Tag Archives: Bootlegs. TAKRL

Undeniably, it takes balls to stick a bootleg and a pen under the nose of the artist whose performance was basically stolen in order to put money into someone else’s pockets. Unless you know them well they are likely to start yelling and break the record over your head… you certainly don’t want to try it with Dylan or Pink Floyd’s Nick Mason.

[No claims made regarding the authenticity of these signatures.]

If you have any further examples, please leave a comment.

**** claims this is the word’s only signed copy of “Great White Wonder”, however, my search turned up another one:

It sold for 340 GBP in 2005 on eBay.

Another one from the early years:

One of the first SMiLE bootlegs signed by Brian Wilson, Mike Love and Al Jardine (many thanks to Glen, who contributed this one as well as the Moody Blues & Firesign Theatre images)

Moody Blues’ keyboard player Mike Pinder had a healthy sense of humor about it (high-res scan, click to inflate):

Deep Purple:

Comedy troupe The Firesign Theatre:

Firesign 2


And the holy grails:

From the description: “This comes from the collection of John Morgan, who has collected in-person signatures for more than forty years. It has been signed by all four Beatles on the front cover, all at different times in New York. John Lennon signed this in blue ballpoint or biro pen at the Hit Factory in 1980. Paul McCartney signed in blue Sharpie pen at the Plaza Athenee Hotel in 1989. George Harrison signed in black ballpoint or biro at the Pierre Hotel in the late ’80s. Ringo signed in blue Sharpie at the Carlyle Hotel in 1992. “

A Billy Preston signed Get Back boot:

Source: FM broadcast from Boston Garden, Boston, MA – December 11, 1974

Side 1: Sound Chaser (9:36) / Roundabout (8:13)                                                                                          Side 2: The Gates of Delirium (22:10)


Set List:  Radio intro., Firebird Suite, Sound Chaser, Close To The Edge, To Be Over,  Gates Of Delirium, And You And I, Roundabout, Radio outro

This tape comes from the DIR archives and was broadcast over the King Biscuit Flower Hour back in the seventies and has unfortunately never seen official release, but is one of the most popular recordings of Yes in circulation.

The two LP set Affirmery (Beacon Island Records 2S710) and its clone The Affirmery (TAKRL 1981) [it was in fact the other way around as TAKRL releases preceded Beacon Island ones] has “Firebird Suite,” “Sound Chaser,” “Gates Of Delirium,” and “Roundabout.” 

The above paragraph fails to mention that LP 2 of the Beacon Island title is from a different show altogether: Rainbow, London, December 1972.

Yes The Affirmery 2LP

The Affirmery 2 LP set on Beacon Island Records (2S710)

“Stellar Attraction (Beacon Island Records 2S719) is a 2LP set that has all but “To Be Over,” but Stellar Attraction (Singer’s Original Double Disc SODD 008) is the only vinyl title to have the complete broadcast [Stellar Attraction on Beacon Islands is simply a re-release of the SODD title, so this statement makes no sense.].”

Yes Stellar Attraction

Stellar Attraction on Beacon Island Records (2S719)
Yes’ winter tour in 1974 lasted about a month and was a quickly arranged way to try out the new material on the road.  These shows featured a very short (for Yes) set list that was focused on the new songs.  Later Relayer tours would feature the long solo spots and acoustic set, but these are very focused ensemble playing.  There are many documents on tape including the recently excavated Baton Rouge tape, but Boston remains the only professionally recorded tape in circulation.

Unfortunately it is not complete, missing the final song of the set “Ritual” and quiet possibly another encore since “Siberian Khatru” pops up in some of the gigs.  This release begins with the announcer speaking about the special two part Yes and Gryphon special before the “Firebird Yes SA bSuite” and the new song “Sound Chaser.”  The song was so unusual in dynamics that even the radio engineers don’t know how to handle it and the backing vocals sound a bit out of tune.

A perfect Moraz-tinged “Close To The Edge” follows before Jon Anderson says, ”It’s nice to be with you again… What we’d like to do is play our new album to you.  And some other things later on.  Now we’d like to play something called ‘To Be Over.’”  What follows is a pristine version of one of their most sublime creations.

The DIR announcer has a few words afterwards before Anderson introduces the first side of the new album “Gates Of Delirium.”  Much like “Sound Chaser,” the sound engineer plays around with the mix and sometimes Moraz’ backing organ sounds are louder than Howe’s stratocaster.

Having such a clean recording strips the number of some of its excitement since the audience’s reaction is hardly visible.  However, some of the Boston faithful do get some of their whistles in during the song and thankfully the engineers figure the song out enough to capture a great version of “Soon,” the closing peaceful section of the new epic.

“Thank you very much.  Hope you like the new songs.  We’d like to play for you ‘And You And I’” he says before one of Yes’ most popular stage numbers.  It was on this tour that Chris Squire began to play the harmonica during “The Preacher The Teacher.”  Anderson encourages the audience to dance along for the final song of the night “Roundabout.”

From a collector report: “…an entire audience recording of this show has surfaced from ‘DLampinski’ that sounds incredible. There’s quick tape splices in ‘gates’ & ‘ritual’, but the difference between this audience tape & the KBFH version is like the difference between the specific Detroit show in August 76 & the butchered versions from that show which eventually ended up on “Yesshows” 2LP…”

As with many KBFH recordings, their new owner wolfgangsvault has this one as well in complete form:

TAKRL says:

“You more than likely never saw this. It was another project proposed during the final days and bizarre politics soon found this surfacing on another label using another title and an ugly cover. Roy N. Oak did the amazing GP cover portrait which you’ll probably never see because of politics.”

[The above comments make it clear that it was not ZAP label owner Ken who had written these comments.]

[ugly does indeed fit the description; thanks to YesDays for the scan.]

Side 1:
Blue Eyes
I must be Somebody Else you’ve known
A satisfied Mind
Folsom Prison Blues
And: That’s All Right

Side 2:
Miller’s Cave
I still miss Someone
Luxury Liner
Strong Boy
Do you know how it feels to be lonesome?

“Exs”, according to Hot Wacks


Source: FM broadcast from the Great American Music Hall in San Francisco on August 13, 1975

Released officially by the band as ONE FROM THE VAULT in 1991

Review from

“Of the literally hundreds of potential dates that could have been chosen for this package, there were multiple factors that made the band’s August 13, 1975 show the best candidate for the debut installment in the Grateful Dead‘s One from the Vault series. For starters — as is evident by the outstanding fidelity — the audio quality of the master tapes was excellent. Another obvious plus is that the entire band are eager to dig in, dust off their collective chops, and prove that their 19-month sabbatical hadn’t made them rusty. Deadheads concurred as the temporary cease in touring increased speculation as to the Grateful Dead‘s future. So it was with great anticipation that Jerry Garcia (lead guitar/vocals), Phil Lesh (bass/vocals), Bob Weir (guitar/vocals), Bill Kreutzmann (percussion), Mickey Hart (percussion/crickets) — who hadn’t been a participating bandmember since 1971 — and the husband and wife team of Keith Godchaux (keyboards) and Donna Jean Godchaux (vocals) took to the stage of The Great American Music Hall in San Francisco — for what was only their third public appearance in over a year-and-a-half. Add to the equation that they were not only going to preview material from their new album Blues for Allah (1975), but most every Deadhead in North America would hear the gig via broadcast on the nationwide Metromedia Radio Network. Proof that the Grateful Dead were still in demand was evident by the double-LP bootleg Make Believe Ballroom, which was lifted right off the radio and offered for sale within months.

In terms of content, Disc One is heavy on Blues for Allah, commencing with a flawlessly and passionately executed “Help on the Way” and the tricky syncopated instrumental link “Slipknot!” that connects it to a prototypical “Franklin’s Tower” preceding a note-perfect take of “The Music Never Stopped.” The latter two tunes would become permanent fixtures in the Grateful Dead‘s repertoire for the remainder of their existence. Most notably, this is the third (of only six) live rendering of the intricate instrumental “King Solomon’s Marbles” (aka “Stronger Than Dirt”) that evolves out of the excellent “Eyes of the World” via a feisty percussion duet between Hart and Kreutzmann. It should be mentioned that producers took the liberty to resequence the running order to accommodate the time considerations of the CD medium. Whereas the actual first set concludes here and would pick back up with a version of Chuck Berry‘s “Around & Around” to begin the second set, the song is tagged onto the end of Disc One. Disc Two opens with the familiar favorites “Sugaree” and the cover of Johnny Cash‘s “Big River” — both part of the Grateful Dead‘s songbook since 1971. Rarer is the inaugural performance of Weir‘s beguiling acoustic composition “Sage and Spirit,” which had grown from a finger exercise the guitarist used when warming up. In fact, the only other time he unveiled the melody was during the final evening of the legendary 1980 multi-night run at Radio City Music Hall that saw the combo play unplugged (read: acoustic) before their two usual electric expeditions. Other top-shelf and not to be missed offerings include “Eyes of the World,” a note-perfect “It Must Have Been the Roses,” as well as the funky and driving staple “Goin’ Down the Road Feeling Bad.” “


Re-release on Ken’s Beacon Island Records outfit ca. 1979/80:    

                                                                                                         Grateful Dead MB Ballroom                     Grateful Dead MBB back

TAKRL says: “This album was never issued. It was conceived of during the hectic final days and the art work and tapes were basically ignored until it was too late to retrace our steps. It was recorded at the Great American Music Hall in San Francisco.

Side one contained Apple Cider Re-constitution / The Dark and Rolling Sea / One Stage Before / Soho (Needless to Say) / On the Border / Carol.

Side two had Broadway Hotel / Roads to Moscow / Sirens of Titan / If It Doesn’t Come Naturally, Leave It / Year of the Cat. Maybe someday it’ll show up.” [I guess so far it hasn’t.]

RM AMTHGFTAKRL says: “Only 1000 made. New live material surfaced shortly after this appeared so that material plus the live material on this album were edited together to make Roxy 1977.”

1.     Mother Of Pearl     6:03*  
2.     Out Of The Blue     4:23*
3.     Do The Strand     3:38*
4.     The Pride And The Pain     4:12     
5.     Hula-Kula     2:35     
6.     Re-Make, Re-Model     2:42     
7.     If It Takes All Night     3:20*  
8.     Virginia Plain     3:12*  
9.     Editions Of You     3:47*   
10.     Re-Make/Re-Model     4:12* 
11.     Your Application’s Failed     4:41     
12.     Pyjamarama II     3:02

1-3 & 7-10 Newcastle City Hall – October 28, 1974 [Roxy’s official live album VIVA! was compiled from this gig, the source here is a radio broadcast. Compare ”Out of the Blue” and “Do The Strand”, which are identical plus overdubs. comments: “(Eddie) Jobsons violin solo on Out of the Blue being an obvious example. The other songs from this show demonstrate that Roxy were the strongest they had ever been (or ever would be) as a live band.]
04 – Pyjamarama 45 b-side
05 – Street Life 45 b-side
06 – You go to my head b-side ( Re-Make/Re-Model (reworked) ) – Bryan Ferry b-side, 1975
11 – All I want is you 45 b-side
12 – BBC radio session, recorded March 5, 1973

roxyrama rating: 8 stars for sound, 10 for performance = overall 9.

Review from “The material on this bootleg LP falls into two categories: live performances in England in the mid-’70s and studio outtakes from 1972 and 1973. Unfortunately, TAKRL (one of the top bootleg labels of the ’70s) doesn’t provide any recording dates or tell us where in England the live performances were recorded. But they were probably recorded during Roxy Music‘s British tour of 1974, which was among the tours that resulted in the art rockers’ superb live album Viva!. “Superb” is also a word that describes the live portion of Absinthe Makes the Heart Grow Fondle — the sound quality is first-rate (by ’70s standards), and performances of “Virginia Plain,” “Do the Strand,” “Out of the Blue,” “If It Takes All Night,” and “Mother of Pearl” are as forceful as they are inspired. It’s interesting to hear how gritty and tough Bryan Ferry and his colleagues sound on these 1974 performances; as arty as these songs are, the band definitely rocks hard without apology. Meanwhile, “Pyjamarama” and “Re-make/Re-model” are among the studio outtakes, which are interesting if you’re a seasoned Roxy Music fan but wouldn’t be meaningful to more casual listeners. Of course, seasoned fans — not casual listeners — are who bootleggers target, and Absinthe is a record that seasoned Roxy Music fans were happy to get their hands on in the ’70s.”

TAKRL says: “This record replaced 1978 when the following album was deleted after one pressing.”

A1    Love Is the Drug         4:15
A2    She Sells         3:08
A3    Mother of Pearl         6:03
A4    Out of Blue         4:23
A5    Do the Strand         3:38
B1    The Thrill of It All         6:15
B2    Whirlwind         5:03
B3    If It Takes All Night         3:20
B4    Editions of You         3:47
B5    Re-Make/Re-Model         4:12

Source: A1, A2 & B1, B2: The Beacon Theater, NY – November 26 1975; A3 – A5 & B3 – B5: Newcastle, City Hall – October 28 1974

roxyrama rating: Same as for Absinthe…


Also see the following info from a torrent:

Roxy Music Britsh Biscuit + KBFH 1974-75

Roxy Music (Strawbs also on the show) – City Hall Newcastle, England, October 28th 1974
British Biscuit / WBCN-FM Broadcast; Total Time: 23:17

1. British Biscuit Intro
2. Mother of Pearl
Out of the Blue (Officially Released on Viva-not included)
3. If It Takes All Night
4. Virginia Plain
5. Editions of You
6. Re-make/Re-model
7. British Biscuit Commercial Break
Do the Strand (Officially Released on Viva-not included)

Roxy Music (Labelle also on the show) – The Beacon Theatre (New York, NY), November 26, 1975
King Biscuit Flour Hour / WBCN-FM Broadcast Total Time: 24:41

1. KBFH Intro
2. Love is the Drug
3. She sells
4. The Thrill of it All
5. KBFH Commercial Break
6. Out of the Blue
7. Eddie Jobson Solo
8. Whirlwind
9. KBFH Outro

The Newcastle show can be listened to in its entirety here: