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Pig’s Eye Label

Dylan Aspects

Side 1: [ & 2, all found elsewhere in superior quality]
It’s all over now, Baby Blue (‘Bringing’ outtake January ’65)
Just like Tom thumb’s blues  (RAH London, May ’66)
George Jackson (Columbia 45, released Nov. 12, 1971)
She belongs to me     (‘Bringing’ outtake January ’65)
Leopard skin pill box hat (RAH London, May ’66)

Side 2:
Talkin’ Bear Mt. picnic blues (Freewheelin’ outtake)
Can you please crawl out your window (Columbia 45)
It ain’t me, babe (Isle of Wight 8/69)
I shall be released (Basement tapes)
Just like a woman (Dublin 5/5/66)
Talkin’ John Birch paranoid blues (Freewheelin’ outtake)

Side 3: [live Charlotte North Carolina 1974-Jan. 17]
Most likely you go your way
Lay Lady lay
Forever young
Knockin’ on heaven’s door
The Times
Don’t think twice
Just like a woman

Side 4: [live Chicago 1974-Jan. 3]
Song to Woody
Lonesome death of Hattie Carroll
Nobody  ‘cept you
All along the watchtower
Something there is about you
Like a rolling stone
Most likely you go your way

Dylan Aspects back

Matrix: R.S

“The label is either blank white or white with “RS Records. Dylan on tour 1974”
The original cover is an insert with a black and white ‘New Morning’ look Dylan drawing. There is a back insert that has the track listings and venues & ‘eye’ logo.
The last 75 LP’s had a special green insert with a Dylan photo from the LA 1974 show, and a humorous explanation for the cover switch.
This was most likely released by the folks who would become TMQ-2 later that same year, although it could be an early TAKRL release as well.”

4-5 stars – R: “Satisfactory mono” – Released: 1974

johnny_winter_hollywood paladium

johnny_winter_hollywood_label4

johnny_winter_hollywood_matrix

Track list:

    S 1-Rock Me Baby
    Can You Feel It
    Rock’n’Roll Hootchie Coo
    Black Cat Bone – part 1
    S 2-Black Cat Bone – part 2
    Rock’n’Roll
    Too Much Seconal – part 1
    S 3-Too Much Seconal – part 2
    Jumpin’ Jack Flash
    Johnny B. Goode
    Crossroads – part 1
    S 4-Crossroads – part 2
    Roll Over Beethoven

May 25th, 1973 at the Hollywood Palladium; Sound quality described as ‘Poor mono’

1973_05_25 Winter J

 

Yes LBA 74 2

Side 1: Close To The Edge (21:00)
Side 2: The Revealing Science Of God (23:00)
Side 3: The Ancient (20:00)
Side 4: Roundabout (8:30)/ Starship Trooper (11:00)

Long Beach Arena, Long Beach, CA – March 19th, 1974

Set list:  Opening (Firebird Suite), Siberian Khatru, And You And I, Close To The Edge, The Revealing Science Of God, The Ancient, Ritual, Roundabout, Starship Trooper

An alternate tape source (not [Mike] Millard’s) was used for the vinyl 2LP set Live At Long Beach (Pig’s Eye PE-YES) containing only parts of the show:  “Close To The Edge”, “The Revealing Science Of God”, “The Ancient”, “Roundabout”, and “Starship Trooper”, and is not very good.

Yes LBA 74 orig lbl

Original issue & labels.

A review:

“Yes – “Live at the Long Beach Arena, Calif. 3/19/74” (Pig’s Eye 1974)

I’ve never been a big fan of bootlegs as I think it’s natural to assume that the best live-recordings of a band are to be found on their own official live-albums. However, I’ve always been curios about how Yes performed “Tales from Topographic Oceans” on the tour for that LP. This double album recorded at the Long Beach Arena in America early in ’74 gives us half the answer, as it features both “The Revealing Science of God” and “The Ancient”. You’ll have to tolerate some typically rotten bootleg-sound to be able to enjoy this, but if you get past that you’ll have a rare opportunity to hear vintage performances of something else from “Tales from Topographic Oceans” than “Ritual”.

But the bootleg opens with “Close to the Edge”, performed pretty much the same way as on “Yessongs”. Funny to hear the talk among the audience during “I Get Up, I Get Down”, revealing that the guy who taped this were standing far away from the stage. But we get over to the most interesting sides of the album when we reach “The Revealing Science of God” on side 2. Just to hear Anderson introduce the song above Wakeman’s floating and dreamy sounds is enough to open the astral gates in my mind. The song is performed slightly more loose and energetic than in the studio. You’ll also notice some more Mellotron, and also an interesting rhythmic synth on the “Starlight, movement” part. Weirdly enough, even if Wakeman hated both the album and tour, he still delivered some of the most interesting new aspects to the material on these live recordings. “The Ancient” is like a burst of cosmic energy, often much faster and more raw than in the studio. Howe’s solo is extended, although not as much as you perhaps had hoped or expected. Still, he adds some new cosmic passages that give further strength to this, Yes’ most experimental track. The extra Mellotron on the acoustic part known as “Leaves of Green” to fans is also a nice addition. The last side is made up of typically solid versions of “Roundabout” and “Starship Trooper”. Not very different from the other live recordings I’ve heard of the songs, although perhaps a slight stronger input of synths on the latter one, as well as a brief Mellotron-flute solo on “Würm”. So, SUPERB music and performances, but poor sound. “

A second review:

“Long Beach Arena, California, USA March 19, 1974

Another Tales Tour bootleg, this one has clear strengths and weaknesses.

Strengths:
One of the few Tales Tour boots of good sound quality.
Steve is in a great day and his guitar is very high on the mix.
Starship Trooper (not such a common song on that tour) is played very dynamically.

Weaknesses:
Siberian Khatru, And You And I and Ritual were played but don’t feature in this bootleg. Were they ever recorded? I don’t know.
In some moments sound quality is not that good.”

 

Yes LBA POD

Later reissue with POD labels.

***

Emerson, Lake & Palmer – The 1972 American Tour on Pig’s Eye has been added to the Aftermath / Phonygraf listing of this recording.

Rolling Stones Honolulu large

Source: Hawai’i International Center/ H.I.C. Arena, Monday, January 22 ’73, 6 p.m. show; this is referred to as the “Original Tape”, source for the early LP boots. [ Unfortunately, the worst of the three shows, playing wise. ]

A1  Brown Sugar [03:33]
A2  Bitch [04:19]
A3  Rocks Off [03:56]
A4  Gimme Shelter [05:26]
A5  It’s All Over Now [02:50]
B1  Tumbling Dice [04:36]
B2  Dead Flowers [03:45]
B3  You Can’t Always Get What You Want [07:36]
B4  Rip This Joint [02:16]
B5  Jumping Jack Flash [03:28]
B6  Street Fighting Man [00:13]

Matrix: PE HONOLULU-1/2, released around 1974

RS Hawaii 73

Rolling Stones Honolulu 1973

Riolling Stones  Honolulu 1973 black

A1  Brown Sugar [03:33] 
ABitch [04:18] 
ARocks Off [03:50] 
AGimme Shelter [05:24] 
AIt’s All Over Now [02:55] 
BTumbling Dice [04:36] 
BDead Flowers [03:43] 
BYou Can’t Always Get What You Want [07:35] 
BJumping Jack Flash [03:30] 
BRip This Joint [02:13] 
BStreet Fighting Man [00:12] 

Almost identical banding, except for “Rip This Joint” and “Jumping Jack Flash” having traded places. Matrix: HONRS A/B; released ca. 1975

The Pig’s Eye version saw a number of re-releases through the years. As K&S 049 from the original Pig’s Eye plates on mcv [spot the carefully removed pig’s eye in the 2nd ‘O’]:

Rolling Stones Honolulu 2

On either blue or yellow vinyl with Ruthless Rhymes labels after that:

Rolling Stones Honolulu RR lbl

Rolling Stones Honolulu cv

Rolling Stones Honolulu cv 2

In the early 80’s with POD labels:

Rolling Stones Honolulu POD

These three shows were a big deal, Mick Taylor’s last gigs in a U.S. territory – although nobody knew it at the time – the end of the 1972/3 Tour of the Americas. 8,500 tickets were available for each of the three shows, ZZ Top were the opener.

“Once again, the gathering madness. Chartered flights from San Francisco, Los Angeles and Denver. Stories in the local papers about kids waiting in line through Christmas Eve and Day for tickets, about how Don Norton, manager of a gas station in Pearl City, left his line Sunday morning at 2:30 AM because his wife Maria was having their first child. He got someone to save his spot, and he was back in line at the Honolulu International Center within two hours. A couple flew in from Boston to see the concert, explaining, very simply, “It’s the whole Mick Jagger thing.” “

The band had just found out that their planned Japan dates are not going to happen due to rejected visas based on past convictions for drug possession; the same issue Paul McCartney would run into two and a half years later. But while he allowed a Japanese TV station to record one of his Pacific Rim shows, the Stones would not: “Japanese television is here to interview Mick,” he says. “They wanted to film the concert. Absolutely not. We still intend to go back to Japan. Next? Probably Europe next summer. Celebrate the Common Market, you know.”

Read all about these three shows here: http://stoneslib3.homestead.com/files/hawaii73.html

The Rolling Stones article from the March 1, 1973 edition can be found here: http://www.rollingstone.com/music/news/the-rolling-stones-in-paradise-19730301

WHO Live in Munich

A copy of this European bootleg:

Who Is This

Who Is This b

Although “Mr. Rubber Dubber” traveled to Germany in the fall of 1970, recorded the Rolling Stones at the Essen Grugahalle and pressed the reels as the 2LP set EUROPEAN TOUR LIVE 1970 upon his return, I doubt he recorded this as well and stayed to have it pressed and distributed in Europe (but never in the US).

The Who Munich 72

who museum 72

As there were only 2400 seats, tickets were rather expensive (normal prices in the larger halls were 12,50 to 14 DM).

Notes from a remastering project of this LP done by “Prof. Stoned:”

THE WHO – Kongresssaal, Deutsches Museum, Munich – September 4 1972 [a fateful night, just hours before the attack on the Olympic Village]
“Who is This ?” Remastered From Original 1st LP Pressing

01. Can’t Explain
02. Summertime Blues
03. My Wife (tiny cut within)
04. Baba O’Riley
05. Behind Blue Eyes
06. Magic Bus
07. The Relay

Time: 47:06:56   Sound: B+/B

“It’s a good “stereo” audience source for this era. There’s a great balance between the instruments and voices and the energy of this show is very well captured. The recording starts out a little bassy, because the “mix” is like that, but improves quickly during the 2nd track.

Though not a sonic masterpiece, this new version is among the best sounding 1972 whoboots.
It’s comparable to the 21/08/72 KB Hallen, Copenhagen (DK) bootleg (a.k.a. Danish Treat).
This may sound a little “harsher”, but then again the vocals can be heard better on this one.

I’m aware that a completer source of this show available, compiled from 3 different sources.
This recording captures the best sounding source of those three in its entire, and is an upgrade to what’s out there until now. I leave it to others to splice the sources together again.

***About the LP ***

The original mastering of the LP is quite amaturistic [sic]. Inbetween songs, the volume was raised, and some weird panning was done. Probably to convince the listener that this was a “real stereo” live LP. The sleeve says the following about this: “world white super pop trade mark of peace quality hell and heaven STEREO records can be safely played on today’s monaural phonographs to the maximum sound capabilities of your equipment, yet will reveal full stereo listening”

There are two minor cuts in the original recording. One notably in “my wife”, resulting in a couple seconds missing. The other one is between “Summertime blues” and “My wife”, and abruptly cuts off the public response to the former song.

My copy visually strictly rates VG++. But it plays with more crackling than you might expect. This has probably to do with the quality of the pressing itself. […] I corrected the speed of the recording with +0.15 semitones. I tuned the music of “Can’t Explain” with great precision, comparing to an exact E (330, 660, 1320 Hz), bringing down the playing time from 47:31 to 47:06.” 

“I have the original bootleg too and The Professor’s version is really clearly superior to the album because he successfully eliminated the – occasionally – heavy surface noise that clearly does not derive from scratches (my copy is almost mint) but from an obviously sub-par pressing and/or mastering.

Just too bad that Rubber Dubber – or the bootlegger who may have used his label as a disguise – decided to cut down the show to a single album, as this is simply one of the best sounding shows of this tour.”

The Who Hamburg 72

The Who on stage in Hamburg, August 13th ’72. When Pete smashed his Gibson SG Standard at the end of the show, the photographer ended up getting hit in the face by one of the splintered parts.

Winter J Hot

Winter J HOT 3

Tracklist:
A1  Help Me (Williamson) 4.18
A2  Leland Mississippi Blues (Winter) 4.22
A3  Mean Town Blues (Winter) 8.42
B1  It´s My Own Fault (King/Taub) 11.24
B2  I Hate Everybody (Winter) 4.50
B3  Tell The Truth (Winter) 7.09
B$  What’d I Say (Charles) 4.28

Source:  Hollywood Bowl, August 1, 1969       Quality listed as: Satisfactory mono

Personnel:
Tommy Shannon (bass)
John Turner (drums)
Edgar Winter (keyboards)
Johnny Winter (guitar, vocals)

Winter J HOT 2

Matrix # for the above version is 1886 A/B

Winter J Hot S Pig

as TMOQ 73027

Question posted January 2nd 2013: You did the original artwork for this Pig’s Eye release. Ken has stated that Herbie Howard was behind Pig’s Eye but others believe it was Dub, since you usually did covers for the classic TMOQ releases. So, whose label was Pig’s Eye?

William Stout: “It was Dub. Trademark of Quality was getting ripped off so much that Dub decided to retaliate with Pig’s Eye. Pig’s Eye issued the best recordings of the bootleggers who were stealing from Trademark..”

 

Beatles OSiJ 1966

Not an original Pig’s Eye release but a North Asian copy, designated by printed b&w covers and having L 5xx or JL 5xx printed in small writing hence the designation as ‘JL label’.

I wonder how Holy Grail Records and Dr. Uriah Lucas felt about seeing their labels used in this manner. This label exists in no less than 3 different colors: light pink, pink and brown.

Holy Grail dark label

More variations:

Beatles OSiJ 2

Beatles 1 label small

Beatles OSiJ 3

Beatles 1 label big

Beatles OSiJ 4

Jeff Beck Gr

Jeff Beck Gr disc

Bowie Dollars in Drag

Blind Faith Pigs Eye copy

Who LA Forum Phonygraf

Who Lat LA F

 

Venue: The Forum, Los Angeles, California, USA, Thursday, November 22, *1973*

“This was recorded on Thanksgiving Day, the 1st of 2 nights at The Forum and the 2nd night in the U.S. premiering Quadrophenia to North American audiences on the 1973 tour. Interesting to hear a performance of the short-lived “Helpless Dancer” which was one of the songs the band later abandoned because of the many problems with out-of-sync backing tapes and frequent guitar changes.”

Side 1

1. Mary Ann With The Shakey Hand (Studio)
2. Real Me
3. Punk Meets The Godfather
4. I Am One
5. Helpless Dancer

Side 2

1. Sea & Sand
2. Drowned
3. Can’t Explain
4. Summertime Blues
5. My Generation

 

Matrix:  W-1881 A / B

This recording was released under several different titles: Live At LA Forum (No label info available) [double album with more studio tracks on side 3 & 4]

The WHo Live At LA Forum TG D 73 2LP
Live At The Forum ’73 (PIG’S EYE 9) [no image available]
Live At The Forum ’73 (K&S 048) Reissue from orig. plates

Who LatForum mcv

Rock And Roll Who-Chee-Koo (PIG’S EYE); Matrix numbers PE-11 A/B:

Who RnR Who-Chee-Koo

If Hot Wacks is correct, the Pigs Eye/K&S versions have superior sound compared to Phonygraf. I believe that one of these boots was used for the soundtrack for this silent Super 8 movie (until 8 minutes and 28 seconds):


Complete Concert Set list:
I Can’t Explain, Summertime Blues, My Wife, My Generation, I Am The Sea, The Real Me, The Punk And The Godfather, I’m One, Helpless Dancer, 5.15, Sea And Sand, Drowned, Bell Boy, Doctor Jimmy, Love Reign O’er Me, Won’t Get Fooled Again, Pinball Wizard, See Me Feel Me, My Generation, Let’s See Action, Magic Bus, Naked Eye, Baby Don’t You Do It

 

“L.A. Forum, 22 November 1973, 9th row. The concerts were on a Thursday and Friday. Thursday was Thanksgiving, and my friend and I went to this concert. It was pouring rain outside. Opening act was Lynyrd Skynyrd. There was an encore – Baby Don’t You Do It. At the end, Townsend smashed his guitar. L.A. Forum, 23 November 1973, front row. I recall the concert was virtually the same as the preceding night, but no encore.” 

Keith was in better form for the LA shows and the group treated the first-night crowd to a rare event at a Who concert when they came back for an encore of ‘Baby Don’t You Do It’. Pete also smashed one of his numbered Gibson Les Paul Deluxe guitars. Chris Charlesworth reported in Melody Maker (December 8): “19,500 fans had stomped and cheered for over 15 minutes in the Forum, refusing to leave even though the house lights had been raised and probably well aware that The Who rarely do encores. But tonight their enthusiasm was rewarded with just that. The group came back and did an encore – actually ‘Baby Don’t You Do It’ – only the second time I’ve seen this happen in watching The Who around 20 times… they blasted through the song, climaxing with Townshend unstrapping the Gibson and, gripping the fretboard as if it were an axe, bringing it down on to the stage with a resounding crash time and time again until it cracked around the 12th fret.”

Read another longer report here: http://gibsonguitar.es/News-Lifestyle/Features/en-us/My-Gibson-Moment.aspx

Let’s take a look at the Aftermath label. I wouldn’t be surprised if Ken was behind this one as well. It gets intriguing and confusing at the same time as 2924 is listed as the TAKRL release number for Celestial Doggie, yet this was released under Phonygraf and Part 2 in the Aftermath series has the matrix numbers TAKRL 2-A/B

ELP TotA 1

ELP TotA 1 tri-color

An early edition duo-colored insert.

ELP TotA 2

These first two volumes were a copy/re-issue of sides 1&2 and 3&4 of Phonygraf’s imaginatively titled Celestial Doggie: The Lobster Quadrille

Source: Long Beach Arena, July 28th 1972

Although based on the recording date alone, this could have been released as early as 1972, the fact that the first Phonygraf bootleg 1101 America / Eagles Live On The Road could only have appeared in late August 1974 at the very earliest, places this into 1975.

ELP Celestial Doggie

And if you stared at any of these covers long enough back in 1975/76 under the influence of LSD it…

collectorsmusic.com wrote: “Celestial Doggie:  The Lobster Quadrille is an excellent audience recording remarkable in its clarity and presence.  It also is one of the most popular ELP bootlegs seeing many releases in different formats over the years.  Two vinyl titles were produced in the seventies, 1972 America Tour (Pig’s Eye), the 3LP Tour Of The Americas Part 1 (An Aftermoth [sic] Record) and of course Celestial Doggie : The Lobster Quadrille.

[It should be noted that part 3 of Aftermath’s trilogy was not from this concert as it was a re-issue of the TAKRL 1911 title Callow, Crash And Idle Eyes. I could not find a cover image for the Aftermath version, so it will not receive an entry.]

Review from allmusic.com: “This is one of the first bootleg albums to emerge after Emerson, Lake & Palmer began to get well known. Recorded from the audience during a concert in Long Beach, CA, this two-record set compares favorably to similar illegitimate releases of the era. The audience noise doesn’t drown out the music, the instruments are reasonably well balanced, and there aren’t breaks in the middle of songs, as on most bootlegs. However, the sound is somewhat muffled and does not begin to match that of any live commercial issue by ELP.

The program is an ambitious one including the entire “Tarkus” suite; the difficult and rarely heard medley of “Endless Enigma, Parts 1 & 2” with “Fugue” inserted in between; a version of “The Sheriff” in which Lake goofs up the order of the lyrics; the second half of their interpretation of Mussorgsky’s “Pictures at an Exhibition”; a rather conservative take of Aaron Copland‘s “Hoedown” (which is much faster on the commercial live versions); and an extended ferocious finale of Dave Brubeck‘s “Blue Rondo à la Turk,” which was a carryover from Emerson‘s days with the Nice. The playing of the trio is pretty consistent with any of their live releases, but since almost all of these tracks are available with far better sound from other concerts, only the fanatical collector of ELP will search high and low for this long unavailable set.”

ELP Celestial Doggie K&S colored

K&S re-issued the Phonygraf double on multicolored vinyl as # 042. [Note: Many bootleggers have a hard time spelling “American” for some reason – see the David Bowie category.]

ELP The 1972 AmT 2

Almost overlooked as it is listed in the Hot Wacks appendix only: The Pig’s Eye version. The question now is, which one came first?

Text from the eBay listing:

PIGS EYE RECORDS

Super Rare …ages old Original first pressing on the legendary PIGS EYE label… a giant TWO-LP set featuring July 28th 1972 Long Beach Arena exclusive versions found only on this album. Essential progressive rock/ELP collectible…very, very hard to come by….

ELP took May off before resuming touring with dates in Europe in June and July. They played their first and only two concerts in Japan before returning to the states for their second month long tour. The first date was on July 27th in San Francisco with Long Beach being the second night. Here the collector will find the audio playback to be “excellent” remarkable in its clarity and presence.

It also is one of the best, most popular ELP albums in the genre…

Surprisingly beginning with “Tarkus” — They deliver an extremely aggressive and militaristic version of the fantasia and in “Aquatarkus” they get into the melody that would be used later for “Karn Evil 9 1st Impression Part 2.” The ending of the piece delves into a strange melody that sounds like a carnival organ set to military snare beat. Lake begins the song alone with his acoustic guitar but Emerson and Palmer follow him in to complete the song. “Take A Pebble” continues with Emerson’s frantic keyboards.

They follow the “Endless Enigma” with “The Sheriff,” something Emerson claimed they never tried out on stage before. The claim is untrue since they played it since their spring tour. “Take A Pebble” has the normal construction with Emerson’s piano fugue following the first verse. “It’s drastic” Lake jokes when he comes in to sing “Lucky Man.” Lake begins the song alone with his acoustic guitar but Emerson and Palmer follow him in to complete the song. “Take A Pebble” continues with Emerson’s frantic piano.

“Pictures At An Exhibition” is sixteen minutes long and “Hoedown” follows almost as an afterthought. The gig ends with a wired version of “Rondo.” There is a mechanized moog beginning before the steam train engine starts off the song. Emerson gets into the “Star Spangled Banner” before Palmer has his long drum solo in the middle. The song comes to a crashing halt twenty minutes later. It’s one of the most thrilling versions of a song that can sometimes be hard to take.

I

Tarkus: Eruption
Stone Of Years
Iconoclast
Mass
Manticore
Battlefield (inc Epitaph)
Aquatarkus

II

The Endless Enigma, pt.1
Fugue
The Endless Enigma pt. 2
The Sherrif
Take A Pebble
Lucky Man

III

Take A Pebble (reprise)
Pictures At An Exibition
Promenade
The Hut Of Baba Yaga
The Curse Of Baba Yaga
The Great Gates Of Kiev

IV

Hoedown

****

This recording has now been officially released by the band themselves as part of the box set The Original Bootleg Series From The Manticore Vaults:  Vol. One (Sanctuary Records CMXBX309)