From a word association interview given to him by a fan, ca. 1976:
From a word association interview given to him by a fan, ca. 1976:
Speaking of Kustom Records (as mentioned in my previous post) … a holiday present to us all (thank you, Karl!).
I guess the transmission date is 8th of April’71, after all.
The concert Peter Grant’s talking about was Led Zeppelin’s appearance at Munich’s Circus Krone on 08 March 1970 (no recording has ever appeared of this concert).
It feels like we are watching the moment Pink Floyd’s hatred for bootlegs started.It’s quite remarkable that what is likely their first encounter with one of their bootlegs was the incredibly rare Pinky, pressed in a first pressing run of just 50 copies (matrix: DJ3003),
a UK copy of this Dutch release:
Matrix: XA44332/YB44332 – first edition with the misspelling “LIFE” on both sides. Second & third corrections had “LIVE/LIFE” and finally “LIVE/LIVE” on front and back.
“Atom Heart Mother” on side 1 and “Embryo” and “Interstellar Overdrive” on side 2, recorded at the Audimax in Hamburg 1970-03-12
Re. Kustom Records: This is the US cover for the Beatles pirate JUDY
It’s preposterous to claim these tracks were copied directly from the original masters from the Abbey Road vault, as the BBC reporter sets up the story and Mr. Collins willingly indulges him (although the claim may of course originated with him).
I still believe that Kustom was mostly a US label and they were only to happy to sell Collins a few hundred records and he had his own b&w knock off covers printed based on the original designs.
Pressed in larger quantities than the preceding three titles in WCF’s 700 series.
Source: WPLJ-FM radio broadcast from the A&R Studios in New York, 12 April 1971 during their North American tour. The date confirms my placing of the 700 series in the months between mid-1971 to early 1972.
Unfortunately, this pressing did not come out well, only earning a “Gm” rating in HOTWACKS “with the exception of ‘Fare Thee Well’, which is very poor.”. HOTWACKS continues that this is also available on CBM 718 “from original plates”. I have never seen the CBM copy and without having compared the matrices, I would not make this claim and suggestion that there was a relationship between the two labels (other than CBM copying several of WCF’s titles, as we have seen so far). Previously, we saw another case of identical matrix numbers for their respective copies of Led Zeppelin’s Blueberry Hill.
The correct track list is:
1 Memorial Drive
2 Still There’ll be more
3 Nothing that I didn’t know
4 Simple Sister
5 Luskus Delph
6 Shine On Brightly
7 Whaling Stories
8 Broken Barricades
9 Juicy John Pink
10 A Salty Dog
11 Whisky Train
12 Power Failure
Gary Brooker (voice & piano)
Chris Copping (Hammond organ, bass)
Robin Trower (guitar, bass)
BJ Wilson (drums)
TMOQ later released a significant quality upgrade of the first 10 tracks with the matrix # 1844 A/B. The four digit TMOQ titles are seen as Ken’s part of the output following his ouster from TMOQ by Dub and his father.
Matrix: LB11-a / LB11-b
The insert is usually found in black & white, green or red. It also exists with blank white labels.
To be distinguished from the later Japan copy JL 1006(LB-1) with matrix ‘LB 11’:
USA: ca. 1970
WCF’s version was listed in HOTWACKS all these years but the rare original beatlegs this material was copied from passed under HW’s radar.
According to the beatlesource website, the second ever ‘beatleg’ (after Kum Back! ) was a now extremely rare album called O.P.D.. It presented the 2nd Glyn Johns compilation culled from the dozens of multi-track tapes recorded during the part of the Get Back sessions held at Savile Row and a first real attempt to shape the material into a commercial release.
This 2nd Glyn Johns compilation ended up being played on US radio station WKBW in Buffalo, NY from a reel to reel tape on September 20th, 1969 (the details as researched by John Winn, can be found in a series of articles starting with this installment). However, it appears that the two bootlegs now described in detail were not the result of someone taping the WKBW broadcast.
More details can be found here: http://www.beatlesource.com/bs/mains/audio/GetBack/gb2intro.html
A: The 2nd Beatles bootleg containing the 2nd Get Back compilation; released January 1970 on the West Coast. Matrix: OW LIPSON A 12958 / OW LIPSON B
1. One After 909
2. Rocker-Save The Last Dance For Me-Don’t Let Me Down
3. Don’t Let Me Down
4. Dig A Pony
5. I’ve Got A Feeling
6. Get Back
1. For You Blue
2. Teddy Boy
3. Two Of Us-Maggie Mae
4. Dig It
5. Let It Be
6. Long and Winding Road
7. Get Back (Reprise)
This compilation contained two unique song differences that were preserved thanks to the bootlegs:
B: That same month on the East coast saw the release of the third beatleg: The “Silver Album”.
Matrix: JARRIS 0020 A/B
C: Other/subsequent editions included first a full-size blank white label and then a printed label stating what appeared to be the album’s title.
The printed label version was likely already a copy produced by someone else. It replaced the official version of “Don’t Let Me Down” and “Two Of Us” with the versions from the first beatleg, Kum Back! – which was based on Glyn Johns 1st compilation, which used a unique version of the latter track not heard on compilations 2 to 4.
D: A final cover variation used blank white covers this time and the word “SILVER” stamped on:
It appears that at this stage the insert appeared. The matrix for this version shown here was still JARRIS 0020 A/B
E: The insert combined with a silver or grey sleeve
While LET IT BE LIVE used the same source tape as O.P.D., there were significant differences:
1. Don’t Let Me Down (3:31) – single B-side
2. Dig A Pony (3:51)
3. Get Back (3:09) – single A-side
4. For You Blue (2:30) 5. Two Of Us (3:18)
1. Dig It (5:02)
2. Let It Be (3:59)
3. The Long and Winding Road (3:43)
4. One After 909 (2:43)
5. Across The Universe (3:17) – from WWF LP
F: The WCF version with the printed labels shown at the start should be placed here. “Silver Greatest” then serves no other purpose than to point out that WCF had copied this album from someone else (since bootlegs were sold shrink-wrapped and the labels could not be used as a means of sales, pointing out to potential sellers that this was another version of the famous “Silver Album” they might have heard about). This also does not appear to be a reference that the band used be known as the Silver Beatles at one time.
G. Around 1974, WCF reissued this album with inserts printed in much brighter colors and in a (sometimes recycled) fold out sleeve using blank white labels:
The matrix is now LB 11-A x / LB 11 B x (these ‘added x’ matrices seem to have indicated a reprinted title)
I have found two auctions that state that the fold out sleeve was created by reversing a Berkeley 1974 Dylan printed cover of Dylan and the Band Return (# 2039/40). Here is a photo of what lurks behind the cover of the red insert copy shown above:
USA: 2ns half of 1980
Another basically pirate release following the similar in concept Down And Out?
I do remember when I owned this album that side 2 ended with the sped up recording of Melvin Records denying they had anything with the Wings Over Wembley double album.
I have penciled in the following the labels for the future:
Is there any other label you would like to see reviewed? No pure copy labels please (so, no LXXXIV, Full Tilt, Verzyl, etc.)
Below, a copy without a stamp, or perhaps it’s on the back.
And a black vinyl copy, so they do exist:
USA: 1979 – this was the start of a trilogy where they released three double albums recorded at the same venue within six or eight days; this one, Van Halen and Supertramp; the only bootleg label I have come across to have done this.
Source: Audience recording from the Seattle Coliseum, April 10th 1979. One of the last concerts featuring bass player John Glascock, who would take his final bow at the end of this leg on 1 May 1979, in San Antonio, TX.
Regarding the album’s title, was it an insider joke or an honest mistake? When introducing “Dark Ages” from the then still unreleased new Tull album STORMWATCH, Ian Anderson would draw out the pronunciation, so that it did sound like “Dark Haiti” but when listening to the song, it becomes clear that it’s “ages” (by the way, does Ian have the best on stage pronunciation or what? I could listen to him all day long). I do not suppose that the person(s) behind the 78/79-1XX label were Tull fans.At least, as all the first second generation bootleg labels had been put out of business and could no longer cover the latest Tull tour, as they had done so well in ’72, ’73 and after, at least these guys filled that gap quite nicely.
This used to be one of the most sought after & valuable titles by this label in the last decade, reaching a staggering $670 in 2008 for a lucky seller. Prices have more than halved since then though.
Side 1: One Brown Mouse / Heavy Horses / My God (including God Rest Ye Merry Gentlemen, Kelpie and Bourée)
Side 2: Dark Ages
Side 3: Cross-eyed Mary / Thick As A Brick
Side 4: Quatrain, Aqualung (medley) / Locomotive Breath, The Dambusters’ March and Aqualung (medley)
1979 tour poster