Archive

Monique d’ Ozo paper labels

Rolling Stones Return To LiverRolling Stones Return To Liver bRolling Stones Return To Liver b detail Source: 2nd show at Anaheim Stadium (the day after the shoe throwing show), 24 July 1978 (misidentified in Hot Wacks as being from 23 July)

Side 1: intro [00:54] / Let It Rock [02:44] / All Down The Line [04:54] / Honky Tonk Women [05:08] / Star Star [04:43] / When The Whip Comes Down [06:28]
Side 2: Beast of Burden  [07:25] / Lies [05:44] / Miss You [09:44]
Side 3: Just My Imagination (Running Away with Me) [09:54] / Shattered [05:49] / Respectable [04:20] / Far Away Eyes [05:15]
Side 4: Tumbling Dice [05:57] / Happy [03:30] / Sweet Little Sixteen [04:05] / Brown Sugar [05:07] / Jumping Jack Flash  [08:11] 

MATRIX: ATR 727 -A/B/C/D
Good to Very Good Stereo Audience recording (only rated “Gm” in Hot Wacks)

***

A new version and different source tape was issued  in the early 80’s on Ken’s Phoenix Records. It adds “Love In Vain” but does not have “Jumping Jack Flash“.

Rolling Stones On Tour 2Rolling Stones On Tour bRolling Stones On Tour

MATRIX: Scratched out (RS 2 -A/B) new 44773 – A /B // 44773 C/D
Very Good Audience recording.

780724_Anaheim

Rolling Stones Anaheim 78Rolling Stones Anaheim 78 b

Advertisements

Rolling Stones s t Oakland 78Rolling Stones Tank Rec bRolling Stones Tank R b

Source: Audience recording from the Oakland Coliseum on 26 July 1978, as part of the annual “Day on the Green” concert series. Also appearing were Peter Tosh, Eddie Money and Santana, Tickets were $12.50.

Quality is listed as G to Vg mono (it’s fairly wind swept and distant); there appears to be only one source as the VGP CD release mentioned below added all the missing tracks but did not improve on this rating.

Side A: All Down The Line [05:02] / Honky Tonk Women [04:29] / Star Star [04:45] / When The Whip Comes Down [06:47]
Side B: Beast of Burden    [07:58] / Lies [05:22] / Miss You [09:37]
Side C: Just My Imagination (Running Away with Me) [08:58] / Shattered [05:39] / Respectable [04:01] / Far Away Eyes [05:29]
Side D: Love In Vain [05:44] (missed on back cover) / Tumbling Dice [05:25]

Also includes short interview excerpts with Mick, Keith and Bill on all 4 sides.

Matrix: 18967 A-D (scratched out : CIR 8733 A-D) – Probably a number mix up, since the Circle Lp with that number was a copy of OUT ON BAIL (Lurch Records). dbboots states “Re-release of “IN OAKLAND On MICK’s BIRTHDAY” on Circle Records 8733″ but such a double album does not exist, only a VGP 2 CD that appeared much later.

Rolling Stones DotG 4 bRolling Stones_oakland_78

Bowie SitAirBowie SitAir bDeluxe printed cover on Ruthless Rhymes

Back then this was the first release from his 1978 tour. The opening song “WARSZAWA” did not make the master for some reason but it is the only vinyl bootleg to include “Rock’n Roll Suicide”.

***

Bowie SitAir insert copy frCopy on Raring Records with inserts

Bowie SitAir insert copy bBowie SitAir Raring lbl

***

Bowie SitAir mcv 2bVery limited reissue as part of the “Verzyl label – Multi Coloured Vinyl” Reissue series from the 1980’s. If anyone can pinpoint the year for these and the other titles in the series, do leave a message. I believe that despite Bassman’s wording on his site, no other colored PVC versions exist.

***

Bowie SitAir RaringAnother reissue series of many classic titles, ca. 1983/4

***

Bowie NZoIJaG bluFirst release with a blue cover and…

Bowie NZoIJaGMonique d’Ozo labels! The label may be called “Omega” but it has TAKRL (and Ken) written all over it. The assigned number is 912, fitting in nicely with the TKRL 900 series released around this time (1979).The article used for the cover was taken from the September 1978 issue of Creem magazine, which featured Bowie on the cover, promoting his movie role in Just A Gigolo.

Although Hot Wacks calls this simply a copy of slaughter in the air it has been claimed that this has less hiss than the Ruthless Rhymes release and may be a generation closer to the master tape, which, I believe, has never surfaced.

Bowie NZoIJaG b&w2nd edition in black & white.

Creem Bowie Sept 78 fullCreem Bowie Sept 78 1

****

Bowie 78 LA ticket

Pink Floyd Barrett's Revenge

Side 1: VEGETABLE MAN* / POW R TOC H* / SCREAM THY LAST SCREAM* / JUGBAND BLUES* / JULIA DREAM** / LET THERE BE MORE LIGHT**   (* BBC MAIDA VALE STUDIOS LONDON 20.12.67    ** BBC 210 PICCADILLY STUDIOS LONDON 25.6.68)
Side 2: CYMBALINE*** / A SAUCERFUL OF SECRETS***   (*** BBC PARIS CINEMA LONDON 12.5.69)
Side 3: CAREFUL WITH THAT AXE EUGENE / CYMBALINE / EMBRYO
Side 4: SET THE CONTROLS FOR THE HEART OF THE SUN / A SAUCERFUL OF SECRETS (AMSTERDAM FREE CONCERT 26.6.71 – songs have been edited to make them fit on one LP)

SQ: EXCELLENT MONO AND STEREO

COMMENTS: US BOOTLEG WITH WHITE COVER AND PAPER INSERT. RE-ISSUED IN 1978 WITH A DELUXE BLACK AND WHITE COVER. SOME COPIES WERE MIS-PRESSED AND PLAY DEEP PURPLE ON SIDE FOUR. THE MATRIX NUMBER ON THE MIS-PRESSED SIDE IS TKRWM 2821-D.

RARITY RATING: ****

KNOWN LABEL VARIATIONS: TAKRL PLAIN [for the original pressings with insert]- MONIQUE D’OZO – BLANK RECORDS.

Pink Floyd Barrett's R 2

From collectorsmusicreviews:

“Amsterdam Free Concert, Amsterdamse Bos, Amsterdam, Netherlands – June 26th, 1971

(76:32):  Careful With That Axe Eugene, Cymbaline, Set The Controls For The Heart Of The Sun, A Saucerful Of Secrets, The Embryo

While Pink Floyd took an enormous step between Atom Heart Mother and Meddle, it was the older material that were the basis of their live show during 1971.  In June they played dates around Europe and most of the shows include their newest epic “Return Of The Sons Of Nothing.”  On June 26th they played the Free Concert festival in Amsterdam. 

Almost a year to the day since their last festival appearance in the Netherlands (the famous Stamping Ground show in Rotterdam), they played a shorter set devoid of any new material.  The “newest” song performed is “Cymbaline” recorded in 1969. 

Three tapes exist for this show.  The first to surface is very good to excellent but is cut between the songs.  It was used to source several vinyl releases including  Early Tours ’70-’71 (Space Records FET 771 A/B), Barrett’s Revenge (TKRWM 2820-A/D), Amsterdam ’71, Sysyphus (S-1001) with “Careful With That Axe, Eugene” from this show, and Pink Floyd (Angry Taxman Records ATR 003-S1001).

The second tape to surface is also very good and clear which includes all of the tuning and introductions.  [It was only released on CD] (A third tape surfaced several years ago in excellent quality.  It’s superior to these two but only had “Careful With That Axe, Eugene” and “The Embryo.”)

Pink Floyd headlined this event.  The tape begins with the words of the mc welcoming them to the stage saying:  “with enormous difficulty but with great joy we bring you the Pink Floyd.”  It is a hurried yet extremely intense performance.  (After the performance the mc mentioned Floyd having to catch a plane). 

Even though they play neither of their two epics “Atom Heart Mother” or “Echoes,” the numbers included are improvised greatly and have interesting performances.  “Careful With That Axe, Eugene” is very quiet and mellow until the scream.  Waters is loud enough to cause distortion in the sound system as the noise shakes the stage.

“Cymbaline” retains its melodic beauty.  The middle tape section entertains the audience, not with footsteps and a slammed door, but with the sound of a woman in orgiastic passion (to the surprise and amusement of the audience). 

After a twelve minute version of “Set The Controls For The Heart Of The Sun” there is a five minute long delay as they fix the equipment.  The set closes with a lengthy version of “The Embryo.”  It is a rare instance where this song closes a show.  By this time in the song’s performance history Gilmour would play the seabirds from “Echoes” in the middle.  Also in this performance Waters duplicates the Scottish rant from “Several Species of Small Furry Animals Gathered Together in a Cave and Grooving With a Pict” from Ummagumma.

At the end the audience is begging for more as the mc thanks Pink Floyd, the crew, and all the other bands for participating in the event.  He also asks the audience to, as they are leaving, to take their trash with them.

Monique D'Ozo lbl
One of a number of paper labels used by Ken on his various bootleg labels from 1975 onwards: TAKRL PLAIN (Side 1/2) – WORLD RECORDS – MONIQUE D’OZO – SPINDIZZIE – BLANK/PISTOL

Monique D’Ozo is actually a real person. She was one of the members of Saint Tropez, kind of like a French language version of Prince’s all female protegee group Vanity6. 
 
 Below: back cover of the “Je T’Aime” 12″:
 
bobsboots.com writes: “In 1977, TAKRL (The Amazing Kornyfone Record Label) used this label extensively for about ten different artists. The real  Monique D’Ozo is one of over a dozen singers that were involved in a project called St. Tropez. The idea behind the 1977 project spearheaded by Michael Lewis and Laurin Rinder was that they would take the then hot disco music, and sing racier lyrics in French. Inspired by gay disco, the theme would be gay and bi-sexual women. Over a five year period, the project produced three albums and five 45 rpm singles. The first  LP that came out (on the AVI Label?) [it was actually Butterfly Records] in 1977 was called Je T’Aime, and was released on pink vinyl. [Follow up releases] were Belle De Jour (1978) and Hot And Nasty (1982 ). There was most likely a connection between TAKRL and D’Ozo, but it is unknown exactly what that connection was.
Regarding the alleged gay and bi-sexual content, each St. Tropez song I dialed up on Youtube [the things you have to do as a blog writer!] featured a dude calling up a female and either these are the ultimate blue balls’n teaser songs or the girl-on-girl action was limited.
Anyway, my theories how a bootleg label ended up with these labels is that “Je t’aime” was first envisioned as a solo release before that idea was scrapped and these labels – who made Monique look like an arm- and chest-less Venus De Milo anyway – were no longer needed. I dare to suggest that the only connection there ever was between Ken and that label was that he got his hands on these for free from the printer somehow.

(*) Brussels, Forest Nationale, Oct. 17, 1973 – 1st show
(**) London, Wembley Empire Pool, Sep. 9, 1973
(+) NYC, Madison Square Garden, July 26, 1972

101 Brown Sugar (*)
102 Happy (**)
103 Gimme Shelter (**)
104 Tumbling Dice (*)
105 Doo Doo Doo Doo Doo (**)
106 You Can’t Always Get What You Want (*)
107 Dancing With Mr.D. (*)
108 Angie (*)

201 Honky Tonk Women (*)
202 Midnight Rambler (*)
203 All Down The Line (+)
204 Bye Bye Johnny (+)
205 Love In Vain (+)
206 Sweet Virginia (+)
207 Rip This Joint (*)
208 Jumpin’ Jack Flash (*)
209 Street Fighting Man (**)

****

Review from collectorsmusicreviews.com:

These sources come from the famous KBFH recordings and are excellent performances in superb quality. Even though this is a assortment of several different shows, personally I like the way this collection flows which is very nicely done. Listening to this several times I can’t help but focus on how Mick Taylor added a different dimension to the early 70′s Stones with his amazing solos and sadly this was his last tour with the group.. I also noticed that these are some of the best performances I’ve heard of Jagger. Highlights for me are Brown Sugar, Heartbreaker, Midnight Rambler, and Street Fighting Man.

And one more from bootlegzone.com:

“The lack of an official live album about the Stones Golden Era of 72-73 has prompted bootleggers to produce the definitive live version of those live concerts many a times. The New York Jagger Birthday Party at Madison Square Garden, the Philadelphia ’72 Lost Album, the live ’73 Perth, Australia show, or the European ’73 King Biscuit Flower Hour have all been contenders so far. One of the most known vinyl bootlegs of the late 70s was Nasty Music (a.k.a. Nasty Songs) that featured songs from NY ’72, and the European excerpts from KBFH radio shows, taken at Bruxelles 1st show and London 2nd day.

You don’t need to be biased towards early beat era with Brian or late Mark 3 (or 4 without Wyman) Ronnie’s version of the band not to acknowledge the greatness of the early 70s live Stones. Songs are so well played without losing any of the spontaneity of those fantastic performances. Taylor solos shine on longer versions of “YCAG” and “Midnight Rambler”, but the subtle “Sweet Virginia” or the bluesy “Love In Vain” have added value too. The 73 recordings have the late Billy Preston on organ while the ’72 Madison tracks show the remarkable fizz of Nicky Hopkins’ piano. On this version of Nasty Music the accent is strong also on the bass playing of Bill Wyman that contributes dynamics to each song development.”

Re-released as TAKRL 24909 with “Spunk” and “Monique D’ozo” labels, and black and white printed cover shots of Jagger circa ’75 and ’72. The original SODD matrix has been scratched out and is replaced by 24409-A/B/C/D.

Bruce Springsteen Live at the Main Point, Bryan Mawr, Pennsylvania, February 5th, 1975
FM Broadcast on WMMR – A Main Point benefit show. This was the premiere of Thunder Road, actually called Wings For Wheels at this time and of both Back In The USA and Mountain Of Love.
Also with early live versions of Born To Run and Jungleland, and a amazing cover of Dylan’s I Want You.

Intro, Incident on 57th Street, Mountain Of Love, Born To Run, The E Street Shuffle,  Wings For Wheels (Thunder Road), I Want You, Spirit In The Night, She’s The One, Growin’ Up, It’s Hard To Be A Saint In The City, Jungleland, Kitty’s Back

The concert continued with: New York City Serenade, Rosalita (Come Out Tonight), 4th Of July, Asbury Park (Sandy), A Love So Fine [incorporating Shout], For You, Back In The USA.

From collectorsmusic.com: “one of the most legendary shows of Bruce’s career.”  The Brucebase website refers to it as “one of the most compelling performances of Springsteen’s entire career.”   Lynn Elder’s guide to early Springsteen bootleg CDs, You Better Not Touch, agrees, stating that “the show easily ranks as one of Bruce’s best ever.”  Clinton Heylin, in The Great White Wonders,  refers to it as a “testament to Springsteen at-his-peak.”  The first twelve songs initially appeared on the LP You can Trust Your Car To The Man Who Wears The Star (SODD, later TAKRL). The show was broadcast on WMMR-FM and the incomplete LP version obviously utilized an off-air tape, extremely listenable but not quite top-notch in sound quality.  There were small cuts during the opening bars of Incident On 57th Street caused by the excision of some talking by a DJ.

WMMR DJ Ed Sciaky, who introduced the concert, explained how it was recorded and broadcast in issue number 82 of Backstreets magazine: “We didn’t have a phone line from the Main Point, so they had to tape the show in hour-long segments and then drive them to the station and put them on air.”

Some background information regarding the source tapes:

When it comes to ranking the all-time, top-10 Springsteen concerts/concert recordings, there are vigorous debates about which Darkness tour shows belong (Passaic vs. Winterland vs. Agora vs. Portland), and even a heralded performance like A Night For Vietnam Veterans (August 20, 1981) has its detractors, those who claim it wasn’t even the best show in that five-night LA run. But NO Bruce collector in her right mind would quibble with the inclusion of The Main Point, Bryn Mawr, Pennsylvania, February 5, 1975.

It is–as it should be–on any sane fan’s list of Bruce’s greatest shows and rightly so. The Main Point captures the best-recorded transition performance between two splendid eras, previewing new material for what would become Born to Run while still delivering epic readings of early songs like “Kitty’s Back” and “New York City Serenade” (the latter, arguably, in its definitive live performance).

Then there’s the addition of Suki Lahav. She–the short-tenured, one-woman string section of the E Street Band–makes jaw-droppingly sublime contributions to the show-opening “Incident on 57th Street” and the striking cover of Bob Dylan’s “I Want You.” Throw in “Wings for Wheels” (the proto “Thunder Road”), “Mountain of Love,” “A Love So Fine,” “Back in the USA” and the rest, and you have a show for the ages.

The Main Point’s place in the pantheon is greatly aided by the fact that a recording of the complete set has been available for the last four decades thanks to its same-night (though not live-as-it-happened) broadcast on WMMR Philadelphia. In fact, Bruce and the band’s appearance was a benefit for the Main Point itself and the station solicited for donations to be made by phone during the broadcast. The gig happened at the request of WMMR deejay and key early supporter, Ed Sciaky, who serves as the night’s master of ceremonies and is mentioned several times by Bruce in the show.

The bootleg history of the Main Point show is a long one indeed. The show was available in edited form on vinyl by the late ’70s and tapes of the full broadcast were in modest circulation earlier than that. Awareness of the show really soared in the bootleg CD era, when pioneering Italian label and Springsteen specialists Great Dane Records released the show on the cleverly titled two-CD set The Saint, The Incident & The Main Point Shuffle.

That boot utilized the commonly circulated recording of the broadcast that had been around for years and was presumably made by a fan in Philly. But the Main Point has never been a tape traded with a known lineage. Evidence suggests that every copy of the show to circulate or see release since all trace back to the same, original, off-air recording first heard on the vinyl boot. The tape edits are the same wherever it has appeared.

As outlined clearly in the entry for this show on the awesome Brucebase Wiki, the broadcast that night was unusual. As noted above, the show was not aired live, but instead reel-to-reel tapes were rolling at the venue and when the first reel was complete, someone ran it over to WMMR where it was played over the air creating a one-to-two hour delay.

The next point is one of modest conjecture, but the basic notion is accurate: at some point in the audio chain between the original recording at the venue and the tape being played back on a reel to reel through the mixing board at the station and over the air, a limiter or some type of auto-leveler was introduced. A limiter automatically adjusts recording levels when the volume goes above a prescribed point. It can help smooth out dynamic material that has unexpected peaks in sound levels and prevent over-recording. An auto-leveler does the same thing but adjusts for highs and lows.

Unfortunately for us, the limiter/leveler employed on the Main Point broadcast was extremely aggressive. When you listen to the FM recording, there are dozens if not hundreds of instances where the level change is audible. Worse still, not only do levels change jarringly at times, but the limiter/leveler itself seems to add a slight clicking sound in spots.

A couple of years after the Great Dane release, a minor miracle occurred. A 10-inch tape reel of the first 90 minutes of the Main Point show made its way into collectors’ hands. This reel contained a pre-FM recording of the show, often presumed to be the very tape that was walked over from the venue to the station (though given that it was recorded on both sides and not one, it is very likely a safety copied from the production reels after the fact).

On this recording there is no limiter and the sound quality is far superior to the much more compressed off-air recording. It is a gorgeous, stereo spectacle that made this already special show all the more special. The only disappointment is that the recording was not of the entire show. The last 70 or so minutes of the performance, or what’s presumably on a second reel, were never found from the pre-FM source.

But that upgraded 90 minutes spurred a host of new releases, including the first “Masters Plus” reissue by Great Dane itself, which paired the new 90 pre-FM with the original, FM-sourced remainder of the show. Others followed suit, like You Can Trust Your Car to The Man Who Wears a Star (Labour of Love), which used the new and old tape sources and packaged up the CDs to look like the original vinyl boot of the same name. The fan release Prodigal Son at the Main Point attempted to remaster the same sources. Some consider it the best version of the show to date. And Crystal Cat took its own stab at remastering on Main Point Night. Then, earlier this year, yet another version of the Main Point surfaced, as, exploiting a supposed loophole in UK copyright law, British label Left Field Media issued Live at the Main Point as a quasi-official though unauthorized two-CD set. But they too had to work with the same stuff and simply nicked their master from an extant bootleg.

The catch with every Main Point CD to date is that each relies on the same source for the last 70 minutes of the show, that original, well-circulated, off-air fan recording of unknown generation. And while we’ve all hoped or prayed that someday a pre-FM source of the end of the show would appear to match the start, 36 years later we’re still listening to the same old recording. Until now.

Earlier this year, a box of reel-to-reel tapes was obtained from a home-taping enthusiast who lived in Philadelphia in the ’70s. Using his Tandberg 3300 tape deck, the man recorded several live radio broadcasts over the years, preserving the shows on reel at 3-3/4 IPS. The tapes had not been played since the late ’70s and one of them, as luck would have it, was of WMMR’s Main Point broadcast, captured as it happened that night. A fresh, azimuth-adjusted transfer was made and the recording was then speed-correct, de-clicked, phase-corrected and ever-so-lightly mastered to make it sound as good as possible.

Now before anyone gets too excited, this master recording of the broadcast still has the limiter issues of the prior source (only a pre-FM would fix that) and there’s still slight distortion at the climax of “NYC Serenade.” But guess what, it sounds better. Materially better. Not pre-FM better, but in moments you might confuse it with the first set. Says one knowledgeable and trusted collector: “There is absolutely no comparison between the master FM reel and the Prodigal Son version. This new one sounds so much smoother and warmer and fuller. And the PS version has some sections in mono, as well.” It is wide stereo here.

And while it contains no additional music, the new recording does add some deejay chatter, station IDs and closing credits that must have been edited out of the original source.

So for now, until the Angel of Pre-FMs answers our prayers, this upgrade offers the best version to date of those amazing last 70+ minutes of the Main Point. The switch from pre-FM to FM occurs around the 8:14 point in “Kitty’s Back” and you’ll have no trouble noticing. The first couple minutes of the new FM source seem to be its weakest (also the case on the circulating source), but give it a longer listen and you’ll start to realize just how good it is and what an improvement it is on that same old tape we’ve all been hoping would sound better some day. Now it does. Samples provided.

We’ve chosen to present this recording as a straight-up replacement for disc two of Prodigal Son. It begins exactly where Disc Two of that set does, so, if you like this, you can swap it out for that disc and you’ll have the best possible complete show.

Wayne “Boom” Darlington

****

Reissued in 1978 with deluxe b/w cover as TAKRL 24903 and a changed cover design. Black vinyl and blank labels, or custom “Monique OZO” labels, then dark green and white cover.
This pressing has the original SODD matrix scratched with the TAKRL 24903 writing added, so maybe it has been done from the same plates This edition is pretty rare, too.


Later re-repressed in various shades of bright green and yellow, custom labels, and also in wrap-cover version.
Probably RE-repressed in late ’80/ first ’90 in a vivid green and yellow cover and there is also a picture disc.