Toasted Records

Pink Floyd Knobs

Pink Floyd Knobs b

Even though the date and venue are correct, the last track “Us And Them” must come from a different source as it had not been performed on the 15th and it’s a Frankenstein creation to boot, with the first verse repeated several times. More information on these Pink Floyd shows can be found here:

Pink Floyd Knobs

Although listed as a Toasted release, the reissue is commonly found with Beacon Island labels.


The extended IMP 2LP re-releases of older TAKRL titles:

2-08  Mott The Hoople – Rest In Peace
2-14  Jackson Browne – Live At The Main Point

were added to the original entries for these recordings and can be found by clicking on the artist’s name on the rignt.

Costello E Saturated

Source: CHUM-FM had recorded Elvis’ gig at the El Mocambo in Toronto on March 6th 1978 (and Columbia Records Canada pressed it into the radio station promo Live at the El Mocambo). As “Heart of the City”is not on the LP, this probably comes from the original radio broadcast.

Costello El Mocambo back


A1         Mystery Dance
A2         Waiting For The End Of The World
A3         Welcome To The Working Week
A4         Less Than Zero
A5         The Beat     [not listed]
A6         Lip Service
A7         (I Don’t Want To Go To) Chelsea [not listed]
B1         Little Triggers
B2         Radio, Radio
B3         Vogue
B4         Wathin’ The Detectives
B5         Heart Of The City     [w. Nick Lowe]
B6         Miracle Man

“Heart Of The City is one of the 4 songs performed as encores with Nick Lowe, and is clumsily inserted after the opening chord to Miracle Man.”

Also, and probably first, released as TAKRL 901 – The Kornyfone Radio Hour:

Costello Kornyfone Radio Hour

and finally as LP 1 of this double set on Toasted:

Costello Exit

Costello Exit b

Side 1: Heartbreaker medley incl. Bouree* / Thank You* / Minnesota Blues** / The Lemon Song** (24:25)
Side 2: Stairway To Heaven** / Travelling Riverside Blues*** / Whole Lotta Love* (18:06)
Recording: (*)Excellent mono professional FM broadcast; (**)Excellent stereo professional pre-FM soundboard radio recording; (***)Excellent mono professional pre-FM soundboard radio recording. Source: (*)Pacific Coliseum, Vancouver, Canada Mar. 21 ’70; (**)In Concert, Paris Theatre, London, England Apr. 1 ’71; (***)Maida Vale Studio 4 (BBC – Top Gear with John Peel), London, England June 24 ’69. review (I cut their usual hand wringing that no sources are listed on the cover): “Hiawatha Express boasts generally excellent sound quality, and Zep is in fine form on favorites that include “Whole Lotta Love,” “Heartbreaker,” and the great, if overexposed, “Stairway to Heaven.” So even though vinyl collectors were, in 1975, cursing ZAP for not giving any recording dates, they applauded the sound quality and the performances. Although not for casual listeners, Hiawatha Express is a bootleg that hardcore collectors were glad to get their hands on in the 1970s — regardless of how much the lack of recording dates infuriated them.”

Side 1 & 2: A rerelease of ON STAGE IN EUROPE 1975 (Ze Anonym Plattenspieler ZAP 7867).
Side 3 & 4: A rerelease of HIAWATHA EXPRESS (Ze Anonym Plattenspieler ZAP 7980).
Comments: US bootleg. Deluxe black & white front. Deluxe color back. 


Very nice ZAP cover idea and execution. Regarding the Toasted release, I understand that “Absence” is a wordplay on Led Zep’s seventh studio album title but i.m.h.o. this should have exchanged titles with the Beatles Toasted LP “Renaissance”. Makes you wonder, did all Toasted titles end in “…nce”?

And that was it for the ZAP label. Next up: TKRWM

A1         Instrumental Number 42     0:42     [officially known as “Rocker“]
A2         Save The Last Dance For Me     1:15     
A3         Don’t Let Me Down     4:00     
A4         I Dig A Pony     4:06     
A5         I’ve Got A Feeling     2:51     
A6         Get Back     3:11     
A7         One After 909     2:51     
B1         For You Blue     2:50     
B2         Teddy Boy     3:43     
B3         Two Of Us     3:26     
B4         Maggie Mae     0:44     
B5         Dig It     4:28     
B6         Let It Be     4:00     
B7         The Long And Winding Road     4:42

Later copied by Wizardo under not one but several titles (they added “Get Back (Reprise)” at the end of side 2:

“A-B Single Acetate” – WRMB 315 [I’m digging the cover … I don’t think this was the first version Wizardo put out, just starting alphabetically]:

“The Original ‘Get Back’ Acetate” – WRMB 315:


“The Let It Be Performance”/”The Complete Let It Be Sessions”  2 LP – WRMB 315

The second LP in this double set has “Waiting For My Man” by Lou Reed for some reason, followed by one of the Paris 1965 live recordings.


As a single and double LP WRMB 320 “GET BACK SESSIONS – Studio Outakes”, available on black and colored wax:

Beatles Get Back Sessions 320 L

“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.” (eBay description of the double LP version)

I was annoyed by the poor sound quality of these mono recordings. Bought new [in Japan] on June 15, 1976.” (Quote from the Niigata1116 Beatles bootlegs website)

Single LP versions:

Beatles GBSession 352 s

Beatles GetBackSessions red lbl


And finally as simply “Let It Be” WRMB 315 with what looks like a printed b&w cover but may just be an LP-sized insert with a stamp. This copy went for almost $1,000.00 on eBay in July of 2012, surely a record for a Wizardo title.

Also given another life on the TKRWM label:

Beatles VBotBRarest 6

Toasted Records, one of Ken’s last label incarnations, then issued this material one more time as LP 1 of this double set around 1980 [I find the cover that has nothing to do with the artist or the material or even the album title strangely fresh and appealing]:

LP 2 consists of what was previously available as EMI Outakes.

Beatles Toasted lbl

The EVA labels designate a 1980 re-pressing.


In the beginning… Get Back sessions producer Glyn Johns produced four compilations of selected tracks and snippets recorded in the Beatles’ basement studio in Savile Row, recorded between January 22nd and 30th. The first result can be easily identified by being the only version to include The Beatles’ take on Jimmy McCracklin’s 50’s hit “The Walk”.

This first acetate, never intended as a finished album,  made its way across the Atlantic and throughout the fall of 1969, copies of one of Glyn’s acetates were aired by a number of American radio stations, including WBCN in Boston. WBCN obtained a reel-to-reel tape of an acetate and broadcast the tape on 22 September 1969. By the end of 1969, a home tape recording made by a listener was pressed as The Beatles’ first bootleg release, Kum Back.

From “Hot on the heels of Kum Back, in early 1970, two other significant early releases were Get Back To Toronto (I.P.F. Records) and Get Back (Lemon Records). NOTE: it hasn’t been determined if all the early releases are sourced from the same original tape of the broadcast. Due to the amount of releases which featured this material in the early 1970s, it seems possible that other folks might have recorded the broadcast. It could even be possible that some of the early bootlegs might source from WBCN’s tape or the original tape of the acetate. All original vinyl releases of this material featured none of the DJ dialogue from the broadcast.

After a rejected first attempt at an album master, Glyn John’s went to work again in May of ’69 and came up with the definitive Get Back album.


Side 1
One After 909 (DDSI 30.08/09)  2:51
Rocker (Link Track) (Instrumental) (DDSI 22.58)  0:34
Save The Last Dance For Me/Don’t Let Me Down (DDSI 22.59)  0:50
Don’t Let Me Down (DDSI 22.60)  3:43
Dig A Pony (DDSI 22.70)  3:47
I’ve Got A Feeling (DDSI 22.71)  2:41
Get Back (DDSI 27.63 + 28.43 edited  together)  3:10
Side 2
For You Blue (DDSI 25.46) 
Teddy Boy (Short Edit) (DDSI 24.33) 
Two Of Us (DDSI 24.69) 
Maggie Mae (DDSI 24.49) 
Dig It (DDSI 26.55) 
Let It Be (DDSI 31.64 + April 30th-Guitar Overdub) 
The Long And Winding Road (DDSI 26.91) 
Get Back (Reprise) (DDSI 28.43) 

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.

The first appearance of this compilation was in 1974, on an early bootleg titled Get Back Sessions: Studio Outtakes by the famous Trademark Of Quality Records [# 71024 – I would place its appearance around 1972 actually]. That release was quickly copied and re-released under the same title. I would suspect this is the acetate but cannot verify it yet.

Dub’s version

Ken’s version

The first releases were in poor quality but improved quality releases soon began to appear with such titles as Next To Last Recording Session [Ken], Get Back Sessions [Dub] and The Very Best Of The Beatles Rarest Number Six [Ken again]. Labels such Trademark Of Quality and Wizardo led the way with the new releases. The earliest that I can definitively trace the acetate source is 1977 on The Very Best Rarest Number Six (TKRWM).

For whatever reason, many of the early releases began Side 1 with “Rocker” and “Save The Last Dance For Me” while placing “The One After 909” at the end of Side 1. Also, “Rocker” was usually faded in, eliminating the tape start-up at the beginning. This appears to be the doings of the bootleggers.

Sometime in the mid 1970s, Wizardo released the compilation with an appropriate cover. The cover was black and white but it was an authentic cover design for Get Back (actually Let It Be). Thus, this marked the first, remotely appropriate, representation of Get Back [so far, this does not look like a Wizardo release to me]. I cannot determine if this release was sourced from the acetate or the tape.”

It Coulda Happened this Way — Not First, Not the Best Either

Dub and I mastered the Donovan record Reedy River a couple months before we broke up and we’d ordered 5000 copies [am I the only one who thought ‘5000!!!’ Holy cow! ?], which I’d picked up and was storing in my friend Jim’s garage as Big Dub’s basement was pretty full. We’d put out some feelers about the record and it was looking like this one wasn’t going to be the runaway hit our other records had been. In fact, when I was over at Jim’s, I swear I could hear the gobbling of those turkeys, trapped fifty to a box out back in that garage, calling to me.

Dub hadn’t been bugging me about the records and it was plain to see why. He’d heard that gobbling too. So, for the time being, those records were going to be on the back burner, maybe never seeing the light of day.

After the I breakup I had two main things on my mind. One was getting and making new records and two was getting even. Growing up, my father told me time and time again the best way to get even with somebody was to do them in without them knowing you did it. This way you get the satisfaction of seeing your enemy twist in the wind, without turning him into a revenge seeking maniac.

In that light I’d decided to keep making Dub’s records, but didn’t see any reason for letting him know I was doing it. Also, I didn’t have any inventory. Why I didn’t think half those records in Big Dub’s basement didn’t belong to me is beyond me. I guess because I was young and dumb, because it never occurred to me Big Dub was actually stealing something of mine. I guess because we were making so much money, I’d never given much thought as to the value of the inventory creating it.

I did, however, have those five thousand Donovan records for all the good they were going to do me. Plus I had the original stampers for Great White Wonder over at Pete’s. So that was one record, at least, Dub wasn’t going to be making anymore.

So I had GWW and Dub didn’t. Plus, I had access to all his stampers. But what I really needed was something of my own.

Something good.

Something they didn’t have.

I had the soundboard recording of Royal Albert Hall and to the best of my knowledge, nobody else, except Waterford, had it. I could rush it out. It was damn good, a very good soundboard recording, but it had been recorded from an acetate, it was mono and there were a few very annoying clicks and pops on it. I’d probably listened to that tape over a hundred times with headphones on and I personally knew every click, was acquainted with every pop. I’d tense up just before they happened and I didn’t want to put out a record with them on it.

So I was going to have to go back up to Waterford’s, because he claimed to have a version of the tape taken from the master tape. Plus, he’d said that the last three songs were in stereo. Much as I dreaded going up there again, I had to have that tape.

But I didn’t want to go alone, so I called my friend Malcolm. True, he’d gone south on me during that fiasco with the R and B single, but this wasn’t a life threatening situation. Waterford was just annoying, probably the most annoying person on the planet, certainly too annoying for me to deal with by myself. If I was going to have to listen to him preach about how Bob was God, then have to spend the night in his bathroom, I wasn’t going to do it all by myself.

Malcolm couldn’t go till the weekend, as he was in school. He was going to UC Irving and was earning extra money by selling bootlegs on campus. Saturday came, but he had a test to study for on the following Monday, so we put off the trip to Santa Cruz for another week, but when I called Waterford, he said he had plans with his new fiance and could we postpone for still another week. He assured me he would have the tape ready to go, no staying up all night in that bathroom.

“Actually, you can’t record in there anyway,” he said.” I’ve moved and I don’t have a sound system in my new bathroom.”

“Really.” That was great news.

“Yeah, I got a place where I can play Dylan loud as I want. The apartment was kind of a drag that way.”

“I can imagine.”

“See you when you get here.”

“Yeah.” I hung up and two weeks later Malcolm and I were on our way in his hot 1969 Firebird 400, which I’d sold to him for take over payments when I got the Healey.

When we got there, Waterford was waiting on his porch with this yappy little dog, it had short hair, perky ears, a pointy tail, was mostly white, maybe grey, and barked like a three-year-old who wants cookies, but doesn’t know the words. It was every bit as annoying as Waterford himself. They were made for each other.

His new place was a cabin type of affair in the woods just outside of Santa Cruz. He had electricity and water, but save for that, the place looked pretty much like it must have when it was built, sometime during the gold rush. The man was not into creature comforts. He had his trunks of Dylan stuff piled against one wall and told me he had others buried in the forest.


Waterford resembled a sloth, the place looked like it hadn’t been cleaned, ever. There was dust and dirt, bugs and smells everywhere.


“I got a couple sleeping bags, if you guys want to spend the night. I’ll be sleeping up in the teepee.”

“Not spending the night,” Malcolm said. Mal was just about the cheapest individual I’d ever met. I wouldn’t have been surprised if he’s opted to sleep naked in the snow, rather than spring for a motel room. For him to give up the offer of a free night is a true testament as to how much Waterford’s place reeked.

“So where you staying then?” Waterford wanted to know.

“We’re heading back tonight,” Malcolm said. “I gotta study.” And here I thought we might be staying in a motel.

“I guess we better get copying then,” I said.

“First we have to set up the teepee,” Waterford said.

“What teepee?”

“The one I’m getting married in tonight.” Though he looked like a grub, for a second there he almost looked angelic. “I’m gonna need your help setting it up.”

“I’m not setting up any teepee,” Malcolm said. Not only was he cheap, he hated work, would do almost anything to get out of it.

“We can make you the tape as soon as we have it set up.” Waterford was playing us. But if I had to go along with a little blackmail to get the tape, well, I’d do it.

“I’m not—”

I cut Malcolm off with a glare.

“All right. We’ll help you set up the tent,” Mal said.

Waterford made for the door, Mal and I followed, Yappy right on my heals.

“The dog bites me, he dies,” I said.

“He won’t bite.”

I’d been around big dogs all my life, got along with them fine, but there was something about me this guy I didn’t like. I couldn’t help feeling he wanted to rip my Achilles tendon out.

Waterford led us down what looked like an animal trail of some kind to a clearing where there was some bundled canvas and three poles that looked suspiciously like the poles I’d hated so much when I was in bootcamp. These things were about fifteen feet long. The drill instructors would assign four or five guys to a pole and we’d be picking them and putting them down for about an hour or so. Sometimes they’d line us up four abreast and we’d do curls with those poles, or overhead presses. I hated those poles.

“Okay, let’s get this thing set up, so we can get out of here,” Malcolm said.

“Oh, we’re not having the wedding here.” Waterford pointed. “We’re having it up there.”

I did remember he’d said he would be sleeping in the teepee on a hilltop.

“I’m not moving that!” Malcolm said.

“Then you’re not getting the tape!” Waterford said.

I wanted to strangled them both. I needed that tape, so I pinned Malcolm with another glare.

“All right!” Mal said. “Let’s get it over with.”

Waterford was shorter than us and he took the middle, Malcolm took the front and I brought up the rear. We shouldered the pole, Malcolm and I bearing most of the brunt, and started up the hill. Twice I almost fell. It was heavy, the footing precarious and Waterford wasn’t doing his share. The little shit.

It was back breaking work, getting that pole up that hill. Once there, we saw that brush had been cleared away, stones had been set up for a fire.

“This is gonna be great,” Waterford said.

“So the wedding’s tonight?” Malcolm said.

“Yeah. It won’t strictly be legal, cause she’s not quite old enough.”

“Really?” Waterford looked about thirty, reminded me of a snake and there was no way I could imagine a seventeen-year-old girl, no matter what she looked like, ever being interested in him.

“So how can you get married then?” Malcolm said as we started back down the hill.

“I have a friend who is a Universal Life Science minister,” Waterford said.

“No shit,” Malcolm said. “So am I.” He’d sent away for the card in the mail, anyone could do it back then. It was a scam. Some people thought it would help keep them out of the draft, others liked to be called reverend and thought a card you could get for twenty bucks gave them the right. Malcolm told me it got him to the head of the line when he was flying back east once. He also said it helped him get hippie chicks in the sack.

“Let’s just get this over with,” I said.

We took the canvas up next, then another pole. One more to go and I didn’t think I was going to make it. The climb was steep, the poles heavy. I picked my way up the hill with the pole digging into my shoulder. I had to shit, thought I was going to blow, because I was so worn out I didn’t think I’d be able to hold it back and no way was any bathroom inside of that place Waterford lived in gonna ever see my naked butt. I needed a place in the woods, needed it now.

I saw the top, soon this ordeal was gonna be over. A quick trip behind some bushes, then back to Waterford’s, copy the tape, a fast drive to Long Beach and in the morning I’d get the tape mastered. This one was was gonna be LiveR all over again. I felt it in my blood.

Finally we reached the top.

“Oh fuck!” Waterford screamed. He’d stepped into a beehive. Somehow it had fallen from a tree, was waiting there on the ground, like a land mine.

The dog howled. It was covered in bees, looked black now. Malcolm screamed.

We dropped the pole.

I whirled around, jumped off the edged of the hill, slid down on my backside, with a swarm of those stinging bees hot after my hide. I made the trail below, still hadn’t been stung. I started running, pumping my arms like I’d never pumped them when I ran track in school.

I couldn’t hear the bees, but I knew they were there.

Up ahead I saw a group of people, five or six girls and guys out for a walk in the woods. I ran toward them, chugging air for all I was worth, legs working overtime, feet slapping the forest floor.

I ran into the group, zapped straight through them. Somehow I knew the bees wouldn’t follow.

“Thanks a lot, motherfucker” one of the guys said as the women screamed. I kept going, running like the wind. The path turned, I slowed, stopped, turned. Sure enough the bees hadn’t followed. I headed off the trail, found some privacy, took care of business.

Back on the trail, I made my way back to Waterford’s only to find him, Mal and the dog already there. The dog got the worst of it. He was covered with lumps and didn’t look like he was going to make it. Waterford had been stung several times, Mal only four. Who knows how many times the group in the forest got nailed. I came through scott free.

Waterford was not happy. He told us to come back around sundown and we could copy the tape then, but for now he had to take care of the dog, plus he was in pain. Mal, to his credit, bore it well.

We went to a pharmacy in Santa Cruz and the pharmacist there told Malcolm to scrape the infected areas with a credit card to get the stingers out.

“The stinger is hooked on to a venom sac,” he said. If you pull it out, you’ll just get more of the venom in you.”

After Mal scraped those stingers away, he used alcohol supplied by the friendly pharmacist to clean the infected areas. Mal had no allergy problems and aside for a little pain, followed by a little itching, was good to go in no time at all. I could only imagine how Waterford was fairing. And the dog, I didn’t want to think about that.

Sundown and we were back at the cabin. Waterford had a couple lumps on his neck, some on his harms, but he seemed in no pain. Drugs, I thought, but I couldn’t be sure. The dog, he said, was at the vets. He was going to survive.

“So let’s start copying then,” I said.

“Gotta pick up my fiance first,” Waterford said.


“I don’t have a car and she doesn’t drive.” He crossed his arms. “As soon as we pick her up, we can copy the tape for you.”

“Christ,” Malcolm said.

“Sure, why not.” I really wanted that tape.

We got in the car, Waterford in back. It was getting dark as he led us to an upper middle class area. Two story homes, nice lawns, three car garages, big lots.

“Stop there,” Waterford said.

Malcolm stopped.

“C’mon, I gotta get out.”

I opened the door, got out, held the seat for Waterford so he could get out too.

A girl opened the back door of the house, rushed to the car.

“Hurry!” Waterford said.

“Boy my parents are gonna be pissed.” She jumped into the back.

“Oh Christ,” I said. She looked like she was fourteen. “We’re in trouble.”

“We gotta get out of here!” Waterford jumped into the back.

“Get in!” Mal said.

“We’re not going anywhere!” I said.

“You’re going to jail if you don’t get in,” Mal said.

I got in and Malcolm peeled on out of there.

“What’s going on here?” I could’ve ripped Waterford’s heart out.

“She’s very mature,” he said.

“I don’t care.”

“Just drop us at my place,” Waterford said.

Malcolm drove like the wind and in just a few minutes we were at his cabin.

“Get out of my car!” Mal wasn’t happy.

Waterford got out, again Mal burned rubber. Soon we were on the freeway, without the tape.

I got home around two in the morning, went straight to bed, got up early and took the tape I had, the one that was recorded off the acetate to DCT studios near Sunset. That’s where I did the MLK speech record. The guy cutting the record knew right away he was cutting a bootleg. He thought it was cool. Even with those few clicks and pops it was a pretty darned good tape and I was convinced it would put me right on top of the bootleg biz.

It didn’t.

I took the acetate into Lewis as soon as it was cut, as they made the masters, mothers and stampers on site. After a few minutes with Kay I wandered around the plant, saw that Dub had copied GWW and was doing it on colored vinyl. That was gonna sell. In fact, everything he was doing now was on colored vinyl.

Then I saw a record that wasn’t on colored vinyl and my heart sank.

Somebody, not Dub, had beat me.

And he was making a lot of records.

I took one of these Royal Albert Hall records home and to my dismay, it was better than mine. Those annoying clicks and pops were conspicuous in their absence. I did not, however, stop production of my record. I sold a lot, would have sold a lot more had I put my version out earlier. Then to make matters worse, Dub came out with his own version and it was even better yet. And he had those last three songs in stereo.

I felt like driving up to Santa Cruz and shooting Waterford, but I didn’t go back up there. I don’t know what happened between him and the child he wanted to marry. I never saw him again, never spoke to him again and when I saw his books in the bookstores, I turned away, refusing to acknowledge them. [Does anyone know who he’s referring to? Obviously, the name’s been changed]

I was so sure I was going to be the first with this record, so wanted mine to be the best. But I’d failed in both, this new guy beat me to the punch and Dub creamed me with quality. It this case, his version truly lived up to the name Trade Mark of Quality.


Confirmed RAH 115 plates version, later used again for TAKRL 1962:

Confirmed BD-105 plates version, later reissued for the Toasted re-release shown as the last image:

bobsboots writes: “Released in 1971, it is unclear why this original TMOQ package was pressed from entirely different plates then the other versions. The completely uncharacteristic matrix would suggest that TMQ acquired these plates from another manufacturer. No evidence, however,  has been found that would suggest that the title was ever released by anyone else under this matrix. Perhaps TMQ was just in a new and experimental mode. There are variations in the matrix to suggest one or both of the above hypotheses. Some matrix have an ‘-RI’ following. Some have other numbers as well that are crossed out. These ‘BD’  releases are indeed an enigma!
The various released packages came with yellow, white or beige jackets and clear green green or or blue vinyl, large ‘1&2’ labels, original pig logo labels and a deep red, gray or beige insert.

These plates were also later used to press the ‘Dead head’ release. It had a white jacket, a copy of the original insert, an added Dead-head logo and BD-105 reference number, and great looking clear/multicolor splatter vinyl with no labels. ”

[I’d love to say with confidence that BD-105 was Ken’s version but then why was the other version – RAH-115 – used for the TAKRL 1962 version? Were Ken and Dub’s plates swapped? And wasn’t Toasted one of Ken’s spin off labels as well? I am confused at this point.]

Flat 8225: FLEETWOOD MAC 1975  OFFHAND has already been reviewed as part of the SODD title “Will The Real Fleetwood Mac Please Stand Up”

[Many thanks for the Dr. for sending me this scan.]

Track list: (Hot Wacks lists for side 1 only) Redunzel / Dog Breath 50-50 / Son Of The Clap / The Nancy & Mary Music Parts 1, 2, & 3 / Montana

The Flat release is then ‘name dropped’ as part of this later release:

Frank Zappa: Dupree’s Paradise (2 LP)

* Duke University, Durham, North Carolina, 24-Feb-1973

Label listed on cover and spine as “The Impossible Recordworks”, but on labels as “The Excitable Recordworks”.
Tracks are not seperated, each side consisting of a single track.

Both discs have identical labels, but track listing is as listed on rear cover.

Side A duration: 19:03
Side B duration: 23:11
Side C duration: 20:11
Side D duration: 26:20

The actual catalogue number is IMP 2-24.

Zappa F DP b
* Re-released on Toasted Records with a deluxe color cover[ca. 1981, see the “Frank as Medusa” color cover below]
* Also abridged to Pygmy Pony (Spindizzle/Flat FW 8228)

Musicians: Frank Zappa, Jean-Luc Ponty, George Duke, Ian Underwood, Ruth Underwood, Bruce Fowler, Tom Fowler & Ralph Humphrey
Dupree’s Paradise

Length: 88:20
Sound quality: Audience B
Label: Impossible Recordworks IMP 2.24,

1. RDNZL[listed as “Redunzel”] [06:16]
2. Dog Breath Variations[listed as “Dog Breath”] [03:09] / Uncle Meat [02:43]
3. Fifty-Fifty [instrumental] [07:01]

4. Inca Roads [instrumental] [07:04]
5. Warts & Mice [an improvisation]
6. Improvisation [16:15 (together with “Warts & Mice”)]

7. Montana [06:48]
8. Dupree’s Paradise [09:15]
9. I’m the Slime [04:14]

10. Don’t You Ever Wash That Thing?[listed as “The Nancy & Mary Music”] [20:37]
11. Cosmik Debris [05:58]

Tracks 5-6 are 16 minutes of radiant improvisation. Deluxe black & white cover. Released in 1979.

Review on “This two-record set is a bootleg recorded by a member of the audience during a concert by Frank Zappa at Duke University (in 1973, not 1974 as shown on the cover), with Zappa leading an eight-piece band that includes violinist Jean-Luc Ponty, keyboardist George Duke, and multi-reed player Ian Underwood (making his final tour with Zappa). The first five tracks originally appeared on a single bootleg LP called Pygmy Pony, but a portion of the introduction to “Inca Roads” was edited out to allow time to include Zappa‘s introduction of the musicians at the beginning of the concert — and to possibly omit the annoying conversation between the person taping the concert and another member of the audience during the early portion of “Inca Roads,” which was very audible on the earlier single LP bootleg.

“RDZNL,” “Dog Breath,” and “Fifty-Fifty” make up the initial long and spirited medley prior to the sudden edit into the middle of “Inca Roads.” A group improvisation works rather well, as does a lengthy jam on “Montana.” The nicest surprise is the instrumental “Dupree’s Paradise,” which didn’t appear on a commercial Zappa release until Pierre Boulez conducted an orchestral version in 1984 (though a nearly 24-minute version was recorded at a 1974 concert but not released until 1988 by Rykodisc). The music on this album makes up for its audio shortcomings.”