Flat Records

We remember the following from the description of the Flat LP Senabular:

From “This one from the University Of Texas is among the very best Crimson audience tapes in existence. The producer of the tape was sitting very close to the stage and used an ECM-19B Sony external microphone with a Realistic-7 recorder. The atmosphere and detail present is simply astonishing.”


Contraband released this material in the following versions:

  • Arlington Texas – single LP on CBM, first pressing with best audio quality

Side 1: Intro: Lark’s Tongues in Aspic Pt.1 / Easy Money
Side 2: Book of Saturday / Lament / Improvisation / Exiles

  • Re-pressings of Arlington Texas with King Kong and Instant Analysis labels
  • A single LP containing the same tracks and disc titled Live In Texas

King Crimson Live in Texas

Also supposedly with the following cover, although this does not look like a CBM release to me:

King Crimson Live in Texas photo

“…wrapped-around insert, a collage of photos taken from official tour program. The record is the same as above, with the CBM Red Dragon label”

  • A 2 LP release called Texas Hall on Instant Analysis and Shalom labels.

Side 1: Intro: Lark’s tongues in Aspic Pt.1 / Easy Money
Side 2: Book of Saturday / Lament / Improvisation / Exiles
Side 3: The Night Watch / Fracture
Side 4: The Talking Drum / Lark’s Tongues in Aspic Pt.2 / 21st Century Schizoid Man

King Crimson Texas Hall JL504

King Crimson Texas Hall JL504 2

King Crimson Texas Hall JL504 detail

INSTANT ANALYSYS 3010/4240 – as a Japanese copy (JL-5XX series)

King Crimson Texas Hall SH

SHALOM 3010/4240

Generic white cover, with an insert printed in a variety of colors. Sometimes found with the generic “classic of jazz radio” back. Disc one has song separation. Matrixes are on disc one: SH 3010-4240 A/B, on disc two: SH 4240 A1/B1

King Krimson Texas Hall KK

  • An extremely rare single LP release called Sympho Session – same song line up as Arlington Texas – CBM 4240, King Kong logo on cover & red dragon labels

King Crimson Sympho Session 2

  • An equally rare 2 LP version – same songs as Texas Hall – CBM 3010/4240

King Crimson Sympho Session 3

Generic “classic of jazz radio” CBM cover back and red dragon labels.


Wizardo issued this material as the single LP Groon with the title track added from the B-side of the official 45 “cat food / groon”.

King Crimson Groon

Side 1: Intro:Lark’s tongues in Aspic Pt.1 / Easy Money
Side 2: Book of Saturday / Lament / Improvisation / Exiles / Groon (studio)

The detailed King Crimson bootleg comparison website states that the Wizardo LP rates a notch below the CBM versions in terms of audio fidelity and that the Flat LP sounds the best.

King Crimson Senabular


The official release material of this recording on the dgmlive website in March of 2006 has really put more than just a dent into the value of these hard to find vinyl bootlegs. It is nice to see that the material can be enjoyed by all now for a modest price, with the money going to the artists.

Lofgren N Live

I had written I did not want to include this but in the end the drive to list all titles by a label won. Also, this image just became available.

This is a pirate of the following 1975 promo LP:

Lofgren N Back It Up! AAB

The official bootleg as a promotion tool … and a big tease to the music loving public. It was all about control in the end.

Lofgren N Back It Up! AAB lbl

Lofgren N Back It Up! AAB lbl 2

Recorded at the Record Plant in Sausalito, California, on October 31, 1975, then A&M released 1000 copies to radio stations.

Finally officially released on CD in 2007, except for one song. has the complete session.

“We were big fans of Nils Lofgren and [A&M] had had enormous success with the Peter Frampton album [Frampton Comes Alive]. Then they put out a ‘live bootleg’ to radio stations only of Nils Lofgren and it was fantastic. Everybody wanted that album, and I waited a year for A&M to release that thing, I even wrote a letter to them saying ‘Put this thing out…!’ ‘cos I think it would have made a difference in Nils Lofgrens career … After a year I took that album and counterfeited it as a bootleg [not this Flat release – that was Ken’s]. I probably sold 2,500, 3,00 copies of that.” [Lou Couhan (of Hofmann Avenue Records) quoted in Heylin, Bootleg, page 120]


Jefferson Starship FYSB Flat

Side 1: Miracles 3:23 / Hot water 4:32 / St Charles 8:45

Side 2: White rabbit 6:50 / Please come back 3:38 / Dance with the dragon 6:55

Details from a Jefferson Starship site: 9/-/76, Winterland, San Francisco, CA
(Sbd, Fasten Your Seatbelt bootleg, 34 min)


From a torrent uploader of this material:

“This is the hottest “White Rabbit” I have ever heard! The exact date of this show had been a source of speculation, but in the end we have to rely on the group itself. One track “Please Come Back” had to be omitted from this torrent as it was officially released on a 2LP set titled “Flight Log”. On that LP, this song is listed as “Winterland, September 1976″. And, there you have it.”


The album as TAKRL 911 in a cover that was most untypical for the 900 series:

Side 1:
1) Here Comes The Flood (piano version) (2:08)
2) On The Air (4:06)
3) Moribund The Burgermeister (4:44)
4) Waiting For The Big One (7:31)
5) A Song Without Words (early “Indigo”) (4:17)

Side 2:
6) Excuse Me (3:48)
7) Solsbury Hill (4:48)
8) Ain’t That Peculiar (5:14)
9) Humdrum (4:16)
10) Slowburn (6:59)
11) All Day And All Of The Night (4:33)

Source: KMET FM broacast of the early show from The Roxy in Los Angeles on April 10, 1977

A new master was created that added more tracks but also dropped a couple and released on Ken’s IMP label around 1979 as “Submerge” in combination with the Bottom Line 1978 KBFH recording. 



Around 1983, a limited run of 100 numbered copies on colored vinyl run was made.These can be found with  the LXXXIV stamp on the back. Copies on black PVC with the GLC labels exist as well.

Gabriel P Submerge CVGabriel P Submerge CV dLXXXIV stamp

The complete set list was:

01  Here Comes The Flood/On The Air 6:19
02  Moribund The Burgermeister 4:36
03  Waiting For The Big One     05:56
04  A Song Without Words     03:33
05  Excuse Me     03:41
06  Solsbury Hill     05:04
07  Ain’t That Peculiar    05:03                                                                                                                           08  Humdrum     05:32
09  Slowburn    05:35
10  All Day And All Night    04:33
11  Here Comes The Flood    06:10
12  Modern Love    06:21
13  Down The Dolce Vita    08:45
14  Back In N.Y.C.    05:37

Vicky Vinyl’s Big Thumb Records version of the full show (if “On The Air” is included in the first track):

Grateful Dead OO

Side 1: I Can’t Get Through To You / Let It Grow Let It Flow

Side 2: That’s It For The Other One / Kingfish / Tasteful Jam

Hot Wacks wrote: R: Exs         S: San Francisco ’76 [I found no further information on the potential date & venue]

LOS ANGELES – March 13, 2011

Owsley “Bear” Stanley, a 1960s counterculture figure who flooded the flower power scene with LSD and was an early benefactor of the Grateful Dead, died in a car crash in his adopted home country of Australia on Sunday, his family said. He was believed to be 76.

The renegade grandson of a former governor of Kentucky, Stanley helped lay the foundation for the psychedelic era by producing more than a million doses of LSD at his labs in San Francisco’s Bay Area.

“He made acid so pure and wonderful that people like Jimi Hendrix wrote hit songs about it and others named their band in its honor,” former rock ‘n’ roll tour manager Sam Cutler wrote in his 2008 memoirs “You Can’t Always Get What You Want.”

Hendrix’s song “Purple Haze” was reputedly inspired by a batch of Stanley’s product, though the guitarist denied any drug link. The ear-splitting blues-psychedelic combo Blue Cheer took its named from another batch.

Stanley briefly managed the Grateful Dead, and oversaw every aspect of their live sound at a time when little thought was given to amplification in public venues. His tape recordings of Dead concerts were turned into live albums.

The Dead wrote about him in their song “Alice D. Millionaire” after a 1967 arrest prompted a newspaper to describe Stanley as an “LSD millionaire.” Steely Dan’s 1976 single “Kid Charlemagne” was loosely inspired by Stanley’s exploits.

According to a 2007 profile in the San Francisco Chronicle, Stanley started cooking LSD after discovering the recipe in a chemistry journal at the University of California, Berkeley.

The police raided his first lab in 1966, but Stanley successfully sued for the return of his equipment. After a marijuana bust in 1970, he went to prison for two years.

“I wound up doing time for something I should have been rewarded for,” he told the Chronicle’s Joel Selvin. “What I did was a community service, the way I look at it. I was punished for political reasons. Absolutely meaningless. Was I a criminal? No. I was a good member of society. Only my society and the one making the laws are different.”

He emigrated to the tropical Australian state of Queensland in the early 1980s, apparently fearful of a new ice age, and sold enamel sculptures on the Internet. He lost one of his vocal cords to cancer.

Stanley was born Augustus Owsley Stanley III in Kentucky, a state governed by his namesake grandfather from 1915 to 1919. He served in the U.S. Air Force for 18 months, studied ballet in Los Angeles, and then enrolled at UC Berkeley. In addition to being an LSD advocate, he adhered to an all-meat diet.

A statement released by Cutler on behalf of Stanley’s family said the car crash occurred near his home in far north Queensland. He is survived by his wife Sheila, four children, eight grandchildren, and two great-grandchildren.

Michell J Winterlady 2

Side1: The Circle Game / London Bridge / Joni’s Coke Commercial / Eastern Rain / Just Like Me Side 2: Brandy Eyes / Drummer Man / Winter Lady / Mr. Blue / Urge For Going / Sugar Mountain

Hot Wacks says “Exm” and “Canada ’67”


A reader added the following information – thank you.  “This is taken mostly from live recordings at the Second Fret Club, Philadelphia, 1966 and 1967, plus a few from WHAT studios, Philadelphia, again 1967 and (if I recall correctly only Sugar Mountain) from 1966.”