Smilin’Ears label

Rolling Stones Southern Quotations

Rolling Stones Southern Quotations b

Most copies found are either two red, one red/one blue or two blue discs but just like with the L’Ange Gabriel release,

Genesis L'Ange Gab mcv

which most likely was produced around the same time and at the very end of Smilin’ Ears’ existence in late 1978/early 1979, there were a number of variations:

Rolling Stones Southern Quotations d redRolling Stones Southern Quotations blu orRolling Stones Southern Quotations greeRolling Stones Southern Quotations blu ttRolling Stones Southern Quotations mcv 2Rolling Stones Southern Quotations mcv 1Rolling Stones Southern Quotations mcv 3

Subsequently, the ‘two-tone’ copies realized significantly higher eBay prices than the others. No all black copies seem to exist, unlike the Genesis title.

Side 1. Honky Tonk Women [04:06] / Star Star 05:04] / When The Whip Comes Down [07:15] / Miss You [09:37]
Side 2: Lies [05:30] / Beast of Burden [07:18] / Just My Imagination (Running Away with Me) [05:57] / Respectable [03:36]
Side 3: Far Away Eyes [07:22] / Love In Vain [07:59] / Shattered [05:16] / Tumbling Dice [04:47]
Side 4: Happy [03:22] / Sweet Little Sixteen [03:52] / Brown Sugar [03:55] / Jumping Jack Flash [05:48]

Source: Greensboro NC, War Memorial Coliseum – 26 June 1978, the 9th stop on the tour that is either called “one of the band’s greatest” or “mediocre” as below. 

“Greensboro North Carolina, was released on the vinyl boot Southern Quotations (Smilin’ Ears SE 27722).  The master cassette is lost […].

The sound quality is fair since it is distant from the stage and contains noticeable distortion in louder passages the sound quality improves a bit with “Shattered” to the end.  It is listenable and, once one gets past the limitations, can be appreciated.  The first two songs of the show, “Let It Rock” and “All Down The Line,” are missing and “Just My Imagination” fades out in the end.

Some argue that Greensboro is the worst show on a generally mediocre tour.  While there could be some merit to the argument, listening to this tape doesn’t really support that.  It is a briskly paced show with very little interaction from Jagger and the audience.  The opening five songs on the first disc go by very quick, slowing down for a languid “Beast Of Burden” (which Jagger pronounces “beast of buuuuuuuuuuuuurden.”)

“It’s great to be back in the south” Jagger says before “Far Away Eyes.”  “It gives us an excuse to do a country number.”  His intonation suggests extreme sarcasm as he sings the song.  On “Love In Vain” Wood plays the solo with a heavy vibrato.

“Shattered” was the most popular song from the album in Greensboro judging by the amount of requests made within earshot of the recorder, and they react loudly when it comes up in the set.  The show ends with the double shot of “Brown Sugar” and “Jumping Jack Flash” which is most common for this tour.” []


So, Smilin’ Ears starts and ends with a Rolling Stones title:


THE BEATLES AND the ROLLING STONES ‘Sing This all Together’ 2 LP – SE 7700   available from Jan. ’78


The Beatles ‘TWICKENHAM JAMS’ – SE 7702

Joni Mitchell & James Taylor ‘IN PERFECT HARMONY / TAKES TWO TO TANGO’ – SE 7703

Beatles ’66 – SE 7704

Sex Pistols ‘THE FILTH AND THE FURY’ – SE 7706

The New York Dolls ‘DOLLS LIVE: DALLAS ’74′ – SE 7707


Patti Smith ‘Live in London’ 2 LP – SE 2-7720

Fleetwood Mac 2LP – SE-2-7721

ROLLING STONES ‘Southern Quotations’ – SE 2-7722    early ’79?

Genesis ‘L’Ange Gabriel’ – S-E 1000     late ’78/early ’79

LED ZEPPELIN ‘THE DESTROYER’ 4 LP Box – SE 77-300   available by late ’78

Grateful DEAD ‘ GOOD LOVIN’ ‘ 4 LP box – SE 77-401   available by late ’78


I used to believe the following: “I suspect that the reissue of the very first Smilin’ Ears release on red PVC happened around the same time as Southern Quotations and L’Ange Gabriel.”

However, this is not true. These were made in Germany in the 1980’s. I did think, when I originally wrote this that the vinyl color used here did not look “Smilin’Ears-like” but it’s sometimes hard to tell in the auction images and very depending on the lighting and how they were photographed.


Rolling Stones STAT cv



Perhaps this reissue of Tales From The Who was a secret Smilin’ Ears release? In the end, I doubt it – not that I have proof though.

Tales from The Who cv lblTales from The Who cv 2Tales from The Who cv 5

Shown here on top of the back cover,


Tales from The Who cv 3

Tales from The Who cv 4

And with many other colors. Matrix markings: U-560 A / B / C / D


Tales From The Who cv

Grateful Dead Good Lovin 2Grateful Dead Good Lovin lbl

Grateful Dead Good Lovin 3

raceway GD 77GD ticket Englishtown 77

Side 1: The Promised Land 4:33 / They Love Each Other 7:50 / Me And My Uncle 2:58 / New Minglewood Blues 4:43
Side 2:    Mississippi Half-Step Uptown Toodeloo 13:00 / Friend Of The Devil 7:34
Side 3:    The Music Never Stopped 6:46 / Bertha – Good Lovin’ 14:07
Side 4:    Loser 7:13 / Good Lovin’ 17:30**
Side 5:    Estimated Prophet – Eyes Of The World 23:11
Side 6:    Samson & Delilah 6:27 He’s Gone 12:54
Side 7:    He’s Gone – Not Fade Away 21:46
Side 8:    Tennessee Jed 8:23 / Terrapin Station 11:00

** recorded 2 July 1971 at the closing night of the Fillmore West in San Francisco


Date of release: 1978, available around the same time as the Led Zeppelin The Destroyer black box from Pied Piper and also offered for $22 (+ shipping).

Broadcast by WNEW New York. I assume that is the source for this box set, however several good sounding audience recordings exist as well. Smilin’ Ears’ master tape either didn’t come with source info or they tried to be coy about the date & location. This was later officially released on CD as Dick’s Pick’s Vol. 15.



From the Columbia University newspaper; showing an emphasis of Smilin’ Ears titles.

CollectingCollecting 2

Led Zep The Destroyer 4LPGreat choice of cover art for this title and correct date and location given.

Led Zep The Destroyer detailSturdy black boxes with glued insert seem to be most common.

Led Zep The Destroyer 4LP sw

Led Zep The Destroyer 4LP lblLed Zep The Destroyer 4LP lbl 6

Led Zep The Destroyer 4LP yelLed Zep The Destroyer 4LP bluLed Zep The Destroyer 4LP Karma

Karma City? Isn’t that tempting fate?

Led Zep The Destroyer 4LP yel bluThinner printed box with a white border.

Led Zep The Destroyer spineFirst image of a visible spine with writing.


Source: Audience recording from the second night at Richfield Coliseum in Cleveland, OH – 28 April 1977 – apparently one of the best performances on the whole tour. Released in 1978; originally sold for $22 via the Pied Piper bootleg catalog.

An eBay seller claimed only 500 were pressed. I would doubt this claim, seeing how easy it is to locate a copy 36 years later, how many different versions exist and how popular this title must have been.

Side 1: The Song Remains The Same – Sick Again (14:11)/ Nobody’s Fault But Mine (5:36)
Side 2: Since I’ve Been Loving You (17:24)
Side 3: Guitar Solo medley incl. The Star Spangled Banner – Achilles Last Stand (18:21)
Side 4: White Summer medley incl. Black Mountain Side – Kashmir (15:31)
Side 5: Ten Years Gone (8:56)/The Battle Of Evermore (5:25)/ Going To California (4:19)
Side 6: Black Country Woman medley incl. Bron-Yr-Aur Stomp (7:00)/ Trampled Underfoot (6:19)/ Rock & Roll (3:54)
Side 7: Kashmir (17:13)
Side 8: Over The Top medley incl. Out On The Tiles/ Moby Dick (16:25)
Recording: Very good mono audience. Taped on platform usually used for television camera for sports broadcasts. “All the cuts exist for two reasons: the taper was trying to save tape, and the recording was done on 60 minute (30mins per side) cassettes. ”  Comments: Deluxe box set. Two different covers. Two audience sources exist for this date.

Master tape in detail:
01. The Song Remains The Same (beginning cut) 03:44
02. Sick Again 07:05
03. Nobody’s Fault But Mine 07:17
04. In My Time Of Dying 11:37
05. Since I’ve Been Loving You 09:43
06. No Quarter (cut at 05:07) 20:45
07. Ten Years Gone 10:05
08. The Battle Of Evermore 06:27
09. Going To California 05:14
10. Black Country Woman 01:42
11. Bron-Y-Aur Stomp 05:42
12. White Summer (cut at 00:29) 03:45
13. Black Mountain Side 01:34
14. Kashmir 09:34
15. Over The Top 17:26
16. Noise Solo (cut at 10:06) 10:10
17. Achilles Last Stand 10:28
18. Stairway To Heaven 11:44
19. Rock And Roll(beginning cut) 04:12
20. Trampled Underfoot 06:59


One Rocco Caponi outed himself as having taped the recording that was used for this box set, meaning that the people behind Smilin’ Ears acquired the tape indirectly through trading some time after the concert.


LZ Cleveland 28

Photo above taken from taper’s location during “In My Time of Dying”

LZ Cleveland 28 IIAnd during theOver The Top” medley.



The tape for Zeppelin’s second night in Cleveland is one of the strangest.  The tapers were located a ways from the stage, they were experiencing problems with their equipment, and he and his friends were not shy about expressing their opinions throughout the entire show.  It is also obvious one of his friends attended the previous evening’s concert and liked to tell the others which song is coming next.  Despite these obstacles this is considered one of, if not the best, audience document outside of the tapes for Los Angeles.  Its reputation is due to it being very clear and powerful.  Zeppelin was the perfect band to use the Richfield Coliseum’s questionable acoustics to their advantage and the result sounds like battery artillery storming the beachhead to the delight of a packed house. 

This tape has been known as The Destroyer since it was released shortly after the event [I believe it might have been as much as a year later or more].  It was first released as a vinyl box set on the Smilin’ Ears Records label complete with the famous painting of the warriors huddled on top of one another.[]

28-Apr-77 Cleveland

“Audience recording from the Richfield Coliseum in Cleveland Ohio, on April 28 1977. […], limited edition of a tape close to being excellent, virtually free of hiss, trebly and overloaded at times. The tape shows wear occasionally and presents cuts and edits almost in its entirety. The band is upfront and the clarity of the instruments is very detailed, the bass is a little indistinct at the end. The cuts and edits eliminate most of Plant’s comments, miss the first few seconds of many songs, cause tape disturbances when the recording resumes and interrupt two tracks in progress. Before Nobody’s Fault the taper curses as he informs he is having problems, a squeal precedes the first cut, when the recording resumes the first few guitar notes are missing. In My Time is cut briefly in the final vocal a cappella and joined to the last phrase of You Shook Me. No Quaaludes, as introduced by Plant, is cut during the second vocal theme and joined to a couple of seconds of the wha-ed guitar episode, and finally cuts out. Audience noise is minimal, a wise guy is introducing the songs to his mate! s before Plant, an irreverent yell of “this sucks!” in Over the Top ,and the taper cursing again in Stairway; there’s some mumbling in the quiet moments, but nothing really annoying. This is a superb gig, the pacing and playing, together with the very enjoyable recording, make for a listening treat. Page is precise, concise and powerful; Jonesy is all over the place; Plant’s vocal gymnastics are strong from the beginning to the end and seems genuinely touched by the audience’s response; Bonzo is frightening, he seems to destroy the drum kit in every track, the recording captures particularly well his crushing presence. Collectively is the same story, the enthusiasm does not let up a minute, every piece receives special attention and there are no lazy moments. In My Time features great introductory licks to the guitar leads; No Quarter features amazing interplay and Jonesy’s most inspired piano playing. Ten Years is overloaded by the loud twelve-string and cymbals, Achilles by the drums, even distorting the tape, but both are very clear. Tape wear is evident in Over the Top, Kashmir and Stairway; there’s a little distortion in the encores: Rock and Roll, Trampled. Despite these deficiencies, the performance is not affected at all and allows its enjoyment. This show should restore the faith to detractors of this era. (Rosina Diaz Scali Mar 99) [ Cleveland]


Cleveland Richfield

In the 1970’s, there were two phases when rock bootlegs managed to transcend their humble existence: First, in 1969/’70 when this was a new phenomenon, satisfying the urge to hear new/live material by 1960’s icons and giving those interested a first taste of how some of the hottest new acts of 1970 sounded live. Second, in 1977 in the UK when only bootlegs were the only medium to capture the fleeting nature of a musical revolution.

“…it would be impossible to consider either the social or musical impact of English punk without considering The Sex Pistols’ Spunk and Indecent Exposure, The Buzzcocks’ Time’s Up, Siouxsie and the Banshees’ Love In A Void or Joy Division’s Warsaw – albums as central to the movement as The Clash, Never Mind The Bollocks or Pink Flag. For a brief moment, the lines were down.” [Bootleg, Heylin, p. 163]

Bands changed line ups so fast that it was all over months ago by the time fans caught up. Only the bootlegs could fill this demand for any tangible evidence of a band’s fleeting moment of brilliance.

Sex Pistols Filth + the Fury 2Sex Pistols Filth + the Fury bSex Pistols Filth + the Fury lbl 1Sex Pistols Filth + the Fury lbl 2

A copy of the UK bootleg Spunk with short intro track added (parts of Janet Street Porter interview with John Lydon). The first edition of Spunk is described in detail here:

Smilin’ Ears version released in 1978.

Spunk is one of the few bootlegs that has its own Wikipedia entry AND probably the only entry where a Smilin’ Ears title is mentioned:

Discussion about how to identify an original pressing and the speed issue can be found here:


Some images relating to the original UK release:

Sex Pistols Spunk lbl 2

Sex Pistols Spunk stenciled

“Alan Henderson: […]  … And the first few thousand we took out into my back garden and spray painted a stencil with Spunk. […] [Bootleg, Heylin, p. 169]

I wonder if this record store owner isn’t mistaken and they had spray painted it with the band’s name – which would have made more sense marketing-wise – and this is one of these copies?


Sex Pistols Spunk NF UKSex Pistols Spunk BR QF

Such is the legend of this bootleg that the Independent UK newspaper wrote in their obituary for Dave Goodman, the producer of the demo sessions immortalized here “Dave Goodman was the man behind the notorious Sex Pistols bootleg Spunk. Reviewed in glowing terms by the New Musical Express and Sounds, …” as if the bootleg had been Dave’s initiative – also making him the only individual so far to have a bootleg LP listed as their top achievement in life.

Nobody was ever prosecuted for copyright infringement, despite Johnny Rotten stating on BBC radio that he knew exactly who was behind the album and fully intended to deal with the person. Malcom McLaren, suspected by many to be behind it all, denied his involvement. It was all very punk and certainly helped the band immensely, the publicity in the press alone could not have been bought for any amount.


The album repressed as “No Future U.K?” with a couple of extra tracks (not to be mistaken with the live bootleg by the same name):

Sex Pistols No Future UKSex Pistols No Future UK b

No Future UK? (GD 001/002)
Studio demos, “Spunk” LP plus Denmark St. – July ’76 versions of “Pretty Vacant” & “Anarchy In The UK”, & Wessex Studios take of “No Fun”.

Side One. Pretty Vacant / Seventeen / Satellite (I’m A Lazy Sod) / No Feelings / I Wanna Be Me / Submission / Anarchy In The UK / Anarchy In The UK (Different Version)
Side Two. No Fun / God Save The Queen / Problems / Pretty Vacant / Liar / EMI / New York (Looking For A Kiss)

“Notes. Issued in 3 different coloured sleeves. Black & white labels. Also pressed as ‘Spunk 2′ and ‘Son Of Spunk’. Some copies of No Future UK? (GD 002) carry Spunk BLA-169 labels on both sides, however the contents comprise of the 15 track LP as listed above.
Another version of No Future UK? was released under the name of ‘Golden Bullet’. Plain white sleeve, with a dark yellow A4 insert with 2 pictures of Jorge Angel (Copenhagen 13/07/77). Possible Swedish repress.”



Hey, if they were offering… Lyntone London (mostly known for pressing flexi singles (including the Beatles’ Fanclub Christmas Flexis) and promotional records but also many UK singles in the early 1980’s) where the original UK versions of Spunk and Time’s UP had been pressed.




Another 1977 UK bootleg was Time’s Up by the Buzzcocks on Voto Records:

Buzzcocks Time's UpBuzzcocks Time's Up bBuzzcocks Time's Up lbl

First vinyl release in the UK in 1977 on Voto Records – LYN5333

Buzzc TU

For more details on the original, see page 12 here:

Fleetwood Mac Sm Ea 1Fleetwood Mac Sm EaFleetwood Mac Sm Ea lblFleetwood Mac Sm Ea lbl 2Fleetwood Mac Sm Ea red lblPaying homage to Fleetwood Mac’s 1975 self titled album with this cover design.

Fleetwood Mac Sm Ea white lbl

Following the 1975 2 LP bootleg Will The Real Fleetwood Mac Please Stand Up? (SODD 02) Smilin’ Ears in 1978 offered another radio broadcast double set, this time from the East Coast nine months and for some fans, a rather large uncomfortable change later: The Macs in transition to a massively successful pop band with the help of their new members Buckingham and Nicks. It should be noted that their ex-member Bob Welch, by the time this bootleg came out, was heading into the exact same direction. 


Side 1: I’m So Afraid (4:45) / Oh, Well (2:50) / World Turning (8:32)
Side 2: Just Like You Used To Be (3:40) / Green Manalishi (4:37) / Homework (3:27) / World In Harmony (3:27)
Side 3: Station Man (5:40) / Spare Me A Little  (4:34) / Rhiannon (6:17) / Why (3:55)
Side 4: Landslide (3:23) / Over My Head (2:55) / Green Manalishi (5:42)

Is “Green Manalishi” really on here twice?


Original source, from a torrent attempting to reconstruct the complete performance:

Fleetwood Mac
September 23, 1975
Trod Nossel Productions & Recording Studios
Wallingford, Connecticut, USA – originally broadcast by WPLR-FM, New Haven, CT

“This is a combination of 4 different FM-sourced recordings. This show has circulated widely but all versions I’ve heard have been incomplete – missing either the beginning or the end. And because most recordings are from rebroadcasts, they do not include the opening announcer from the original broadcast. The content was rebroadcast in many forms, with and without some of the applause and spoken intros. In fact some spoken intros were re-recorded before rebroadcast to rework statements like “from our new album” when it wasn’t new anymore. The quality is very good to excellent FM, with tape hiss and minor FM transmission noise in some spots but nothing too bothersome. The minor glitches that were previously in the song transitions have been cleaned up. Some major dropouts in “Oh Well” and Green Manalishi” now are spliced from one of the alternate sources, etc.

01 [0:23] announcer intro
02 [3:59] Get Like You Used to Be
03 [6:02] Station Man
04 [4:52] Spare Me a Little
05 [6:39] Rhiannon
06 [4:06] Why
07 [3:44] Landslide
08 [3:05] Over My Head
09 [5:04] I’m So Afraid
10 [3:07] Oh Well
11 [5:34] Green Manalishi
12 [8:46] World Turning
13 [3:59] Blue Letter
14 [7:08] Hypnotized
total – 66:28


NY Dolls Dallas 74NY Dolls Dallas 74 detailNY Dolls Dallas 74 b

Sometimes offered as “signed”, incorrect as the signatures are printed and present on all copies.

NY Dolls Dallas 74 spine

I have only ever seen these with pink labels.


From a review:

Obviously recorded with a handheld cassette player, this bootleg recording documents a show at the legendary Mother Blues club in Dallas, Texas [incorrect, it was at Gertie’s] during their final 1974 tour [incorrect, it was in 1973], featuring the original line up. The Dolls were supporting the popular Texas band The Werewolves [incorrect, it was the other way around] and facing a hostile/apathetic crowd. The band sounds discouraged, as the audience taunts them with cries of “We want the a Werewolves!” through their show, but gamely perform their set. The very poor sound quality of the recording and the “end of the line” feel of the performance-supporting a band most listeners have never heard of-make this a hard recording to recommend. I have no idea whether this was one of the shows performed in red leather & Soviet paraphernalia but it would go a long way towards explaining the audience’s hostility; Dallas in 1974 would have been the worst possible venue for such gear. Fantastically rare, this live album has practically nothing else to offer.


HOTWAX rating: Vgm – sounding “sound much better than alleged.” on the official release mentioned below.


“Setlist: (one of the 4 shows) Courageous Cat Theme (*)/ Personality Crisis/ Vietnamese Baby/ Bad Girl/ Looking For A Kiss/ Great Big Kiss/ Pills/ Frankenstein/ Lone Star Queen/ Don’t Start Me Talking.

Note: These shows are often wrongly listed as having happened in 1974 as well. One of the shows is available on the “Dolls Live: Dallas ’74” bootleg LP (Smilin’ Ears 1978), except for (*). Also released as part of the “From Here to Eternity: The Live Bootleg Box Set” 3CD (Sanctuary/Castle 2006).
Arthur’s arm is still in a cast so roadie Peter Jordan continues to replace him on bass.” []




This was the bootleg my school pal Walter really wanted to have after he found it on a catalog I had received from the US. Walter always liked the more on the edge stuff, while I had and have my pop taste. We, or rather he, graduated from Queen and Pink Floyd to heady stuff stuff like Patti Smith, Pere Ubu and John Cale Paris 1919 and the Velvet Underground. He also had the Boomtown Rats though and that was more my territory and most importantly, he, like me, could see the late 1970’s brilliance of Cheap Trick.

Coming to think of it, most of my deeper school friendships were anchored by a shared interest in music and here I am, 35 years later, still talking about it.

Genesis L'Ange GabGenesis L'Ange Gab bGenesis L'Ange Gab lbl 1Genesis L'Ange Gab lbl 2Genesis L'Ange Gab mcv

Quite a difference to the previous Smilin’ Ears releases.It feels like someone else took over for this project: New label designs, colored vinyl and a new number (that is usually ignored in favor of continuation of the 770X system).

L’Ange Gabriel (Smilin’ Ears – 7705) was one of the very first Genesis bootlegs on vinyl with the first pressing on green vinyl and pink labels. This was copied on [the European 2 LP release] Visage (Sacem GEV20) [I doubt this was a copy].” []

I would not call it one of the very first Genesis bootlegs. The two first were Wizardo’s Revelation Without A Cause (# 313) and TAKRL’s As Though Emerald City (# 1945), probably released within a couple of months of each other in late 1975/early 1976. Both containing selections from the KBFH broadcast from their Lamb tour stop at the Shrine Auditorium in LA on 24 January 1975. The next Genesis bootlegs were the TAKRL titles The Bedside Yellow Foam (# 1955), Awed Man Out (# 1975) and Swelled And Spent (# 2980). In contrast, this Smilin’ Ears title dates from 1978 and the opinionated comment on the back cover also makes more sense from a 1978 point of view then from a 1976 one.

Selling England by the Pound Tour – Centre Sportif de l’Universite de Montreal

21 April 1974 – live broadcast by CHOM-FM (bold tracks are on the LP)
1.1    Genesis Set – Watcher Of The Skies    08:48
1.2    Dancing With The Moonlit Knight    10:42
1.3    The Cinema Show    13:17
1.4    I Know What I Like    06:47
1.5    Firth Of Fifth    11:42
1.6    The Musical Box    13:03
1.7    Horizons    02:15
2.1    The Battle Of Epping Forest    13:14
2.2    Supper’s Ready    27:59
2.3    Radio Broadcast Announcements    00:54

“Sound: excellent stereo * good mono, maybe very good atmost. Strong roaring hiss, compression, FM artifacts.”


Genesis Visage

The 1980’s European bootleg containing the complete set and with very non-nondescript artwork showing no effort at all to connect with the period or the band.

Genesis Visage b


21apr 74 ad Genesis2021apr

21apr74 Genesis

These images courtesy of the


Beatles 66 Spines

Beatles 66 TM red lblBeatles 66 TM note

Interesting note – written by whom? Only the EP was produced by Tobe Milo, not the Smilin’ Ears LP(s). I wonder if “6th Nite” refers to the 1975 LP Five Nights In A Judo Arena ? Contained here is the first concert from 30 June ’66 not the second show broadcast on TV right after the concert. “Never before available” is completely untrue, which we will see later.

Beatles 66 wh lblBeatles 66 bl lblBeatles 66 blue lbl

SE-7704 A/B – released in 1978. Also exists with blank labels.

Beatles 66 b

A copy of the this Tobe Milo double EP, first available in May of 1977 (minus the interview, included here), even the typeset was used on the back of the Smilin’ Ears LP:

Beatles 66 EP

Beatles 66 EP bBeatles 66 EP lbl 1Beatles 66 EP postcard

The postcard that came with each set. Only 1,000 numbered copies were pressed. Not a title that held up well in value. The fact that this material has been issued so many times probably has an impact on an otherwise beautifully designed bootleg EP set.

Beatles 66 EP stamperThe metal stamper for side 4

Side A: 1. Rock and Roll Music 2. She’s A Woman 3. If I Needed Someone
Side B: 1. Day Tripper 2. Baby’s In Black 3. I Feel Fine
Side C: 1. Yesterday 2. I Wanna Be Your Man 3. Nowhere Man
Side D: 1. Paperback Writer 2. I’m Down 3. interview

30 June 1966 – 6:30 PM their first concert in Tokyo and also their worst in terms of stage set up – those swinging microphones! – as well as video direction and perhaps also for their performance, which falls woefully short when not “enhanced” by the incessant screaming that appeared at every other concert but the Tokyo shows. This is the ‘green suits’ concert that was later released in Japan on VHS and laser disc.
” June 30th 1996

This concert recorded on Video by NTV, used 3 color TV-cam and 3 monochrome-TV-cam. But, Brian Epstain [sic] didn’t allow this take.

July 1st 1996

21:00 (JST) — TV program, “BEATLES JAPAN CONCERT” aired on NTV.
               This program contains Documentary part (black and white),
               Japanese support bands part (color, recorded on June 30th),
               and full-length of Beatles July 1st afternoon concert.”    []

Despite Brian Epstein’s insistence that the Beatles performance from 30 June not be shown, it ended up being that concert that survived predominantly on video until 1976 and was even selected for the official VHS release by VAP Video. In fact, the 1 July concert remained available on bootleg video even in Japan for a long time. It seems that a copy leaked from the archive in the early 1970’s and the first bootleg containing this concert was sourced from that, as it seems that the official release occurred only in 1993. (somebody please add if they know more).

Beatles Budokan VAP

1. 1973 – The first Japan releases:


Beatles LiTokyo OG 545 whiteBefore Tobe Milo had a free postcard, OG’s release came with a free photo (taken at one of the later concerts though). The concert goers were strictly forbidden from taking pictures with fierce guards ripping film out of cameras if such action was suspected, according to an eye witness report in issue # 2 of the Tokyo Beatles Fan Club magazine.

Beatles OG 545 lblBeatles OG 545 lbl xl

“Ultra rare original “Live In Tokyo” LP pressed in  early~mid ’70s by legendary Japanese OG label. This is real original, first pressing, red/silver label and OG 545, originally released with plain white flipback cover. Second press (OG569) and third press (OG640) has insert cover, but original first press issued with white cover. Fantastic sound quality, far superior than various later issue… ”

“The front has two different versions, with the pic a little bit better in one than the other. The back has two different versions”

Beatles OG 545 insert 1

Front cover, version 1

This title would later be reissued twice with a new and higher number (569, 640 & 733) and with changed packaging.

Beatles OG 640


A Japanese blog quoted a release date of 1973 and I would agree with that. Not only does this align with the fact that the first Japanese bootleg was probably pressed in 1972 but this also lines up with the OG release numbers, which run from 504 (ROLLING STONES – LIVE AT HIDEPARK) to the following four:

ERIC CLAPTON – ON TOUR ’74  OG-824/825 rec. 2 November ’74
BAD COMPANY – LIVE 1975 MARCH  OG-859  rec. 3 March ’75
QUEEN – A BEAUTIFUL ALBUM  OG-860  rec. 19 April ’75
QUEEN – NOW I’M HERE  OG-877 (reissue of above)

Believing that these titles appeared relatively soon after these performances and not years later would place these into early to mid 1975 and counting back through the release numbers would bring us to 1973.


2. Beat Beatle Beatles Tokyo Live (ASA-002)

Beatles beat beatle beatles lbl

Beatles beat beatle beatles

A very rare release, rarely found on any list. I have no idea when this came out but it has the same material as the above OG LP and, according to a Japanese bootleg blog, the sound quality is identical. In the end, this may just be another (pre?) OG release.


3. The first US release, ca. 1974

1900 lg

This took part in the quality comparison with the Japanese titles and was noted for sounding worse.

Contraband reissued TAKRL’s stamper ca. 1975 (identical matrix #):

Beatles Tokyo SS


5.  Five Nights In A Judo Arena – 1975

From the Tanks For The Mammaries insert, page 2:


Beatles 5 Nights

Beatles 5 Nights b

Beatles 5 Nights DW logoBeatles 5 Nights track list b

Beatles 5 Nights lbl

Several pressings were made distinguishable by the matrices (front & back color cover, except for c.):


Side 1: something in Japanese? ending with A * 19? C A scratched * DW-426-A * TOKYO-A
Side 2: something in Japanese? ending with B * 19? C B scratched * DW-426-B * TOKYO-B


b.1)  After checking in one of the biggest collections in Europe, I can confirm that all black & white cover versions have the Berkley matrix # 2043 A/B and have to be considered Berkley copies (like the one below with copied labels).

Coincidentally, this is one of the missing Berkly Records release #s (it slots between Joni Mitchell Spring Songs and Berkley’s copy of The Who Decidedly Belated Response).

Beatles 5 Nights DW 426


b.2) same matrix but called Yesterday And Today crudely copied from the Butcher cover image. Comes with a blank label. Possibly the first version released by Berkley.

Beatles Y&T

Beatles Y&T b

c.)  JAPAN 1900 A/B matrix


OLYMPUS DIGITAL CAMERABeatles 5 Nights TAKRL 2Even came with a TAKRL insert.

d.)  Japan copy on ZAP:


Not shown will be the European combination with Spicy Beatles Songs, the Back Gold, picture disc and Swingin’ Pig versions.


Welcome The Beatles – Japan bootleg on Marc Records TB-76057, released ca. spring/summer 1976:

First ed.\ition matrix: FAB FOR TB-78057 SIDE A/B

Second ed. matrix: ZB TB 76057 A 111   VC    /     Z TB 76057B (S) 111  

Third ed. matrix: TB-78057 side one/two

Beatles Welcome TB

Beatles Welcome TB b 3

This first issue of the TV broadcast from 1 July 1966, 2 PM show and the Wizardo copy were featured in detail in this earlier post.

Beatles 502 Takeover 2Beatles 502 Takeover detail

Beatles Budokan 1 July


And we have caught up with the Tobe Milo EP in February of 1977 and the Smilin’ Ears copy. Both concerts would continue to be reissued and -packaged countless times on vinyl but we will stop here.

A later reincarnation combining the TAKRL label logo and copied De Weintraub labels:


Mitchell J Taylor J In Perfect Harmony 4

Mitchell J Taylor J In Perfect Harmony 3I cannot see any spine writing but copies exist where it says: SE-7703 James Taylor & Joni Mitchell: Takes Two To Tango   1977 Smilin’ Ears Switzerland

HOTWACKS separates this release into IN PERFECT HARMONY on Escargot Records and TAKES TWO TO TANGO on Smilin’ Ears. I assume they went by the spine writing for the Smilin’ Ears version. It does seem as if several producers might have had their finger in the pie here and produced several different versions, based on the variations I managed to locate (with help, t.y, Karl), I am still looking for more images (printed spine, back, label variations, upgrades).

Released late 1977 / early 1978


Mitchell J Taylor J In Perfect Harmony 4 one lblMitchell J Taylor J In Perfect Harmony 4 two lbl


Reissues / copies:

Mitchell J Taylor J In Perfect Harmony

Mitchell J Taylor In P Har BerkelyMitchell J Taylor In P Har Berkely b


Mitchell Taylor IPH alt. cover


This recording is usually attributed as having been recorded at the Royal Albert Hall but is a John Peel session recorded live in front of a studio audience at the BBC’s Paris Theater in London.

Comments from

This one is a bit of a mystery to me. I have a DVD of James Taylor‘s appearance on BBC TV and I can tell you that the songs he sings solo on this recording are from the same recording as that DVD…exact same spoken intros, same improvised lyrics, etc. However, the DVD looks like it was recorded in a TV studio in front of a small audience, not in a venue the size of the Royal Albert Hall…

The title of this bootleg is misleading. While Joni Mitchell did indeed perform at the Royal Festival Hall, London in 1970 the tracks on this bootleg were actually recorded by the BBC at the Paris Theatre shortly after her appearance at The Isle Of Wight Music Festival. The concert, including James Taylor’s solo songs, was broadcast in December 1970 as John Peel’s Sunday Concert on BBC’s Radio One.

[BBC Broadcast Portion]
01. John Peel Intro > That Song About the Midway
02. The Gallery
03. Rainy Day Man
04. Steamroller
05. The Priest
06 Dialog (spoken)
07. Carey
08. Carolina On My Mind
09. California
10. For Free
11. Circle Game Intro (spoken)
12. The Cirlce Game
13. You Can Close Your Eyes

[Air-Check rehearsal tape, Not broadcast and not on the album]
14. The Good Samaritan
15. The River
16. My Old Man
17. A Case Of You
18. Dialog (un-edited)
19. Carey


Excerpts from this broadcast were first bootlegged ca. 1976 on the TAKRL (1949) release (Kept On) By Her Own Devices

Mitchell J BHOD

Beatles Tw Jams LPBeatles Tw Jams LP bBeatles Tw Jams LP red lblOLYMPUS DIGITAL CAMERABeatles Tw Jams LP white lbl

Also exists with blue labels.

Matrix: SE 7702 A / B – Released ca. late 1977

Another LP created by copying another label’s bootleg 7″ releases; in this case the Tobe Milo limited edition EP’s Twickenham Jams [released February 1977] (its 13 minutes filling all of side 1 here):

– Honey Hush
– Stand By Me
– Hare Krishna Mantra
– All Things Must Pass
– Fools Like Me
– You Win Again

[excerpts from the Get Back sessions at Twickenham Film Studios, 8 January 1969]

Beatles Twickenham Jams EP

and on side 2 excerpts from TELEVISION OUT-TAKES [released November 1976]

Beatles Television Outtakes

and Get Together [released March 1977]

Beatles Get Together EP

Side 2 of the Smilin’ Ears LP:

– Slippin’ And Slidin’  [from Saute to Sir Lew – The Master Showman, taped 18 April 1975]
– All My Loving/She Loves You/I Want To Hold Your Hand/Yesterday medley [from the Ed Sullivan Memorial TV Special, called “And The Roof Almost Came Down When…”]
– Kenny Everett interview (Including “Cottonfields”) [rec. 6 June 1968 at Abbey Road, later that year pressed in Italy as the promo 7″ Una Sensazionale Intervista Dei Beatles]
– Nowhere To Go [rec. late November 1969 with Bob Dylan in Woodstock; called “When Everybody Comes To Town” on the early vinyl bootlegs]

The last track was not listed on the cover. On the other hand, the Ringo track from The Smothers Brothers Show that aired on 28 April 1975 (and opens the TELEVISION OUT-TAKES EP) is not found on the Smilin’ Ears.


Beatles una sensazionale 3

All in all, an LP with a rather short running time and stingy banding. The best sounding bits were the first three tracks on side 1 and the Kenny Everett interview, everything else was “good mono” i.e. pretty bad, at best.