OZZY OSBOURNE LIVE! from K.B.F.H. 1981 XL 1554/5

“Suicide Train”? Talk about a song title mash up.

At a total length of only 50 minutes, each LP side is rather short here.

Blue cover version:

Japan: 1984

Source: Live at St. Denis Theater, Montreal on 28 July 1981 – on the Canadian leg of his Blizzard of Ozz tour and his first KBFH broadcast. The actual source was probably a cassette recording.

1554 A:    Flying High Again 04:24 / I Don’t Know 05:00 / Crazy Train 05:38
1554 B:    Believer 05:38 / Mr. Crowley 05:51
1555 A:    Suicide Solution 08:49 / Revelation (Mother Earth) 06:11
1555 B:    Steal Away (The Night) 03:31 – Drum Solo 02:15 – Paranoid 03:05

KBFH had edited the show and running order, which originally followed this format:

“I Don’t Know”
“Crazy Train”
“Believer”
“Mr Crowley”
“Flying High Again”
“Revelation Mother Earth”
“Steal Away the Night”
Tommy Aldridge Drum Solo
“No Bone Movies”
“Suicide Solution” [+ “Randy Rhoads Guitar Solo”]
“Iron Man” + “Children of the Grave”
(“Black Sabbath” Songs)
“Paranoid” (“Black Sabbath” Song) [Encore]

PINK FLOYD ‘ECLIPSED’ – Ruthless Rhymes Reissues: Hendrix ‘BROADCASTS – Maui’ + ‘LIVE AT THE L.A. FORUM 4-25-70’ / JETHRO TULL ‘FLUTE CAKE (MESS)’ / ROLLING STONES ‘HONOLULU’ + ‘SUMMER RERUNS’

Matrix: 404 A – D

My friend and main go-to person for bootleg research pointed out that this number looked like the 4xx series the 70s GLC label was using (GLC 411: Rolling Stones – All Meat Music ?; GLC 412: Neil Young – Young & Old; GLC 413: Elton John – B-B-B-Benny – Live in London; GLC 415: Crosby Stills Nash and Young “we waited 3 years for this”).

Sides A+B live at the London Rainbow on 20 February 1972 and sides C+D BBC Paris Theater 30 September 1971

floydboots.com states that the above was the first issue of this double LP with just 200 copies made on orange and light blue PVC, however not everyone agrees, see the list below.

A Vicki Vinyl/Ken co-production? The sub title hints that this might be a new pressing of TAKRL’s 1903 IN CELEBRATION OF THE COMET master, which was a copy of the German bootleg Best Of Tour 72

It should be noted that reissues of the TAKRL release and ECLIPSED both exist with Dessie Records and Verzyl paper labels. Two of the three tracks on the second disc had previously been available on yet another early TAKRL release: # 1913: NOCTURNAL SUBMISSION : ROBOT LOVE but Hot Wacks claims this was a copy of Contraband’s Floyds Of London

floydboots states that this does exist with a deluxe cover in a rare variation. If anyone has a good image of this, do leave a comment. The matrix number changed later to ECL 1-4:

I found the following list during my research but it clearly has to be taken with a pinch of salt. Unless you were there or one of the associates kept notes and they are available, it is very hard to say. which insert color was the genuine first issue.

1) 404 A-D. First pressing, big yellow insert cover, original yellow/white “Ruthless Rhymes” labels.

2) 404 A-D. First pressing, green (record 1) & blue (record 2) vinyl, 100 made, big red insert cover with stamp imprint, original yellow/white “Ruthless Rhymes” labels.

3) 404 A-D. First pressing, blue (record 1) and orange (record 2) vinyl, 200 made, big red insert cover with stamp imprint, original yellow/white “Ruthless Rhymes” labels.

4) 404 A-D. First pressing, big white/brown insert cover, record 1 with white label, record 2 with green label.

5) ECL 1-4. Second pressing, little yellow insert cover, white label.

6) ECL 1-4. Multicoloured vinyl, 50 made, little yellow insert cover with sticker, black/white cartoon labels. This also exists on black PVC.

7) RUTHLESS RHYMES GLC 404 A-D. Third pressing, green/blue vinyl, 100 numbered edition, big brown insert cover, silver/red “GLC” labels.

8) RUTHLESS RHYMES GLC 404 A-D. “Raring Record” labels.

9) LXXXIV Series #54, reissue of the “Ruthless Rhymes” edition, green/blue vinyl, 100 numbered edition copies.

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Missing from the above list are pressings made with Slipped Disc, yellow RECORD 1/2 and Dessie Records labels – “RE-ISSUED AGAIN ON THE ‘DESSIE RECORDS’ LABEL USING NEW PLATES (MATRIX NUMBER – DESSIE A/D GR L-29708).”:

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Auction results for this title vary quite a bit, with the colored Ruthless Rhymes and LXXXIV versions selling for as much as $500 and the MCV/Verzyl versions even close to $1200 but all other versions hovering around the $50+ mark.

This release has been copied in Europe several times with deluxe covers (copying the tree lady art work on the back) and box sets referred to by a color.

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Jimi Hendrix ‘BROADCASTS – Maui‘

Reissue of this classic TMoQ combo 7502 and about the third incarnation and also the third on colored wax. Also exists in red & green and with blank labels.

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ditto ‘LIVE AT THE L.A. FORUM 4-26-70‘ “SCUSE ME…” version

Back in the day, many bootleggers issued this title, Rubber Dubber, Munia, TMoQ, … it was even available as a series of four 7″ records. The insert originally showed an image of Jimi’s head but a dark spot appeared on the Hen and TMOQ versions and more rounds of copying the copy transformed it into something looking like an expressionist art piece.

 

The splatter/mcv discs are usually found with Mushroom label designated packages but not in this case.

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Jethro Tull ‘MESS‘

Two different reissues of this early TMoQ title recorded by Dub Taylor shortly after Led Zeppelin’s Blueberry Hill performance.

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ROLLING STONES ‘(in exotic) “HONOLULU“‘

A reissue of Pig’s Eye # 09

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ditto ‘SUMMER RERUNS’

Originally out as TMoQ 72011

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Frank Zappa ‘METAL MAN HAS HORNETS WINGS’

Originally on Wizardo Records – WRMB 365

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And two example of stamps with different fonts (the second example may not even be a stamp and may have been produced significantly later):

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I’m probably missing a few. If you know of any others, do leave a comment.

ROD STEWART ‘RHYTHM & BOOZE’

 

Also found with green “hörweite stereophonie” labels.

Quality listed as “Exm” in Hot Wacks.

Side 1 does seem to correspond to the 1976 tour set list:

Three Time Loser
You Wear It Well
Big Bayou, Tonight’s The Night
Wild Side Of Life
This Old Heart Of Mine
Sweet Little Rock’n Roller
The Killing Of Georgie
I Don’t Want To Talk About It
Maggie May
Angel
True Blue
You Keep Me Hangin’ On
Get Back
(I Know) I’m Losing You
Sailing, Stay With Me
Twistin’ The Night Away

Rod and the band did play in Gothenburg, Sweden on 9 November of that year (only the fourth date of the tour), IF the city is correctly stated on the cover.

“The tour got off to a terrible start. The band and I were only just getting to know each other and I thought, ‘I’ll show you who can drink’. For about three weeks I was staying out all night and I wasn’t eating. It didn’t help. Then I got sick. Well, I was existing on port and brandy afternoon tea and toast. When we opened at Olympia I felt so bad it was almost like somebody telling me I shouldn’t be there.” (Rod to the Daily Mirror)

Sounds like an aptly named bootleg then.

Side 2 coincides with the last half of the 1977 US Tour dates. Los Angeles saw three shows from 12 – 14 December ’77. There were no KBFH radio recordings that fit these dates and locations.

Three Time Loser
You Wear It Well
Big Bayou, Tonight’s The Night
Wild Side Of Life
This Old Heart Of Mine
Sweet Little Rock’n Roller
The Killing Of Georgie
I Don’t Want To Talk About It
Maggie May
Angel
True Blue
You Keep Me Hangin’ On
Get Back
(I Know) I’m Losing You
Sailing, Stay With Me
Twistin’ The Night Away
Hot Legs
Born Loose
If Loving You Is Wrong
I Was Only Joking
You’re In My Heart

Bruce Springsteen on Ruthless Rhymes: ‘Live at the Hammersmith Odeon’ / ‘ “E” Ticket ‘ and Fakes ‘BORN TO ROCK’ + ‘SMALL TOWN BOY’

LIVE AT HAMMERSMITH ODEON

A) Ruthless Rhymes labels. Orange/Blue/Yellow insert. Matrix BS 1975 (same for all versions)
B) Slipped disc labels. Various insert colors
C) Blue blank labels. Deep Yellow/Orange inserts
E) Raring Records label – first time with wrap-around insert ca. 1981                                                                 D) Smoking Pig labels with wrap-around insert

The bootleg section of brucespringsteen.it reports that the inserts used for C) & E) show signs of having been copied (I will spare you the discussion of shadows between monkey legs… ). More importantly, two types of inserts exist: The standard single sheet version and a slightly re-designed wrap around version with a Bruce-Landau meeting story on the flip side, reminiscent of of a lot of Vicky Vinyl product 1976-77 (see below):

This live recording from 18 November 1975 has since been officially released in 2005 on the Born To Run: 30th Anniversary 3-Disc Set .

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“E” Ticket

Back of the LP track listing, obviously not written by a German native speaker

The number shown on the top right hand corner of the LP is identical with the matrix number. Also available with blank white and green “hörweite stereophonie” labels, as expected.

Side 1:

Rosalita (Come out tonight)      New York,NY,914 Studios(USA) 01-Jul-1973/1        Instrumental  
Kitty’s back                                                                                                    ”                            –         
Thunder road                               New York,NY,Record Plant(USA) 01-Mar-1975/1        –       
4th of July, Asbury Park (Sandy) New York,NY,914 Studios(USA) 01-Jul-1973/1     Instrumental

Side 2:
Walking in the streets          New York,NY,Record Plant(USA) 01-Mar-1975/1                     –   
She’s the one                                                                                                ”                                    –   
A love so fine              New York,NY,????(USA) 16-Oct-1974/1                                        Instrumental
Born to run                  New York,NY,914 Studios(USA) 01-Aug-1974/1                                    – 
Thunder road              New York,NY,Record Plant(USA) 01-Mar-1975/1                       Acoustic  
Jungleland                                                                                           ”                                   ending w. chorus

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Then there were two advance copy versions that might not actually be genuine – confirmation needed:

“A blank-cover pre-release is rumored to exist, and it should be a white stamped and hand numbered white sleeve with the same matrix and labels. It’s unclear the role of the so-called ‘advance pressing’ stamped cover edition with custom green labels(ST/MX1), since this circulated massively and at low cost in late ’80, and it seems a modern reprint, carrying an evident reprint of the ‘head’ variant of the label.” [brucespringsteen.it, from where I also borrowed a few images]

In the 1980’s also reissued as a picture disc.

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The book Warman’s American Records includes a picture of this bootleg with the caption “Bruce Springsteen was very upset when he saw this album “E Ticket”, available in independent record stores – with early rough mixes of songs from his Born To Run album.

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BORN TO ROCK

Obviously not a genuine Ruthless Rhymes product. Also found with “Guilty” labels (another clue) and usually on black PVC.

Tower Theatre, Philadelphia (Upper Darby), PA, USA – December 31, 1975

“This show was the last of a four-night stand (27, 28, 30, 31 December) at the Tower Theatre. Recent events had given Springsteen much publicity and a national profile. Ninety thousand people consequently applied for tickets to see him at this three thousand seat venue. The first thirteen of the eighteen songs played appeared on the double LP Born To Rock (Ruthless Rhymes).

Mike Appel, Springsteen’s then manager, wanted to capitalise on the success of Born To Run with a double or triple LP of live performances. Accordingly, the Tower Theatre shows were recorded, along with concerts in Greenvale, NY (12 December) and Toronto, Canada (21 December), using the Record Plant’s mobile unit with Jimmy Iovine responsible for the recording. Songs from the now-legendary shows at the Bottom Line and the Roxy Theatre earlier in the year were also under consideration for the album. A live album would have been a good idea. Springsteen had already built up a formidable reputation as a live performer, enhanced by radio broadcasts of live shows and cemented by the production of bootlegs of these performances. In particular, Springsteen fan Lou Cohan had produced LPs of the Bottom Line and Roxy shows. As Clinton Heylin writes in his bootleg history, The Great White Wonders, this “was clearly one instance where bootlegs were helping to establish an artist rather than riding on the back of his success.” A live album would also presumably have been much quicker to produce, avoiding the excruciatingly prolonged process that had finally resulted in Born To Run, and getting another album into the record shops while interest in Springsteen was still considerable.

The reason that this live album failed to appear is bound up with the power struggle between Appel and Springsteen’s future manager, Jon Landau. According to Dave Marsh, in his book Born To Run, Springsteen “felt that the band’s onstage excitement wasn’t ready to be captured yet.” Marc Eliot’s The Making Of Bruce Springsteen tells a different story, suggesting that Springsteen initially favoured a live release but was dissuaded by Landau. Landau had been brought in to co-produce Born To Run. He had not only handled production duties but had done much to sort out the impasse and get the album released. Appel, seemingly wary of Landau’s influence, told Landau that he would, of course, work on the next studio album, but that he would not be required for the live LP. In a seeming attempt to marginalise Landau, Appel also pointed out to Springsteen that “it would be foolish to have Jon Landau as a producer of a live album where he had no experience.” As is well known, Landau supplanted Appel as Springsteen’s manager and no live album appeared.” [collectorsmusicreview.com]

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SMALL TOWN BOY

Matrix: 24473

The back cover mentions ‘Contessa Records’, so this was clearly produced by someone else. Later repressed and now more commonly known as the Swingin’Pig release under the same title from the second half of the 1980s.

PATTI SMITH ‘you light up my life’ :Ruthless Rhymes

From Hot Wacks: First 200 copies rubber stamped “Advance Copy”. That seems quite high. Maybe the cover art got delayed.

I dig the depth perception here – the owner really achieved a nice result in this angled shot. Photographing records is harder than it looks, I find.

Matrix # PSG-44-A / PSG-44-B

Collector’s Comment: “Unlike most of her other bootlegs, which were taken from radio broadcasts, this one was recorded on the scene from within the audience. The sound quality is excellent, and the performance is good to very good.”

“Most of the Patti Smith bootlegs come from around 1976, during her first significant touring after the release of her debut album, Horses, in the fall of 1975. This one is notable as a chronicle of the spring 1978 tour promoting her third album, Easter. Here, appearing on May 12, 1978, at the Santa Monica Civic Center, Smith is a more polished, less-spontaneous performer, and a more ambivalent one. The LP’s second side is given over to a selection of Easter songs — “Rock n Roll Nigger,” “Till Victory,” “Space Monkey,” “25th Floor,” and “Because the Night” — but the first side is more interesting. It consists entirely of cover songs, performed by Smith in her inimitable style. After playing the Who’s “The Kids Are Alright” and the Ronettes’ “Be My Baby,” Smith introduces “Time Is on My Side” by reciting a brief bit of her own verse: “Memory is just hips that swing like a clock/ Tick-tock, tick-tock, tick-tock/F*ck the clock!” the Who’s “My Generation,” meanwhile, gets new lyrics: “I don’t need that f*cking shit/Hope I die because of it.” After a surprise cover of John Lennon’s “It’s So Hard” comes an even more surprising choice from a woman who was just then experiencing her first and only singles hit. “Hi, we’re a Top 40 band, we’re the Patti Smith Group,” Smith says. “We’d like to do a little Top 40 for you.” And with that, she takes on Debbie Boone, doing a verse and chorus of “You Light up My Life.” Her mixed feelings about commercial success couldn’t be better expressed. This bootleg has only average sound, but it is one of the weirdest sets in the Patti Smith catalog. ” [allmusic.com]

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Complete set list:

01         Babelogue
02         Rock’n’Roll Nigger
03         Privilege (Set Me Free)
04         Kimberly
05         Till Victory
06         Redondo Beach
07         Space Monkey
08         25th Floor
09         The Kids Are All Right
10         Ghost Dance
11         Be My Baby
12         Time Is On My Side
13         It’s So Hard
14         Pumping (My Heart)
15         Because The Night
16         You Light Up My Life
17         Easter
18         Radio Ethiopia
19         Gloria
20         Ask The Angels
21         My Generation

“It offers an accurate glimpse of the artist circa 1978. Patti’s stage banter is hilarious and she is truly unique. There is virtually no hiss in this recording. You can hear the taper talk to his cohorts but only very rarely. Otherwise there is very little talking. No distortion, no speed problems, vocals are sometimes a little muffled. Parts of the recording are ex- in nature but I would call the rest of it vg to vg +, as always, IMHO. The show appears to be complete to me. It’s a wild performance with a lot of Patti/audience interchange and stage banter. “

Her live in concert rendition of the bootleg’s title track can be found here:

https://app.box.com/shared/c9cvc13z3n

THE ROLLING STONES ‘SATISFACTION GUARANTEED’ : audifön

“Love In Vain” and “Tumbling Dice” are actually in reverse order on side 3.

Label variation 1

And # 2 from a later reissue.

MATRIX: IMP 1023-A Re-1 / IMP 1123-B /C /D

IMP # 1123 would slot right in between Kiss – Destroys Anaheim Part 2 and Neil Young – Old Man’s Fancy in the Idle Mind discography.

“…first released as a classic 2 LP in 1978. The venues sampled on the original LP were: St. Louis July 11, 1978, Buffalo, N.Y., July 4, 1978, Greensboro, N.C., June 26, 1978, Oakland, CA, July 26, 1978, and Chicago IL., July 8, 1978. A really nice “best of” effort. The printed color LP jacket was exceptional at the time. The white and yellow record labels were “Ruthless Rhymes, Ltd.”. The most fantastic version of Beast of Burden was recorded on this LP, and it was from St. Louis […]. Note: The original vinyl release in each case is BETTER Quality than these audience source tapes! ” [rollingstonesnet.com]

Beatles re-issues on Ruthless Rhymes

Matrix: BGB-111 (a 1980’s reissue with POD labels is listed as having BGB 111 A/B – R1/2); ca. 1978. The matrix number traces back to the TMoQ ‘smoking pig’ reissue # 1801 of GET BACK SESSIONS (seen below), which has the following matrix markings: 

scratched) BGB 111 (/scratched) R1 – 1801

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Matrix number unknown at this time.

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Matrix: PA-77-A/B same as the Contraband release matrix.

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This is RENAISSANCE MINSTRELS volume II

Matrix: RR-1001

The RR does not come from “Ruthless Rhymes”, but from Renaissance Records. This traces back to the 1970 release HOMOGENIZED BEATLES – the first beatles title Ken & Dub ever did (one side taken from the first ever Beatleg Kum Back and the other comprised of pirated 45s and one LP track).

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Also available on black PVC. Released around 1978.   Matrix: LLS 101 A/B

This master was re-used when the record was re-released in the early 80’s with a wrap around insert on smoking pig labels and as part of the limited LXXXIV series with large font GLC labels:

Side 1: LLA 101 A (scratched) * 1800 A (scratched) * TMQ-71012-A
Side 2: LLA 101 B (scratched) * 1800 B (scratched) * TMQ-71012-B

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The existence of TMoQs THE COMPLETE CHRISTMAS COLLECTION with Ruthless Rhymes labels probably means that the copy I showed on the blog earlier with Dragonfly labels was not a case of ‘wrong disc in sleeve’.

YELLOW MATTER CUSTARD supposedly exists on Ruthless Rhymes as well but I was not able to find any picture evidence for this.

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Matrix · 106 A / B handwritten

Finally, there is this. A 33 1/3 single with RR labels, apparently released without a sleeve, containing two of the Decca audition tracks: “Three Cool Cats” and “Hello Little Girl”.

A David Bowie TAKRL re-issue on Ruthless Rhymes leading to another GLC (1970s) label find

When I first saw this reissue of one of the earliest TAKRL titles, # 1905 (1974), during my Ruthless Rhymes research, I thought “that font looks really familiar…”:

At first, I only saw it with R.R. labels:

but then, there it was:

The Beatles ‘YOUNGBLOOD’ :BVP 005 / ‘YOUNGBLOODS’ + ‘Dec. 1963’ / ‘FIRST U.S. SHOW’ :ODD 4

Photo taken at the Majestic Ballroom in Birkenhead on 10 April 1963 

The rare alternate front cover. Photo taken in Liverpool near the Albert Docks in late September 1962 by Peter Kaye

The 1970s release was issued on blank, yellow Audifön (pictured), green ‘hörweite stereophonie’ and Ruthless Rhymes labels.

Release date: June 1978; Matrix BVP-005-RE

01.  Too Much Monkey Business (Berry) – YOUNGBLOOD’s first issue used a fair and incomplete tape taken from Pop Go The Beatles #13, recorded 3rd of September 1963.

02.  The Hippy Hippy Shake (Romero) – same as above

03.  Sweet Little Sixteen (Berry) (incomplete) – Pop Go The Beatles #06; recorded 10 July 1963; Presenter: Rodney Burke; Broadcast on 23 July 1963

04.  (There’s A) Devil In Her Heart (Drapkin) – Pop Go The Beatles #10; recorded 16 July 1963; Presenter: Rodney Burke; Broadcast on 20 August 1963

05.  A Shot Of Rhythm And Blues (Thompson) (incomplete) – Pop Go The Beatles #03; recorded 1 June 1963; Presenter: Lee Peters; Broadcast on 18 June 1963

06.  Memphis, Tennessee (Berry) – Pop Go The Beatles #03; recorded 1 June 1963

07.  Sure To Fall (In Love With You) (Perkins/Claunch/Cantrell) – Pop Go The Beatles #03

08.  Youngblood (Leiber/Stoller/Pomus) (incomplete) – Pop Go The Beatles #02
Recorded 1 June 1963; Presenter: Lee Peters; Broadcast on 11 June 1963

09.  Crying, Waiting, Hoping (Holly) – Pop Go The Beatles #08
Recorded 16 July 1963; Presenter: Rodney Burke; Broadcast on 6 August 1963

10.  Kansas City/Hey-Hey-Hey-Hey  (Leiber/Stoller/Penniman) – Pop Go The Beatles #08, recorded 16 July 1963; Presenter: Rodney Burke; Broadcast on 6 August 1963

11.  I Forgot To Remember To Forget (Kesler/Feathers) – From Us To You #3
Recorded 1 May 1964; Presenter: Alan Freeman; Broadcast on 18 May 1964

Quality is fair to poor throughout

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In the 1980’s, a reissue with matrix BVP-005 and labels pictured here used the same cover art but changed the master for side 1 as follows:

Tracks 01. + 02. were replaced with earlier versions, possibly from Saturday Club, 16th of March ’63

Track 03. used an upgrade copied from the bootleg Beautiful Dreamer

Tracks 06. + 07.  were changed to the 1st of January ’62 Decca audition versions

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The Liverpool Empire 7 December 1963 concert, as broadcast by BBC TV later that evening on “It’s The Beatles!“, survived as a recording taped from a TV speaker (including the occasional cough from a person in the room) and made its debut on Youngblood.

A few months later it was also issued on the LP DEC. 1963 on the ODD label. The final song, an unlisted “From Me To You (reprise)/Harry Lime (Third Man Theme)” is a bit more complete here.

The last four tracks on side 2 are:

• Rock And Roll Music – Saturday Club # 325, rec. 25 November 1964; broadcast 26 December ’64
• Everybody’s Trying To Be My Baby and I’ll Follow The Sun – both from Top Gear #20, recorded 17 November 1964, broadcast 26 November ’64                 
• Kansas City/Hey Hey Hey Hey Hey! – also from Saturday Club # 325                      

All of these tracks were altered by overdubbing here with audience screaming either by the Audifön/Ruthless Rhymes producers or someone along the tape supply chain. Original versions would appear in 1980 & ’81 on Broadcasts and Air Time as significant upgrades.

This Youtube clip shows all the surviving video with inline sound. “Backstage, [the Beatles] watched in disappointed amazement [at the poor audio and visual presentations the BBC came up with] on a TV set brought over from the NEMS department store.” [quote from Way Beyond Compare, p. 107]

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ODD reissued the master one more time under this misleading title (also attributed to Modern Jazz Records):

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While Youngblood was not spared another life on Rat-o Cat-o Records:

Matrix: ODD-Four-A & ODD-Five (erased) Four-B

THE BEATLES ‘FROM US TO YOU, A PARLOPHONE REHEARSAL SESSION.’ :Ruthless Rhymes

These are by no means all color but all found label variations (save blank white ones) for this release. Range of colors included a multi-color run plus similar colors as used for John Lennon’s 10″ “A guitar’s all right John but…”.

Date of release: May 1978

Matrix LMW 28 IF, later copied on matrix 10 A/B

Bootleg stampers for this title. What is interesting is that the writing on the envelopes for this US pressed release is in German.

This was the first new BBC material since Contraband’s Stockholm LP presented tracks from the Easy Beat show of July 21, 1963, “in dreadful quality” in December of 1974. Obviously, a copy of a rehearsal tape had survived as this material was never broadcast in this form. More from the raw tape has surfaced on the digital release Unsurpassed Broadcasts – Volume Nine and there is extra material to extend the length of the available material from 24:40 to 27:00.

BBC Paris Studios London, recorded 17 July 1964 (aired: Monday 3 August 1964) – “From Us To You” 4th edition recording session

Track 01     From Us To You (Version 1) (John sings “From me…”)     0:53    
Track 02     Kansas City     2:28
Track 03     Long Tall Sally (Beginning & Solo incomplete)     1:56
Track 04     If I Fell     2:03
Track 05     Boys     1:58
Track 06     I’m Happy Just To Dance With You (Instrumental)     1:52
Track 07     I’m Happy Just To Dance With You     1:46
Side 2
Track 01     I Should Have Known Better (False start)     –
Track 02     I Should Have Known Better (w/o Harmonica)     2:34
Track 03     I Should Have Known Better (w/Harmonica)     2:31
Track 04     Things We Said Today     2:23
Track 05     A Hard Days Night     2:27
Track 06     From Us To You (Version 2)     0:50

http://www.youtube.com/watch?v=Qh-_xvsWibE