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Santana

 

 

Dated (early) 1973 due to the recording dates and chronological numbering of this section of the 40XX list of WCF releases:

4033 Taylor, James – November ’72
4044 Taylor, James – LIVE NEW YORK – Nov. 1972
4045 Rolling Stones – LiveR Than You’ll Ever Be
4046 Santana – Live
4047 Santana – Collector’s Item
4048 Moody Blues – october 1972

Corrected track list:

Side 1: Conquistadore Rides Again (5:40) / You Just Don’t Care (5:26) / Fried Neckbones And Some Home Fries (7:10)
Side 2: Waiting (6:14) / Treat (9:16) / Gumbo (4:25)

Source: Soundboard recording recorded live at Ludlow Garage, Cincinnati, OH on October 21,1969

The information found online claims there were two shows that day and indicates that the material is not presented in order on all the bootlegs:

Early Show
01 Waiting
02 Evil Ways
03 Treat/Shades Of Time
04 Savor/Jingo
05 Persuasion
Late Show
01 Conquistador Rides Again
02 You Just Don’t Care
03 Fried Neckbones
04 Persuasion
05 Soul Sacrifice
06 Gumbo

This is disc one originally released in 1971 by the outfit responsible for the three collector’s item releases (Santana/Neil Young & The Who), released in limited pressings likely in the Cincinnati area.

 

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WCF # 4047:

 

The insert blatantly copied from CBM, who had released their own copy of sides 4 + 3 around the 2nd half of 1972, as determined by their list of chronological releases: 

3508 Rolling Stones – Goin’ Back To The Roots: American Tour/July 72 (5 July 1972)

3519 Beatles – Get Back To Toronto

3552 Beatles – Live Concert Atlanta
3553 Santana – Collectors Item

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Side A: Evil Ways (4:31) / Shades Of Time>Savor Jingo (14:50)
Side B: Persuasion (3:00) / Soul Sacrifice pt 1 / Michael Shrieve drum solo / Soul Sacrifice pt 2 (15:24)

 

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It appears that TMOQ’s HOT AND ALIVE comes from the same source as has the same tracks in the same lengths as sides 1 and 2 of the original double album. It is therefore likely a copy as well.

 

 

Released ca. April 1973 – the 10th cover art drawn for TMOQ by William Stout. Numbered 71073 and with matrix: S-117 A / B

 

Santana Live Rotterdam

Thanks also to the Tatsu-Chin Japanese blog [http://tvreck.blog.fc2.com/blog-entry-40.html], we can add this to the OG label discography. The above cover slick is clearly a copy of the original, lacing it’s metallic three tone print, with the elephant really standing out. The matrix has been confirmed as OG-723. While the European original is not hard to find, this Japanese copy definitely is.

The Dutch original on the maf label dates from 1971; the Japanese copy from 1974. “maf” is a Dutch word and means “stark raving mad” in English.

 

Santana Live Rotterdam orig. pink 2Santana Live Rotterdam orig. pink 3SONY DSCSantana Live Rotterdam lblSantana Rotterdam b

Label states “MADE IN … Formosa”

Santana on their second European Tour and second visit to the Netherlands, following their appearance at the Kralingen Pop Festival, the previous year. Audience recording from 18 April 1971 at the just three months old Ahoy in Rotterdam,

Track list: Toussaint L’Overture/Evil Ways – Samba Pa Ti – Black Magic Woman/Gypsy Queen – Oye Como Va – Gumbo – Everything’s Coming Our Way – Conquistadore Rides Again

No matrix number known.

 

santana 19710418

1971_jsf_ahoy_rotterdam

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maf’s only other release (apparently), a double LP recorded at the Ahoy as well just two weeks before the Santana show:

 

Pink Floyd Live in Rotterdam

Santana Live ColItem IISantana-LIVE

US bootleg, released around 1971 with a deluxe fully printed cover, as part of the collector’s item series, which also included titles by The Who and Neil Young.

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Below:  A  copy (Japanese?) from the mid-70’s. Its labels differ from the clearer and stronger print of the originals. Easily spotted is the difference between laminated cover on the original and the wraparound large insert used on the copy.

 

 

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Yet another copy, this time definitely Japanese, JL 503. These were pressed in Taiwan and sold in Japan around 1975-77.

 

 

 

The artwork states: “This two-record set was professionally recorded at one of the finest concert halls in the nation. Eight microphones were utilized by the sound crew on stage to achieve the flawless quality of sound that is evident throughout the entire album. It captures the peaks of excitement and emotion that accompany a live Santana concert.”

Source: Soundboard recording recorded live at Ludlow Garage, Cincinnati, OH on October 21,1969

Side 1: Conquistadore Rides Again (5:40) / You Just Don’t Care (5:26) / Fried Neckbones And Some Home Fries (7:10)
Side 2: Waiting (6:14) / Treat (9:16) / Gumbo (4:25)
Side 3: Evil Ways (4:31) / Shades Of Time>Savor Jingo (14:50)
Side 4: Persuasion (3:00) / Soul Sacrifice PT 1 / Michael Shrieve drum solo / Soul Sacrifice PT 2 (15:24)

The information found online claims there were two shows that day and indicates that the material is not presented in order on the bootleg:

Early Show
01 Waiting
02 Evil Ways
03 Treat/Shades Of Time
04 Savor/Jingo
05 Persuasion
Late Show
01 Conquistador Rides Again
02 You Just Don’t Care
03 Fried Neckbones
04 Persuasion
05 Soul Sacrifice
06 Gumbo

 

The back of the album mentions the song “Singing Winds, Crying Beasts”, which is not present here and would not come out until September of 1970 (on their second album Abraxas), which helps us date this bootleg to ca. 1971.

 

Owner review:

“The Side One and Two record in this two-LP had dozens of small pimples on the surfaces, and if you saw what the record looks like, you’d be amazed that it plays this well, though there are occasional low-pitched thumps due to the pressing imperfections.

“Fortunately, Side Three and Four are free from this problem, and you get a scorching soundboard by the Santana lineup heard on their debut album. The group plays the entirety of their first album, plus three unreleased selections (Instrumental Introduction, Gumbo and Fried Neckbones).”

 

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Sides 4 and 3 were copied by CBM as # 3553 around the second half of 1972:

Santana Collectors Item 7

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A European bootleg on blue PVC under the title Singing Winds, Crying Beasts (KURLY 5006/7) is also supposed to exist. Does anyone have an image of it? I have found no trace of it – neither have I of another CBM copy supposedly named Volume 2.

 

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Young N Collector's Item

Probably the first release of the Music Hall Cincinnati, OH, 25 February 1970 soundboard tape that I have already mentioned twice on this blog.

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Again, selections were copied by CBM as a single album in 1973 (as # 3940):

Young N & Crazy Horse 3

and from there onto GLC’s ‘YOUNG & OLD’ ca late 1974/early 1975: 

Young & Old 2

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Who LIVE! c.itemWho LIVE! c.item bWho LIVE! c.item detail

A very good audience recording of the middle of the set list at their show in Dayton, Ohio – 13 August 1971. As previously featured here.

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The Who Collector's Item 2The Who Collector's Item 3

Copied in early 1973 by CBM as # 3669 – and the most obvious copy of them all, right down to the original art work.

The recording was copied again by WCF/pre-Berkeley and released no less than three times:

  • Insert pasted to a white cardboard cover & printed “WHO Records” labels, as seen in the red copy below, this is the seller description: “Light Blue Labels – White sleeve with red insert. The insert is attached to the cardboard cover and the album is removed from the top. There is NO RUNOFF GROOVE on Side 1! In fact, the end of ‘Won’t Get Fooled’ plays onto the label, LOL. May be trouble with an automatic turntable! Vert tiny runoff on Side 2.”  Release date: Likely 1972
  • Around 1974 – in a fold-out cover design in green and b&w with blank white labels:
  • With a b&w deluxe cover, ca. 1975/6:

Matrix: 2299 A/B

 

K&S also released it again in 1979.

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The original version was in a blue laminated jacket with blue labels with printed track listings [as shown above].  There are allegedly 500 pressed by someone in the Cincinnati area shortly after the concert.  I saw both this and Neil Young & Crazy Horse Collector’s Item in a record store in Muncie, Indiana in late October of 1971.  The originals were of better quality than the numerous later copies. ”

The sources of all three albums coming from Ohio would confirm that this label was indeed based in the Cincinnati area.

 

Were there any other releases by this “label”? I have never seen any. It would be nice to find out who was behind this ambitious project with an eye on quality releases in matching cover art.

SONY DSC santana Collectors Item 4

Santana Collectors Item 7

Side A: Persuasion / Soul Sacrifice                                                                                                               Side B: Evil Ways / Medley: Shades of Times – Jingo                                                                                      Hot Wacks comments: “Exs, slight hiss.    S: ’71 [which is incorrect]”

Source: Soundboard recording recorded live at the Winterland, San Francisco, CA from one of these nights: December 18-21/1969

The track list is quite close to what was supposed to be on TAKRL 1934: FLAKO DE `57 SPORTSHIRT though:

Side 1: Persuasion / Treat / Soul Sacrifice (21:00)                                                                                     Side 2: Evil Ways/Shades of Time/Savor/Jingo (not on any of the finished discs, as a pressing mistake repeated side 1)

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Hot Wacks reports that Contraband released another Santana title under the name COLLECTOR’s ITEM VOL. 2, which supposedly was a copy of the TMoQ album HOT & ALIVE (71073) – I found no trace of such a release so far.

Santana Crickets & Angels

A1         Going Home     2:58     
A2         Black Magic Woman/Gypsy Queen     6:08     
A3         Oye Coma Va     4:21     
A4         Incident At Neshabur     10:08     
B1         Soul Sacrifice     13:17     
B2         Samba Pa Ti     7:46     

Recorded Live Balbao Stadium San Diego, july 28, 1974 – KBFH broadcast (also performed / included in the original broadcast was a 7 minute version of ‘Toussaint L’Overture’ following the last track)

Carlos Santana (g/perc/vo)
Jose “Chepito” Areas (perc)
Jules Broussard (fl/sax)
David Brown (b)
Tom Coster (kbd/vo)
Leon Patillo (kbd/vo)
Armando Peraza (perc/vo)

This 1974 live performance, recorded for the King Biscuit Flower Hour near the beginning of Santana’s North American tour, captures the 1974 lineup in full flight. Although edited to appeal to radio listeners at the time by emphasizing material from the first three Santana albums, this KBFH broadcast is particularly interesting as it showcases the band applying Carlos’ newer musical context to much of the band’s most popular earlier material.

Indeed, with the exception of “Going Home,” the Antonín Leopold Dvorák composed instrumental that kicked off the Welcome album and opens this performance, this entire recording features material from the more popular first three Santana albums. Here “Going Home” serves as a prelude that segues directly into “Black Magic Woman/Gypsy Queen,” a brilliant morphing of Fleetwood Mac guitarist Peter Green’s bluesy composition with another by Hungarian jazz guitarist Gabor Szabo, a highlight of Santana’s most popular album, Abraxas. The next two numbers are also sourced from the Abraxas album, with the group’s engaging interpretation of Tito Puente’s “Oye Como Va” followed by a breathtaking take on “Incident At Neshabur” that clocks in at twice the length of the album version, allowing the group to flex their improvisational muscles. A thrilling percussion-heavy take on “Soul Sacrifice” follows, a highlight of their debut album and the composition that initially gained the band the most street credibility through its appearance in the Woodstock movie. Carlos peals off searing solos, which lead into the lengthy drums and percussion sequence, which evolves into a characteristically hot, highly energetic jam. More ferocious guitar work and an inspired keyboard solo from Coster eventually build into an explosive ending. Despite containing lengthy improvisations and solos, both “Incident” and “Sacrifice” are thoroughly sizzling performances that remain convincing examples of this lineup’s formidable powers. They also display John McLaughlin’s strong influence on Santana’s guitar technique, which is becoming increasingly complex and fluent.

The loveliest performance on this recording is next with “Samba Pa Ti,” which returns to Abraxas material. This is simply mesmerizing, providing some of the most penetrating and emotional playing of the evening. Santana and Coster both deliver impressive solos over the percolating groove. A close listen to Carlos during this number, reveals a brief moment where he quotes “Never Can Say Goodbye,” which fits perfectly within the context of his solo. The broadcast concludes with one of the standout compositions from Santana’s third album, Toussaint L’Overture, an intense instrumental exercise featuring brilliant guitar playing, dense percussive backing and acid/funk grooves not unlike Agharta/Pangea era Miles Davis.

Best naked female depiction: 1934: Santana – FLAKO DE ’57 SPORTSHIRT
Best spiritual cover: 1933: PINK FLOYD – OHM SWEET OHM
Best comic cover: 2924: ELP THE 1972 AMERICAN TOUR
Best “weird” cover: 1922: BONZO DOG BAND – LOOSE CABOOSE
Best vintage cover: 1919: ROLLING STONES – THE JEAN CLARKE MAMMORIAL/MEMORIAL BARBEQUE
Best use of an illustration: 1910 MOODY BLUES – GRANDE TOURE
Best group shot: Tie: 1902 BLIND FAITH & 1951: BAD COMPANY – SCRAPBOOK
Best collage: 1952 BOB DYLAN – ARE YOU NOW OR HAVE YOU EVER BEEN?
Cutest cover: 1975 GENESIS – AWED MAN OUT

Best ‘title = cover’: 1968 KING CRIMSON – HERETIC
Best drawing & back cover: 2956 THE WHO -TOMMY LIVE AT THE RAINBOW

 

Honorable mentions:

1901: THE JEFF BECK GROUP – EUROPEAN TOUR
1915: DAVID BOWIE – SOFT IN THE MIDDLE

 

Please add your own nominees in the comments.