All they could find for the cover is a five year old picture from the Get Back sessions?
I’d love to know, which was the first bootleg from the first solo Beatle tour ever but I really have no idea. As we learned in the post about George’s Vancouver concert bootlegs, the extremely rare Baby Moon release Cry For A Shadow did not appear until eight and a half months later (and the SODD double LP in 1976). You always hear about bootlegs hitting the streets within weeks of concerts in those days but in most cases I have looked at it has been years later so far.
A CBM original, released in 1975. From the afternoon show at Chicago Stadium, the date given on the cover is correct.
Side 1: While My Guitar Gently Weeps / Something / Sue Me, Sue You Blues / For You Blue / Give Me Love (Give Me Peace On Earth) Side 2: In My Life / Dark Horse / What Is Life / My Sweet Lord
Hot Wacks called the quality “Poor stereo”, more detailed descriptions state: “Sound is extremely hissy, not very enjoyable.” and “I’ve heard worse recordings, but it is quite poor. Low sound levels and quite distant. The show sounds like a good one though, with George in good humour, chatting a little and making jokes.”
Notes from the master:
01. Hari’s on Tour (Express) (6:15)*
02. While my Guitar gently weeps (6:03)
03. Something (4:08)
04. Will it go round in Circles (4:41)
05. Sue me sue you Blues (5:07)
06. For you Blue (5:11)
07. Band Introductions (1:40)
08. Give me Love (Give me Peace on Earth) (4:03)
09. In my Life (6:02)
10. Tom Cat (4:18)
11. Maya Love (5:03)
12. Dark Horse (4:16)
13. Nothing from Nothing (4:06)
14. Outta Space (4:05)
15. What is Life (6:48)
16. My Sweet Lord (8:28)
Total time 80:14
* Show identifier – George greets the audience with a “Guten Abend, Chicago!” at the 2:03 mark of track 1, and gives a more unambiguous “Thank you, Good Afternoon!” at 6:00.
George Harrison (Guitar)
Robben Ford (Guitar)
Willie Weeks (Bass Guitar)
Andy Newmark (Drums)
Billy Preston (Keyboards, vocals)
Emil Richards (Percussion)
Tom Scott (Horns)
Chuck Findley (Trumpet)
Jim Horn (Saxophone) plus Ravi Shankar and his band
Chicago Stadium images, before and after the Indian set/ George’s stage clothes change.
In 2007, a mastercassette for the evening show, stowed away for over 30 years was released on CD in Japan. I usually do not talk about CDs here but this is such a nice package, including original newspaper articles – if only we could have gotten something done with such care in 1975:
Quite the ‘Monty Pythonesque’ headline… it wasn’t intentional though, as George’s appearance on Rutland Weekend Television, ripping into the “Pirate Song” was not broadcast until Boxing Day 1975.
I received this email, which deserves to be added to the post:
I was a senior in high school and it was announced that George Harrison was touring. My friend got tickets for the Chicago Stadium show, but I was booked to play a paid gig with my high school dance band so I did not attend the show. I sent my friend with my Superscope CS200 stereo cassette recorder with built-in mics. I’d taped a few bands in 1974, including Frank Zappa at Notre Dame, the bootleg of which became part of Rhino’s Beat the Boots series, and Kiss at the Morris Civic, which has since also been bootlegged.
My friend taped the Harrison show with my deck. It wasn’t bad, a bit distant, but quite listenable. I’d bought bootleg LPs mail order since 1971 and started tape trading shortly after. I mentioned this tape during a phone conversation with <name removed>, a friend and trading partner who was also a mail-order bootleg LP vendor under the name of “Rock & Roll University.” <name removed> even advertised in Rolling Stone. He asked me to mail a reel copy of the Harrison Chicago show to his friend in Minnesota, who was affiliated with CBM Records, having moved there from either Virginia or North Carolina. Someone with CBM at the time also had a mail order business called either Rare Records, Still Rare Records or Pied Piper Records. Anyway, I mailed the reel, and maybe 2-3 weeks later I received the Harrison Chicago CBM LP. It was terrible. It was as if my tape was played on decks that had never been cleaned and/or very cheap tape was used for the transfer. The fidelity was severely compromised.
At that time, “instant” souvenirs of major concert tours were bootlegger gold. The CBM LP of Jethro Tull’s Ticketron was out a couple weeks after the show, sold well and remains the best sounding recording of their lengthy Thick as a Brick tours. And 1974 was full of major tours: Dylan’s first since 1966, Clapton and CSNY in the summer, Harrison in the fall. It was the Dylan tour that got me into tape trading. My mother didn’t allow me to bus to Ann Arbor to accompany a taper friend in Detroit to see the tour, so instead I traded tapes. It was amazing to get cassettes of a concert that was recorded that week, and hooked me for life on tape trading and bootlegs in general.
A year or so later, my friend <name removed> got busted. He was set up to sell a videotape of a Saturday Night Live show to someone who was later revealed to be a fed. Seems absurd now with boot download boards everywhere and MP3 piracy a much bigger issue, but that’s how it was.
Through all of my moves and travels, at some point I lost the Harrison master Maxell UD cassettes and had no copies. I have since contacted my surviving trading partners of that time period, and no one has it. One may exist with someone who retired from the hobby. I’m trying to get him to check.
My views on CBM are mixed. I wish I still had the 100 or so CBM/Pig’s Eye et al titles I had back then, along with my TMQ/TAKRL/Rubber Dubber/etc. LPs. The CBM LPs mail-ordered for $3 pre LP then, and postage was very cheap. Some CBM releases were indeed horrible, like The Beatles’ Some Other Guy: a cut-and-paste terrible quality piece of badly pressed junk. But besides the fine Tull release I mentioned earlier, they also put out Harrison’s Lord Buddha (from Long Beach Arena), which stands as the finest audience recording of that tour–that and the Fort Worth show that was taped by my friend and old tape trading partner best known as “T,” who had nothing to do with the boot.