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TKRWM

Beatles MM06

I have identified three different versions based on colors, the one shown above, then an all blue one:

Beatles MM06 blu

And a black  & white one with a tan label:

Beatles New 21 tan

Beatles The New 21 b

All of these images used on the back cover were shot by celebrated English portrait and fashion photographer Norman Parkinson while the Beatles recorded “Hold Me Tight” and “Don’t Bother Me” on the 12th of September 1963. Many of them were compiled into a magazine for the US Beatles fans, which was reissued in a smaller format in the second half of the ’70’s.

Norm Parkinson

USA: Late 1978

Eddie from Melvin Records likely assumed that very few Beatles collectors outside of South Carolina owned the early Melvin Records title, as many were reused for their sixth release. Although, would you not anticipate that many in your target group owned the Deccagone 45’s and “it-was-news-seven-years-ago” BBC tracks?

Side 1:

  • Three Cool Cats (Decca Audition, 01 January ’62. Previously included on MM04 ‘When It Says Beatles Beatles Beatles On The Label Label Label You Will Love It On Your Turntable Turntable Turntable’
  • How Do You Do It – taken from Joe Pope’s 45 first released in 1976 for the Boston Beatles convention. Although difficult to impossible to do, I love to trace back how a recording may have been ‘leaked’. As stated before on this blog, the theory that this track was played on RKO radio that year or prior and taped is incorrect, as the series in question – From Liverpool To Legend – was only broadcast in 1977. Another theory has John Lennon trade an acetate for (Contraband’s) Sweden 1963 LP. I doubt even John would give away his only hard copy for something even he knew to be a mass produced item but the final word on this is the fact that the source for the bootleg single was clearly not an acetate.
  • Like Dreamers Do – another Joe Pope Deccagone 45 copied by Melvin
  • Lucille – Eddie & Fred really seem to have taken to the BBC recording of this Little Richard number as this is the third time they have included one of the two available performances on a Melvin album.
  • Glad All Over – continuing with the original ’21’ (MM02) focus on BBC recordings, this track from Pop Go The Beatles # 10 (rec. 16 July ’63) makes its Melvin debut but had been available since TMOQ’s Yellow Matter Custard, which was heavily mined by Melvin.
  • Hello Little Girl – B-side of Deccagone single “Three Cool Cats”, already used on MM04.
  • Nothin’ Shakin (But The Leaves On The Trees) – Recorded for Pop Go The Beatles # 6 on 10 July ’63 and previously out on – you guessed it – Yellow Matter Custard.
  • Lonesome Tears In My Eyes – ditto
  • The Honeymoon Song – ditto, except taped for episode # 8 and the date was 16 July ’63
  • Spiritual Regeneration – see MM04, side 1, track 3
  • “The Abduction” – This is the music played over the end credits of their second movie Help!. Although Mozart wrote a piece with that title this is actually the overture form Rossini’s “Barber of Seville” with the Beatles hamming it up vocally but not adding any instruments.

Side 2:

  • Watching Rainbows – the Fab Four as a trio after George had walked out at Twickenham studios. John on electric piano and Paul on lead guitar, trying out a couple of John’s new compositions and this improvisation on 14 January, 1969. Available in poor quality since the summer of 1977 on Dragonfly’s Indian Rope Trick and then the multi-color EP of that same name.

  • Mama You’ve Been On My Mind – recorded 9 January ’69 at Twickenham during the Get Back sessions and brought to you first by Contraband on Sweet Apple Trax
  • “I’m ready” aka “Rocker” – (listed as Ready, Willing And Able (Instrumental) ) and
  • Save The Last Dance For Me- both recorded 22 January ’69 at Saville Row in their basement studios 

and only available on the multi-track tape shown here:

Glyn John’s third compilation attempt from May of ’69 created the definite version of the Get Back album and was slated for release no less than three times. It made use of this multi-track reel shown here. Both “I’m ready” and “Save The Last Dance For me” are very short.This third version had the same track listing as the second one but there are a few instances of different dialog and, more importantly, different edits of “Get Back” (now lacking the coda) and “Dig It” (cut by a minute). In addition, the third version was never broadcast on the radio.

Although it was not broadcast like the first two compilations, this compilation surfaced in the 1970s from both an acetate and, according to Doug Sulpy, a tape source. While the acetate and the tape source are the same compilation, there are two minor differences between the two. For reasons unknown, the tape source is missing the first second or two of “One After 909” and the chat heard at the end of “For You Blue”. This appears to be a banding oddity and not an actual compilation variant. I have been unable to determine exactly when the two individual sources first surfaced but this compilation has been a mainstay in The Beatles’ bootleg canon since it first appeared in the 1970s.” [source: http://www.beatlesource.com/bs/mains/audio/GetBack/comp3/comp3.html%5D

Now, where this was first released is where it gets complicated. The beatlesource website claims this was in 1974 on TMOQ’s Get Back Sessions and shows the mid-70’s reissue with the S-2xx added annotation on the insert. However, this album was first released in September of 1971 (matrix: BGB 111 A-R1 / BGB 111B-R1).

Back to the third compilation, it can also be found in slightly edited form with “One After 909” shifted to the end of side 1, likely done by the bootleggers who must have felt it flowed better this way (on Wizardo’s WRMB 315 versions, ca. late ’75/early ’76):

Plus also on the 2LP version of this  confusing Wizardo release:

Beatles Get Back Sessions 320 2LP v

The auction text for this 2 LP version read:

“Beatles Get Back Sessions, WIZARDO 2 LP, WRMB 320

The Beatles, Get Back Sessions, Studio Out-takes.

Believed circa 1975 Wizardo double LP set, both LPs on black vinyl. One LP has a red label with deep groove similar to that used on early USA Blue Note and UK Decca pressings. The other LP has a blue label and features a much less indented groove in the same area.

Dead wax/run-off markings red label: WRMB 352 A / WRMB 352 B; blue label: WRMB 315 A / WRMB 315 B. These are all etched and not stamped.

Note that the numbers on the LP differ from that on the cover slick, although both LPs appear to contain the tracks from the Get Back/Let It Be sessions, and so this set is possibly a repackage or coupling of two earlier separate LPs.”

For the single LP copies, we have the following confirmation: “# wrmb 320, vinyl matrix #352” and a different set list:

Side A: One after 909 / The walk / Don’t let me down / Dig a pony / I’ve got a feeling / Get back

Side B: For you blue / Teddy boy / Two of us / Dig it / Let it be

Apparently, the quality is rather poor.

Several months later, this reappeared on no less than three of Ken’s labels. ZAP 7866:

the surprisingly hard to find TKRWM 1995 – according to beatlesource.com, sourced directly from the acetate:

plus also as one LP of the double set Renaissance on Toasted Records (# 2S911).

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  • Shake, Rattle And Roll – recorded 26 January ’69, as the band broke up rehearsing “Let it be”over and over and slide into an inspired medley of rock’n roll 50’s & 60’s standards. Part of this was used in the Let It Be film (taken from the Nagra reels) and first appeared on bootleg on Contraband’s Peace Of Mind (CBM 3670) in the late spring of 1973 and in the following year again as part of their first volume of the Cinelogue series (CBM 4020).

A 24 minute one sided acetate containing much of the medley and sourced from Glyn John’s multi-track compilation numbered E69742 has appeared and been sold at auction but I doubt any bootlegger had access to this:

I’ve Got A Feeling
Dig It
Shake Rattle and Roll
Kansas City,Miss Ann, Lawdy Miss Clawdy
Blue Suede Shoes
You Really Got A Hold On Me

Many of us looking for Beatles bootlegs in the 1980’s also remember this song from the File Under bootleg, which, despite the mediocre sound was a real “greater than the sum of its parts” experience.

  • The Walk – recorded 27 January ’69. Sandwiched between takes of “I’ve Got a Feeling”, they launched into this song originally written and recorded by Jimmy McCracklin in 1957:

51 seconds of the Beatles’ version of “The Walk” ended up being selected for the reference mixes Glyn Johns compiled starting on January 27th with acetates cut on January 30th.

Tape copies of these acetates were played on US radio stations in the summer and fall of 1969, leading to the first ever Beatles bootleg appearing in January of 1970:

  • “Commonwealth” – recorded at Twickenham on 9 January ’69 and first heard on Contraband’s Sweet Apple Trax volumes
  • “Enoch Powell” / “Get Off” (listed here as “Whitepower Promenade (Parts 1 And 2)”) – ditto
  • Honey Hush (Joe Turner) – ditto
  • Youngblood (Leiber / Stoller, originally recorded by the Coasters in 1957) – MM06 ends with another BBC recording. The Beatles’ only recording from 1st of June 1963 had just made its debut in 1978 on the Audifön bootleg of the same name, unfortunately incomplete and sounding poor. It probably did not sound any better here.

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Hard work

I must admit, I did not expect the Melvin label to be so tough going but there is a lot to look up for all these different sources! This title may just be the most work intensive one ever or at least in the top 3. On top of that, my ISP cut my line last week – not because I hadn’t paid the bill but because of left hand/right hand, and I only had emergency internet for five solid days.

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Wings Laser Beams 2

These two images are from my personal collection. The insert was produced in different shades of blue plus at least in tan as well.

Wings Laser Beams lbl

Wings Laser Beams OG

Definitely a real Wizardo product but also the end of the ‘300’ series. Every release from # 383 to 408 either never happened or was a fake Wizardo.

Source: LA/Inglewood Form, 21 June 1976 (not the 23rd as stated in Hot Wacks). Wings’ first of three nights on their last tour stop on their triumphant 1976 North American Tour.

Side 1: Live And Let Die (4:42)/ Picasso’s Last Words (2:17)/ Richard Corey/ Bluebird (4:31)/ I’ve Just Seen A Face (2:34)/ Blackbird (2:57) / Star Spangled Banner (0:25) – Yesterday (1:58)       
Side 2:  Magneto And Titanium Man (4:06)/ Go Now/ Band On The Run (5:40)/ Hi Hi Hi (3:29)/ Sollie (5:29)

Quality rating: “Exm” (HW);”good audience recording” (Eight Arms To Hold You book); “Nice sound quality!” (collector review)

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WRMB 383: Paul McCartney ‘US Tour 1976’ – as listed in the back of Hot Wacks, does not seem to exist.

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Almost all of the rest of the tracks from the first night were released on Ken’s TKRWM label. The two missing tracks are ‘You Gave Me The Answer’ and ‘My Love’. Unfortunately, space was wasted where these songs could have been included by duplicating four tracks found here on Laser Beams (I do understand that Ken & John were probably not holding meetings to coordinate their efforts) but at least the Wizardo LP provides a slight quality upgrade for those shared tracks. All of these tracks are still core as no track from June 21st was selected for inclusion on the official triple live album.

Wings LA Forum detail

Wings LA Forum

Wings LA Forum pink

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This footage includes backstage footage of Wings hanging out with Ringo, John Bonham and Harry Nilsson:

1976 series of repackaged Beatles titles.

TAKRL 1985: Number One – A copy of sides 3 & 4 of the 1975 TAKRL release Hahst Az Sön

TAKRL 1986: Number Two – Claims to contain live tracks from Shea Stadium in 1964 [impossible as they only played there in ’65 & ’66], Hollywood Bowl and Washington DC, which looks correct for the last two tracks on side 2. ‘Love me do’ and ‘Please please me’ on side 1 are attributed to the Hollywood Bowl, which is impossible as they were not on the set list anymore after 1963. The Shea tracks are likely from the Vancouver or Philadelphia concert recordings.

Beatles VBotBRarest 2

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TAKRL 1986: Number Three

Side 1: Tracks 1 – 7 and last three tracks on side 2 are from Tokyo 1966, falsely advertized as “Their Last One Anywhere” and track 8 from the Hollywood Bowl in 1964. Track 9 is a copy of the officially released song.                                 

Side 2: Tracks 1 – 3 are from their BBC radio program “Pop Go The Beatles” for which the Beatles had recorded a new version for each broadcast. The “Candlestick Park, San Francisco 1964” are from who knows where as the Beatles played Candlestick Park in 1966 only, coincidentally that had really been “Their Last One Anywhere” then but none of these three songs were part of the setlist.

Beatles VBotBRarest 3

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TAKRL 1988: Number Four

Side 1: Nowhere Man (listed as “Japan ’66” and probably correct)/ No Pakistanis (“’69 studio” – Get Back sessions)/ What A Shame Mary Jane Had A Pain At The Party (“’69 outtake” – correct date is August 1968)/ All My Loving (“Shea 1964” – live ’64)/ The Walk; Teddy Boy (“Martin demos for Let It Be” – lifted from bootlegs containing the first informal Glyn Johns mix of the Get Back sessions)/ Maxwell’s Silver Hammer (’69 studio – Get Back sessions)/ Besame Mucho (“BBC ’65” – likely a copy of the Deccagone 45 from their January 1 1962 Audition at Decca, which had just come out in October of ’76)

Side 2: You Really Got  A Hold On Me / Do You want To Know A Secret (both BBC ’63)/ Medley: Love Me Do; Please Please Me; From Me To You; She Loves You; I Want To Hold Your Hand (“Germany ’64” – medley recorded specifically in a studio for the “Around The Beatles”TV show that the Beatles then mimed to with the added screams of the live audience, April 1964)/ White Power (Get Back sessions ’69)/ You Can’t Do That (“Lennon ’65” – real source unknown at this time)/ A Hard Day’s Night (“Shea ’64” – Live ’64 but not Shea)

Beatles VBotBRarest 4

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TAKRL 1989: Number Five

Side 1: Day Tripper (Tokyo ’66)/ Two Of Us; Maggie Mae (Get Back sessions)/ Twist and Shout; You Can’t Do That; All My Loving (Hollywood Bowl, August 23 1964)/ Dig It; When It Gets To Suzy Parker Everybody Gets Well Done (more Get back sessions – the 2nd track, an unreleased Beatles improvisation about the US model, is commonly just referred to as ‘Suzy Parker’)

Side 2: Till There Was You; I want To Hold Your Hand; This Boy; All My loving; Yesterday; Nowhere Man; I Feel Fine; Can’t Buy Me Love (unknown live tracks, 5&6 look like Tokyo ’66 again)

Beatles VBotBRarest 5

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TAKRL 1995: Number Six

See ZAP 7866 Next To Last Recording Session

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TAKRL 1998: Number Seven

See ZAP 7869 Liverpool Flash

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It’s nice to be able to put the TKRWM label to rest with this post as this last post was a bit of a chore.

Rolling Stones CS Blues 2

Side 1
– Cocksucker Blues [03:30]  1970-05-09: RS Mobile Recording Studio, Stargroves, Newbury, Studio Session
– Brown Sugar [04:07]  with Eric Clapton, 1970-12-18: Olympic Sound Studios, London, U.K., Studio Session
– Jumping Jack Flash [03:25]  1972-07-26: Madison Square Garden, New York City, NY, Live Concert (also rest of side 1 and last 3 tracks on side 2)
– Love In Vain [06:39]
– Sweet Virginia [04:57]

Side 2
– Con Le Mie Lacrime [02:43]   released version
– Exile On Main St. Blues   Medley containing parts of released songs
– You Can’t Always Get What You Want [08:11]
– All Down The Line [04:33]
– Midnight Rambler [11:22]

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Rolling Stones CS Blues 3

Deep Purple Prisoners of Rock

Side A:             Mandrake Root                                                                                                                         Side B:             Wring That Neck                                                                                                                      Side C:             Black Night                                                                                                                               Side D:             Paint It Black

When Deep Purple took the stage at the rock festival in Aachen, Germany on July 10 1970 an enterprising individual(s) had managed to run an extra line into the soundboard and a recorder was running out of sight. The resulting recording became the first DP bootleg: 

Deep Purple Space

“Some information about the bootleg origin:
The first pressing was titled simply “Space” and was available in late 1970, either as a double (two discs in a single cover) or as two single discs. “Mandrake Root” was split over two sides of the second disc. The second pressing was called “H-Bomb”, which a more professionally produced single album which lacked “Mandrake Root” and also had slight edits to the other songs. “Kustom Records” (ASC 001) was the (Bootleg-) Label which distributed the disc across Europe and UK in early 1971.”

From what I have gathered so far, Kustom Records seems to have been a US bootleg label, so the above comment is perhaps a little exaggerated.

DeepPurple H Bomb K

Deep Purple H Bomb

Meanwhile in the US, the decent quality – for the time – made it an easy target for copying:                    Deep Purple HB Dittolini

Deep Purple SZ CBM ss

Deep Purple Sonic Zoom 1 Deep Purple Sonic Zoom 2

 

Contraband advertized this as “Live In Chicago” – but that’s OK as some DP websites still list the source as being a Swedish concert.

Deep Purple Sonic Zoom 3                                                Deep Purple Sonic Zoom lbl

 

And before “Prisoners of Rock”, Ken apparently had already copied this single album containing the Aachen recording before:

Deep Purple Darker Than Blue

Originally on Purple Records:

Deep Purple Darker TB P lbl

Deep Purple Darker Than Blue

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Deep Purple SZ TLB

A Vicki Vinyl produced version with a This Little Bird label on one side and an Idle Mind logo label on the other.

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Deep Purple LFEurope

This sealed copy sold for a remarkable $131.50 in November of 2013

Deep Purple LFEurope detail

Deep Purple LFEurope lbl

Found with 70’s style GLC labels.

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The band officially released this title, mastered from a bootleg source, in 2001 as Space Vol. 1 & 2 – on the Sonic Zoom label no less, so CBM got a nod as well – and again in 2006 as Live in Aachen with a cover showing all the bootleg LP’s this appeared on earlier.

Pink Floyd Barrett's Revenge

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

SQ: EXCELLENT MONO AND STEREO

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

RARITY RATING: ****

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

Pink Floyd Barrett's R 2

From collectorsmusicreviews:

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

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

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

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

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

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

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

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

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

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

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

Blue OC Fantasy Distilation oR

Released 1977.
Live in New York, 1972 and Stalk-Forrest Group Promo Single.
Source: The Blue Öyster Cult Bootleg EP and Stalk-Forrest Group 7″ single (marked +)
Workshop of the Telescopes
Cities on Flame with Rock & Roll
The Red and The Black
Buck’s Boogie
What is Quicksand?+
Arthur Comics+

1972-04-03
Rochester, N.Y.
Nugget’s Pizza Parlor                                                                                                                              WCMF-FM broadcast

01. The Red and the Black
02. Stairway to the stars
03. Transmaniacon M.C.
04. Then Came the Last Days of May
05. Before the Kiss (A Redcap)
06. Workshop of the Telescopes
07. Cities on Flame (with Rock and Roll)
08. Born to Be Wild

Read below why ‘Buck’s Boogie’ was not included on the broadcast and why it can be found on the bootlegs anyway.

“The recording from this gig resulted in the famous “official bootleg” disk, Fantasy Distillation of Reality/Live in Montreal (!!)/Live in New York 1972 etc (it had a number of names). My copy was in a nicely printed glossy black sleeve featuring the famous Bethesda Fountain promo shot…”

BOC SWUnderbelly

BOC SWU front

French bootleg from 1975/6 referred to as The Soft White Underbelly and the “inspiration” for the IMP EP and the TKRWM album a year later. With that font on the cover, no wonder the copy came out on “Reichstag Records” (see disc image below).

“In 1972/3 as a pre-release to Tyranny & Mutation Columbia issued this 4 Track 12” single/EP called the BOC Bootleg EP. It did contain: Side One: The Red & The Black, and Buck’s Boogie. Side Two was: Workshop Of The Telescopes, and Cities On Flame With Rock & Roll.

Blue OC Bootleg EP

Blue OC Bootleg EP lbl

It was a 4 Track Live recording from a Radio Station (WCMF-FM) broadcast in an edited format a week after the day of the recording 72-04-03, from The Nugget’s Pizza Parlour in Rochester, New York. The Full Broadcast was 36 minutes long and actually didn’t include Buck’s Boogie as that song lacked Publishing copyrights security at the time of the broadcast.

The Radio Show did have the following setlist though: The Red & The Black, Stairway To The Stars, Transmaniacon MC, Then Came the Last Days Of May, Before the Kiss, A Redcap (Strange attempt at a re-arrangement), Workshop Of the telescopes, Cities On Flame With Rock & Roll, and Born To Be Wild.

Backline Power fuse blew just as they started that last song, but the power came back and the band went through the song and then some…..

The Vinyl History of “The Bootleg EP” COLUMBIA AS-40 is as such… the 12″ was only released to radio Station as a White label promo EP. Then it was Bootlegged in 1976 by Vicky Vinyl company Idle Mind Productions as IMP-1106 and presented as “In My Mouth Or On The Ground” in a 10″ format on Blue Vinyl and Black Vinyl on re-issues.

Two different covers were issued for this release, One artwork the other a Photograph from the Famous Publicity shoot in 1971 at “Needles Park” in New York.

Using that Photo and some great artwork the record was released in Europe as another 12″ Vinyl in a deluxe packaging with a special Presskit fold out inner encosure with Lyrics to the first albums and the fantastic promo pic from Secret treaties called “Max Effo:rt” (supposed to be read as a diacritic) and became commonly known as The Soft White Underbelly record, thus creating massive misunderstanding and a popular misconception of what the real SWU was all about…

This all due to the fact that the labels on the Vinyl read Soft White Underbelly… this was issued in 1976. In 1978 TKRWM released “Fantasy Distillation….” which had a rubber stamp with the erroneous info of “Live In Montreal” on the cover sheet. and included a poorly centered SFG single on that 12″ vinyl and more people got this rare collectible than ever before….

CD age and French semi-legal label SkyDog re-issued the EP and just called it Live in New York 1972, and actually issued a Vinyl to go along with it and to complete the story of its release. So there you have it…”

BOC orig IMP

BOC orig IMP 2

Blue OC IMMOOTG 1

BOC IMMOOTG lbl

Blue OC lbl

Now, that’s a nice label.

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Note the changed cover design which had already started with the previous release: TKRWM 1818 Pink Floyd – Gotta Be Crazy