover shouting, “Look, you have got to go back down there. All hell’s broken loose. A riot has broken out and the police are firing smoke canisters outside. Everyone is going berserk!”

The riot was bad news but the last thing Glover wanted was to intrude on the dressing room. “I never went in there after gigs because it was awful, even when they were great,” says Glover. They were so intense that when they’d get off the stage they were unbearable.” He refused to allow the promoter to address the band personally, saying he alone would be the one to ask them back for another encore.

With a delicate knock, Glover entered the room and was greeted by cutting stares. Hesitantly, he pleaded with them to consider returning to the stage to calm the riot. Moments later, still filled with aggression Free prowled out into the spotlights. Simon, half dressed, a towel draped over his shoulders began to pound out the beat and Rodgers picked up the microphone lunging out to the front. When Fraser and Kossoff reached down to plug in they suddenly realised that in their short absence, the circular stage had been rotated. Although they were facing the audience, their equipment was not. There was a riot going on and they were about to plug into the support band’s gear.

Rodgers, eyes aflame, stared at his bandmates with uncomprehending anger – then began to sing. Within four measures he was in full song. He made no introduction, just ripped into an old blues number. No one remembers exactly what it was. Kirke continued to bash away on his adopted kit. The word went out to the roadies to rotate the stage again. Rodgers, suddenly realising what was up, leapt off the rotating section onto a fixed ledge at the front of the stage. Kossoff and Fraser followed suit, and Kirke broke off for a moment to sprint around to his own kit as it moved into view of the audience. At which point the rotating stage stretched their mains power cables to breaking point and all their equipment and lighting expired.

Glover grimaces at the memory: “Just when they were all supposed to come in there was only an awkward silence.” Free smashed everything in sight and the crowd went berserk again. Still, this difficult night had its consolations. “In Japan, that one thing made them an absolute household name overnight,” notes Glover.

All the success in Japan didn’t make matters any better inside Free as they moved on to Australia. The manager had his hands full the minute the plane landed in Perth, Western Australia 5 May 1971. Glover’s ego was still badly bruised knowing that Chris Blackwell had been aware of the split prior to the tour and hadn’t seen fit to tell him. It didn’t help matters to see the Australian promoter completely shaken when they first met at the airport. Free soon discovered why; the tour had been hi-jacked by a local hood named Sammy Lee and while the official promoter was still handling all the arrangements, Lee was taking all the money. “Sammy Lee had essentially kidnapped the promoter of the tour, but things were made to look normal,” says Fraser. “He would be sent out to meet the bands at the airport and would tell them to get into this van or that bus and be taken to the hotel. All which would seem to be perfectly normal.

“In fact, everything occurred as one would expect, except that this promoter seemed under an abnormal amount of stress, nervously perspiring as if he was on the verge of a heart attack. He was being told what to do by these big guys with bulges in their coat pockets. The major difference was they were collecting the money.”

Ian Gillan of Deep Purple, also on the tour, says, “Sammy had this side-kick called Jake who carried a case full of guns, silencers and ammunition. Those guys were so powerful that part of the plane was set aside for them…not even the hostesses would go up to them.”

But, for Free, all this was a distraction compared to their internal problems. Rodgers and Fraser resented being together, Kossoff and Kirke were hanging on by a thread, none of them liked supporting Deep Purple, they were homesick and they missed their Japanese girlfriends. To add to their misery they were traveling without their own gear, and the equipment provided in Australia was substandard. For example, the tour cabinets contained only one 12-inch speaker and not the four 12-inch speakers they normally used. When Purple refused to continue with the gear provided, Sammy Lee intimidated them saying, “If you don’t carry on, we’ll shoot your legs off,” claims bassist Roger Glover.

Despite their troubles within, Free were determined to outplay Purple at every show. “We had to be tight,” says Graham Whyte. “No matter what happened internally we had to go on stage and put on a good show. That was the whole aim of it.”

At the Festival Hall in Melbourne, the only indoor show, 5,000 fans were turned away when the venue sold out. At Randwick Racecourse in Sydney, the last of the three open-air gigs, the crowd was estimated at between 35,000 and 50,000. The shows themselves were aggressive to the point of violence. Marc Biddall, an Australian fan, recalled Paul Rodgers throwing the microphone and stand into the swimming pool in front of the stage at the end of the first show in Perth. During the same show, “Andy Fraser was kicking the shit out of the bass speakers”.

On 8 May 1971, at The Memorial Stadium in Adelaide, Australia, the show nearly didn’t happen at all. “Sammy Lee, he was just amazing,” says Whyte. “He liked me because we called his bluff. We were supposed to have a certain size stage and I went down there and it was a postage stamp. I went to Sammy and I said, ‘The stage ain’t big enough, we’re not playing here tonight’. He just freaked out and threatened to shoot the brains out of me. The other roadies were a bit scared because he had this other dude with him. I said ‘Come on let’s go. So we went to a pub down the road and we had quite a few bevvies and we’re there for a couple of hours. When I said, ‘Come on let’s go back and see what’s happening.’ The other boys were like, ‘Well, we’ve already been threatened!’ I said, ‘Naw, naw, it’ll be alright’. So we kind of waltz back in through the door. We heard all these skillsaws and hammers going. Sammy had got rid of 200 chairs and extended the stage. He sees me and comes running up and throws his arms around me and says, ‘Go and get hamburgers and chips for the boys. We got a show to put on tonight’.”

Free o a g

Above: Free on stage at Sydney’s Randwick Racecourse. The drums look awfully close to the front of the stage, don’t they?

By the time the bands arrived in Sydney on 9 May, the atmosphere had become so bad that for Johnny Glover it was challenging just to stay sane. “They [Free] were looking to do two months in America after Australia and it was getting impossible to deal with,” he says. “It came down to the [Randwick] gig when I said to the guys, ‘I’ll have to cancel America, we’ll never get through it’. So I cancelled America two or three days before the end of the Australian tour. I’d rung up Blackwell and said, ‘Look Chris, I’m going to have to do this. I can’t keep them together. You should have told me they were going to break up’. I mean, it was getting violent, Andy and Rodgers were getting close to blows.”

DP Free Syd flyer

With the decision to cancel the American leg of the tour, Randwick had suddenly become their farewell gig. Glover sighs, “It was the day it was all going to end and it was real emotional. I was upset because it was the first band I’d been involved with on a management side, and one that had made a hit! You can’t recapture the excitement of the first time you’re involved with a band that has a hit record.”

As the caravan of buses, trucks and vans rolled up to Randwick racecourse the bands were greeted by the largest audience ever assembled for a Sydney rock concert up to that point. Free arrived in a green Ford Transit. But, behind the scenes the more sinister side of the tour was showing. Fraser says, “I remember Kossoff being threatened with a gun. When we were being shuttled from the hotel to the gig, Koss went into one of his favorite characters. With his hand on his forehead he proclaimed, ‘Oh! I can’t go on tonight. I won’t be ready for my close-up for quite a while, Mr. DeMille’. Well one of the big guys close by didn’t have a sense of humour and thought he needed to change Koss’s mind with showing his firearm! I think the most remarkable aspect of that was far from rattling anybody, we just figured… ‘Oh, no sense of humour’ and went back to our business. The whole situation was so surreal what with us breaking up anyway; it didn’t seem that absurd at the time. I have since heard that Sammy Lee is long dead, quite unpleasantly I believe, and won’t be kidnapping any more tours.”

Randwick went down a storm. “We just captivated the audience,” says Whyte. “It was just a fantastic afternoon. Free was all over the front of the Australian newspapers the next morning. That’s how big it was.”

“Free: Just too much! UNDOUBTEDLY THE NEXT BIG WORLD WIDE GROUP!” wrote one reviewer. “The young FREE had everything.” The review climaxed with its account of Rodgers flinging his mike stand into the wings in a final defiant note. And that’s what they intended Randwick to be – final.

During this leg of the tour and especially during the Randwick show in Sydney, Sammy Lee’s thugs tried to take control of the bands, insisting they do all the dates over again. Every night had been sold out, busting the capacity of each venue and raking in the dough. Sammy Lee’s bunch saw a financial windfall at their fingertips. Manfred Mann’s manager told the “Mafia types” he didn’t think that this would be possible. He was answered with a rather bad beating. So, says Fraser, “Johnny Glover just got us to the airport and outta there.”

There was a final poignant encounter as Free climbed into their cars after the gig. “This English guy comes over,” recalls Glover. “And he says, ‘Hi guys, just wanna shake hands with you’. I saw one gig of yours in England before I emigrated and thought you were great!’ Nobody was really interested in what he was saying ‘cos they were all preoccupied thinking about getting outta there. But somebody says to him, ‘Where did you see us?’ He said, ‘Chesterfield Quaintways,’ and there was this quiet moment. That was the first gig they ever played as Free. He’d seen their first and last and nothing in between.

“We sat in the car and the sun was going down. It was one of those things, an afternoon gig, and I was sitting next to Kirke and he looked out at the sunset and looked at me and said, ‘It’s a bit of a weird moment, isn’t it?”


Fake Idle Mind lbl

Side 2 label taken from a copy of the Rainbow – BLACKMORE THE RAIDER LP


Beatles – SOME LIKE IT HOT!      fake Idle Mind label   [OG label reissue. Previously reviewed here]

Beatles Some Like It Hot IM
Free – REMINISCENCES / LIVE!  rec. Tokyo 1971/2    Fake IM

Kiss – BLITZ LONDON   rec. London 16 May 1976  Fake IM  K1322

Wings – ZOO GANG   rec. San Francisco + Los Angeles, June 1976   Fake IM  1117

Queen – FREE IN THE PARK   rec. London 18 September 1976   Fake ZAP 7960  [has been covered in detail on other websites like]

Wishbone Ash – ASHES ARE BURNING    rec. Tokyo 14 October 1976   Fake IM/ZAP 7963  [previously reviewed here]

Deep Purple – NEVER BEFORE   UK 1970 + 1972   Fake IM/ZAP 7967  [previously reviewed here]


Rainbow – BLACKMORE THE RAIDER  rec. Tokyo 2 December 1976  fake IM 1202

Genesis – ALL WE NEED’S A HIT    rec. London + Manchester 23/24 June 1977  Fake IM  1597


Am I missing any?

These titles may actually precede the Cartoon label Japan releases based on the recording dates alone.

The Queen title has different labels (blank white or green w. Side 1/2 notations) and may have been produced by someone else but since the number slots in with the other fake ZAP’s I will list it here.

Kiss Blitz London

Kiss BL dragfly

Kiss BL lime

Released by Vicki Vinyl in late 1977 or 1978 – Matrix: K 1322 A/B

Later reissued as part of the 3 LP KISS KARTON box set.

Cover image by Bob Gruen, taken on the band’s off day following their Kyoto show 1977/03/27 at Ryozen Kannon – a war memorial commemorating the War dead of the Pacific War, featuring a statue of Bodhisattva Avalokiteśvara (Kannon). I doubt the band knew it at the time but “The shrine beneath the statue contains […] images of the god of wind and god of thunder. ”


Kiss Kyoto 77

The first appearance of the London ’76 tape had been on her FRIED ALIVE (IMP 1113) title, when ‘Rock’n Roll all Night (Party Everyday)’ was tacked on to the end of side 2 and misidentified as being from San Diego. The track would not be included again on any of the versions of BLITZ LONDON.


Available in the 1970s with Dragonfly and Ruthless Rhymes labels and in the ’80s with GLC ones.


“Copyright 1981 Great Live Concerts (GlC) Produced by Clarence White 6012-4299.” [This particular version used to sell in the $200 – $300+ range ]

and with Hot Tub Records custom labels ‘borrowed’ from the Rolling Stones San Diego 1981 double Light Up The Town.

Blitz re-issue B label B

Quality rated as Vg minus  “…source is a very good audience recording that is clear and very enjoyable with a good balance of instruments and vocals. There are some sound fluctuations through out but does not distract from the listening experience.”



A Japanese issue with fake Idle Mind labels, an I.M.P. number borrowed from the original Kiss Destroys Anaheim release (IMP  1120) and a wrap-around style insert was released ca. 1978 and includes the introduction as well as the first song, “Deuce”.

Length: 46min.
Quality: B-

“… this comes from the Japanese vinyl bootleg which is far better than the other vinyls. The common vinyl versions called Blitz London runs too slow and does not include Deuce, whereas the Japanese version called KISS Blitz London has the intro, Deuce and a normal pitch.

The show is not complete, missing Gene’s solo / 100,000 years / Peter’s solo right before Black Diamond, and also missing Rock and roll all nite and Let me go rock’n roll (if the last one was played). Here’s a smashing piece of info some of you old vinylcollectors might not have thought of then. On the vinylboot called Fried Alive there’s a track supposedly recorded in “San Diego 1976″, the track is Rock and roll all nite. To my ears it’s the exact same recording as this London-show, which in all probability means we really DO have Rock and roll all nite from Lonon as well. The sound, the ambience and the audience noise sounds exactly like London. It’s most certainly NOT San Diego in any case, as KISS didn’t play there in 1976 :)”

01. -tuning up-
02. Deuce
03. Strutter
04. Flaming youth
05. Hotter than hell
06. Firehouse
07. She / Ace – solo
08. Nothin� to lose
09. Shout it out loud
10. Black diamond
11. Detroit rock city


KISS Blitz London 2Kiss Blitz London pink

KISS Blitz London J 2


The back cover ad up close:

Kiss HO ad 76 II


Kiss BL Lesco R K 1322

Another reissue (described as Japanese in two auctions I found but that may be incorrect) going for big $$$ in the past – this is known as Lesco R K 1322

And on and on… the title is still sold today as a vinyl bootleg as a picture disc, on colored PVC, …


KISS UK tour ad

Kiss HO ad 76

UK Tour ads

Kiss London 76

16 May at the Hammersmith Odeon, their last performance in the UK


The original release probably sounded worse than what you can hear on this YT clip:


Kiss Sneak Attack

Sides 1- 3: Very good audience recording from one or more of the three shows performed at the L.A. Forum on 26/27/28 August 1977, as part of the Love Gun Tour, that were recorded and released as Alive II .

Quality: “The audience recording was issued early on vinyl as Sneak Attack on such labels as Ruthless Rhymes, Dragonfly Records and GLC and as KISS My Axe on Canyon Records.
The audience source is very good bordering on excellent, there is a nice mix of audience noise present that captures the party atmosphere perfectly.” (

The double set was also re-issued in 1984 on GLC labels and colored PVC as part of the LXXXVI resissue series (# 07 and limited to around 100 copies) and also with Full Tilt labels:

Kiss Sneak Attack cv

This title is also still in production to this day but it tends to sell for modest prices over the years (with the exception of the colored copies, of course). with the fact that the official live album was culled from these shows having an effect.


CTrick KISS LA 77


How do you spell L.A. again? The poster and the Tee currently on eBay with minimum asking prices of close to $1000


Kiss LA 77 LAT

See the full LA Times review here:

Another review can be found here:




Finally, combined and hawked as a box set. I don’t know which release came first. Blitz London and Sneak Attack may still have come out in 1977 and the box in the following year.

Also available on Ruthless Rhymes, GLC and Canyon Records.

Beatles Ind RopeT

Available labels: Dragonfly, blank, Ruthless Rhymes, Slipped Disc, GLC, TAKRL, Raring Records (on pink vinyl, ca. 1983)

I imagine that obvious non-Beatles fan Vicki Vinyl was offered this compilation tape in late 1976/ early 1977 – long before the word “outfake” existed. However, this album and her sort of follow up 20 X 4 ended up becoming prime examples.

Beatles Ind RopeT b

Corrected back section of the insert on a recently offered eBay copy

The somewhat grandiose wording needed to be brought down to earth and what buyers really got was:

– one channel of the stereo mixes for “Savoy Truffle” and “Hey Bulldog” (called “outtakes”)

– one channel of the stereo mix for “It’s Only Love” (called an “acoustic version”)

– a song by The Fourmost, “I Love You Too” (called “Paul singing with The Fourmost”)

– “Frenzy And Distortion” from Apple’s RAGA LP, by Ravi Shankar (called “Not Guilty”(!))

– “My Bonnie” with English and German intros (only problem is, underneath the German intro you can hear the English one again at about half the maximum volume)

– Ron Nasty (Neil Innes) doing “Cheese And Onions” on “Saturday Night Live”

– Linda McCartney doing “Oriental Nightfish” from the film of the same name

[as analyzed in the internet article The History of Beatles Bootlegs by John Winn]


DRAGONFLY/IDLE MIND BEATLES-RELATED REISSUES                                           ————————————————————————–

– The relatively unknown BEATLEMANIA – with a matrix # of SHEA 1/2, this appears to be re-release of SHEA THE GOOD OLD DAYS on Dittolino Records (containing the 1964 Hollywood Bowl recording), which may itself have derived from the Kustom Records Release LIVE AT SHEA.

Beatles Beatlemania

Beatlemania Idle lbl

Also found with these labels:

Beatlemania GLC early label

Beatlemania 1 lbl

Dittolini release:



And on the early European label Kustom Records:

Beatles Kustom TOLR

Beatles LaShea Kustom

Beatles LaShea Kustom b


– John Lennon PLOP PLOP … FIZZ FIZZ, originally produced by Hofmann Avenue Records on mcv:

Lennon Plop Plop Fizz Fizz

– This ancient looking Christmas Message is just a case of wrong record in sleeve. The I.C.R. (Immaculate Conception Records) label (1970 – 71) was mainly known for their dozen Jimi Hendrix/Jethro Tull/The Band/The Who “Best Of” pirate compilations, often featuring the same cover art with a blank space to rubber stamp the title in, seen here.

Beatles Christmas Messages


Since we are on the topic, here are fake Idle Mind labeled releases from Japan:

– The Get Back outtakes release SOME LIKE IT HOT – originally released on the OG label:

Beatles Some Like It Hot IM

“Insert cover with barely literate track listing; labels are generic Idle Mind”. In Moltmaker, A. Get Back Sessions – Bootleg Collection Vol. 1, pg.49.

The hard trying to appear like a real Idle Mind release ZOO GANG – including a copied logo on the slip sheet and an Idle Mind release number (IMP 1117 – already assigned to the WFTW box set though):

Wings Zoo Gang


I left out the Mushroom label reissues, as they will get their own entry, as well as Ruthless Rhymes and Slipped Disc. If you know of any more that are Beatles-related and reissues sporting a Dragonfly or Idle Mind label (and not a Mushroom reissue), leave a comment please.

Wishbone Ash Ashes are Burning

The copy shown here, signed by  band members Andy Powell & Laurie Wisefield sold for over $150 in 2010.

Source: Audience recording from Nakano Sun Plaza Hall, Tokyo October 14 – last night of 1976 Japanese tour

Side 1: The King Will Come/ Warrior/ Lorelei/ Persephone (31:52)
Side 2: You Rescue Me/ Rest In Peace/ Blowin’ Free/ Bad Weather Blues

Unfortunately, described as “Very poor quality”

Japanese release on the ‘fake Idle Mind’ / fake ZAP Japan label.


Wishbone Ash AAB 2

The same date exists on the Tarantura 2-CD release JAPANESE BAIT from a different source tape, while Mr. Peach recorded the band in Tokyo on the 2nd of October (Tarantura title: SILVER SHOES ) and on the 11th in Kita-Kyushu ( LOCKED OUT ).


Thursday 14th October 1976
Tokyo Japan

01. Opening
02. Runaway
03. The King Will Come
04. Warrior
05. Lorelei
06. Persephone
07. Candle Light
08. You Rescue Me
09. Outward Bound
10. Mother Of Pearl
11. Rest In Peace
12. It Started In Heaven
13. Time Was?
14. Blowin’ Free
15. Bad Weather Blues
16. Jail Bait



Wishbone Ash J mag 76The band in the July ’76 edition of Japanese music magazine ONGAKU SENKA