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Ze AnonymPlattenspieler ZAP

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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Ken ‘cannibalizing’ some of his Beatles titles from his ZAP label, creating these new “Frankenboots”:

Beatles More ft Fab Four 390

Beatles MftFF 390 detail

Side 1 is a copy of the master used for side 2 of Liverpool Flash ‘A Collection’ Sixth Amendment – a hodgepodge of Get Back, BBC and live tracks:

Beatles Liverpool Flash detail

Side 1 is a reissue of the master for side 1 of Back Upon Us All ‘A Collection’ Fourth Amendment:

Beatles Back Upon Us All detail

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Beatles Wizardo's Greatest Hits

9 tracks from Hollywood Bowl ’64 on side 1 and the same number from the Budokan ’66 on side 2.

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Beatles Power Brokers 392

Side 1: Re-use of the master of side 1 of the ZAP title No Obvious Title                                           Side 2: Same from side 2 of the already used Back Upon Us All (3rd image from the top)

Beatles No Obvious title detail

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WRMB 393 ‘THE LAST BEETLE RECORD’ has previously been listed in this post.

Queen Free In The Park

Queen FITPark b

The above image shows the back insert and also gives it away as a non-ZAP release as this was very un-ZAP-like, nor would the label list the number of the LP as it does here. This is in fact the second pressing of a Japanese bootleg.  Which would also explain why this title goes for considerably more than the usual ZAP title at auction (the pictured copy sold for $180 in October 2012).

Also available in red:

Queen FITP red 2nd

Track list:

Bohemian Rhapsody (tape & rock part), Sweet Lady, You’re My Best Friend, Bohemian Rhapsody (verses), Killer Queen, The March Of The Black Queen, Bohemian Rhapsody (reprise), Bring Back That Leroy Brown, Brighton Rock, Son And Daughter, ’39, You Take My Breath Away, The Prophet’s Song, Stone Cold Crazy [cut], Liar, In The Lap Of The Gods…Revisited

Not included: Ogre Battle, White Queen, Flick Of The Wrist, and Keep Yourself Alive

Quality described as “not too great / B ” due to some distortion and the distance from the stage it was recorded from but still an improvement over the video soundtrack due to better vocal balancing.

First pressing had a grey cover:

Queen FITP grey 1st

Queen FITP grey 1st back

HIAWATHA EXPRESS
ZE ANONYM PLATTENSPIELER ZAP 7980
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.

allmusic.com 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.”

ABSENCE
TOASTED RECORDS 2S921
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. 

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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

Although the Doobie’s played in Japan in January of ’76:

1976
DATE           VENUE           LOCATION
January 11           Osaka Koseinenkin Kaikan           Osaka, Japan
January 12           Kyoto Kaikan Grand Hall           Kyoto, Japan
January 13           Festival Hall           Osaka, Japan
January 14           Kyuden Memorial Gym           Fukuoka, Japan
January 16, 17    Nippon Budokan           Tokyo, Japan

Here is the set list of the opening night in Osaka:

1.Opening
2.Jesus Is Just Alright
3.Rockin’ Down The Highway
4.Road Angel
5.I Cheat The Hangman
6.Precis
7.Slat Key Soquel Rag
8.South City Midnight Lady
9.Double Dealin’ Four Flusher
10.Nobody 11.New Orleans
12.Neal’s Fandango
13.Eyes Of Silver
14.Take Me In Your Arms
15.Takin’ It To The Streets
16.Black Water
17.Sweet Maxine
18.Long Train Runnin’
19.China Grove
20.Without You
21.Listen To The Music

I doubt that this album is really from any of those shows.

SIDE 1: (24:25)
Eyes Of Silver / Black Water / Long Train Running / Jesus Is Just Alright
SIDE 2: (18:30)
China Grove / Rockin’ Down The Highway / Road Angel / South City Midnight Lady

I suspect this is just a re-release of the Memphis ’75 KBFH recording from SODD 004: The Doobie Brothers What A Long Strained Trip It’s Been

Flamin Groovies No Candy big

Side 1: She Said Yeah/ Let The Boy Rock ‘N’ Roll/ House Of Blue Light/ Lover Not A Fighter/ Please Please Me/ Please Please Girl/ Ups And Downs
Side 2: Shake Some Action/ I Wanna Be Your Man/ Don’t Lie To Me/ I Can’t Hide/ Miss Amanda Jones/ Hey Hey Hey

BOOTLEG(S) OF THE WEEK!: The Flamin’ Groovies-NO CANDY (ZAP)

Now that the weather is getting warmer and the sun shinier I feel it safe to once again take a trip down into the basement and mingle with my vinyl friends (who have given me more hours of downright happiness and pleasure than any of my real flesh and bone ones ever have!). And since I just “happened to get hold of” a load of those great (once) clandestine bootleg albums that sure zone me back to the days of those long-gone outta-the-way budget record shops, I thought I’d make it a PROJECT to review for you each and every weekend a bootleg album (or Cee-Dee if the moment arrives) perhaps to reminisce about record buying adventures past or to further document a portion of a seventies/eighties-era piece of rockism that really hasn’t been discussed to the utmost. Naturally I’m only doing this mostly to help pad out these weekend posts and make ’em look a lot meatier than they have the past few weeks so don’t say I have an ulterior motive doin’ this!

Here are a couple oddities from the now-distant and much-missed (in some respects) seventies, Flamin’ Groovies bootlegs that weren’t put out by Skydog Records! Really, one would gander that only a Skydog or some other small specialty bootleg company would have dealt with a group the cult status of the Groovies, but it looks as if the big timers in the underground biz took a shine to our San Franciscan heroes as well. The first offering up for today, NO CANDY, was released by the “Ze Anonym Plattenspieler” label who I guess fell for the SHAKE SOME ACTION album a lot harder than the rest of the music buying populace. I mean, why else would they issue this live recording from August of 1976 featuring our heroes in the middle of a grueling tour kicking out the jams for a rather rabid and appreciative audience when they could have used the vinyl cranking out yet another nth-generation Beatles platter? Sound quality is good enough mid-seventies cassette job about as clear as many of the similar items that were cluttering up the bootleg bins back in the day, while the performance is, er, action-packed as well with the Groovies at the outset of their “power pop” period bridging the energy of the pre-hippie sixties with the budding new underground that somehow caught everyone by surprise during those hard-thrust times. Funny, but I don’t recall seeing this one in any of the bootleg bins or catalogs of the day. My guess is that this was so desired that it actually sold out before I could get to the store.

[Source: BLOG TO COMM]

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I find this a bit puzzling, a band I had never even heard off, no hits, no radio play, yet bootleggers obviously liked these guys enough to take the financial risk (there is a Wizardo title – LIVE AT THE ROXY – as well). On the other hand, a band like America’s finest prog-rock group, Kansas, who were fairly big by 1976, never had a vinyl bootleg out. It is interesting how bootleggers had an influence on tastes and artist visibility that way.

“The formation of TAKRL also marked a shift in the scope of artists who could be bootlegged. Dub had kept to the ‘old guard’. Though Ken’s love of Dylan meant that he monopolized American Dylan bootleg product throughout the seventies, his partners were much more willing to test ‘new’ markets. TAKRL was responsible for some of the most unusual artists to be bootlegged in the vinyl era – everybody from Mott the Hoople, Procul harum and The Bonzo Dog (Doo Dah) band to Gentle Giant, Sparks and a particularly inspired compendium of quips from Marx Brothers’ movies, Groucho Marx’s I Never Kissed an Ugly Woman. Though TAKRL’s experiments’ were not always successful, aesthetically or commercially, only they were issuing something other than standard bootleg fodder, even coming up with a handful of superb radio broadcasts of two of America’s best new live acts – the Patti Smith Group and Little Feat. […] By this point, TAKRL could not contain all the product Ken wanted on the streets. HHCER, TKFWM and SODD all took on some of the burden [I really would not have worded it like that], soon folowed by Flat Records […], but it was still not enough. [Heylin, Bootleg pp 107-108]

“Ken’s multiple labels were not simply a ruse to confuse the authorities. Dr. ‘Telly’ Phone was not entirely convinced about the sheer scale of product being churned out. The doctor and Ken did not always see eye to eye about what exactly they should be putting out. Indeed it was a disagreement over content that resulted in the formation of The Kornyphone Records for the Working Man. David [the “Doctor”?] was not enamoured by Paul McCartney in any post-Beatles incarnation, nor by any new American pretenders like Aerosmith, Bachman Turner Overdrive or Lynyrd Skynyrd. If SODD was a bona-fide TAKRL spin-off, and HHCER was phased out as TAKRL went into overdrive, ZAP and Flat – both started in 1976 – were clearly intended by Ken as alternatives to TAKRL. The tension between Ken’s workaholic methods (and occasional dubious quality standards) and someone like the Doctor, committed to ‘approving’ material for ‘his’ label, was bound to lead to a permanent rift.” [Heylin, Bootleg, pp 110-111]

[Oh wow, quite the daring font for the title]

Set list from the only Patti Smith bootleg website I know of (which tends to disagree with the cover listings for some reason):

“Real Good Time Together”, “Set Me Free”, “Ain’t It Strange”, “Kimberly”, “Free Money” — side 1
“Redondo Beach”, “Pale Blue Eyes/Louie Louie”, “Things Just Ain’t The Same”, “Land” — side 2

Reviews:

“Sound quality is good, performance excellent.” 

“BOOTLEG OF THE WEEK!: Patti Smith-SUPERBUNNY (ZAP)

From the people who brought you the “Flamin Grovies” bootleg […] comes this one-of-many documents from the Patti Smith tour of v.-late ’75/early ’76, back when Patti was wowing both the cognoscenti and the wee folk alike with her mix of decade-old rock ‘n roll and a buncha indecipherable Frog intellectuals and literary/sexual icons who just seemed custom-made for the mid-seventies chattering class brouhaha that was so “in” amongst the VILLAGE VOICE readers and phony high school intellectuals alike. Sound in amazingly good (making me wonder if this was taken from an FM broadcast) and the performance surprisingly together with only a few vocal gloops and glares to be found. Material is pretty much the standard fare for the day (meaning if you’re only a dabbler in the Patti mystique you might wanna save your buckskins if you find this somewhere) but an added treat appears in the form of the early-set standby cover of “The Hunter Gets Captured By The Game” which sounds pretty (dare-I-say) “professional” in this company!” ]