Tag Archives: bootleg records

Pink Floyd-The Early Years Box Set: Price Check on Aisle One!

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Okay, the Early Years box set is the big kahuna, the whole enchilada-the motherlode of early Pink Floyd/Syd Barrett that fans have been waiting for…waiting so long that many have actually forgotten they were waiting for it in reality. But people were fairly ecstatic that a huge and I mean huge amount of Pink Floyd rarities were seeing the light of day finally. But then…people got a look at the proposed price, one of the eye poppingly highest price tags in the history of rock releases. And everyone drew a long breath. Does this thing have nuggets to tempt even the most jaded Pink Floyd aficionado? Hell yes. Does the content (27 discs) come up equal to the price? (pre release list price- $699.00, Amazon pre-order price $571.36 at the time of this writing). Well lets do the math. 571 divided by 27 is twenty one and change per disc. For a single CD, that’s a pretty hefty entrance fee. But multi disc sets usually discount pretty heavily. Most double CDs clock in at around $19.99. Triple CDs average $25. See there is an industry prescribed sliding scale for multi disc sets. But over twenty one dollars per disc for the full run of 27 discs? (actually with the DVD/BluRay duplicating each other, this is only a 19 disc set, at $36 per disc!!) Mighty strange marketing here. Are they kidding? Did they include something worth this literally obscene outlay of dosh?  Let’s look closer:

First, any Floyd head worth his salt  owns 90% of this stuff already. Vinyl and cassette in the early 80’s, CDs in the 90’s-whatever. But the list of famous bootlegs is long, and folks like the author and his close friends have owned this stuff on vinyl bootleg since 1979 ticked into 1980.

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Image result for syd barrett bootleg records Image result for syd barrett bootleg records Image result for syd barrett bootleg records

Image result for pink floyd bootleg records Image result for pink floyd takrl records Image result for pink floyd takrl 1913

You get the idea. There is a lot of good stuff here. Among the 10 cds, 8 blu-rays and 9 dvds are plenty of treasures. But we have already heard much of this. The legendary More Furious Madness from the Massed Gadgets of the Auximenes? Mostly here, yet not called that for some reason. Known as ‘The Man’ and ‘the Journey’, it was a 1969 concert slated to be released as a live album, but shelved for some reason. But something Floyd heads have owned for decades. The Stockholm 1967 soundboard recording with Syd Barrett? For many, this is the treasure of the box, yet it has circulated for a while on bootleg forums. 1965 recordings with original guitarist Bob Klose? Ok, that is pretty cool. The long sought after 1967 John Latham soundtrack recording done by the Syd led Floyd? Now we are getting somewhere. That takes care of CD 1 and CD 2.

1968 BBC sessions that have been heavily circulated comprise CD 3. Studio tracks readily available pad out this disc. Outtakes from More and some heavily bootlegged 1969 BBC and Amsterdam stuff comprise CD 4. The aforementioned Massed Gadgets unreleased live album takes up CD 5. 1970 BBC sessions (again, heavily bootlegged and common) make up CD 6. Zabriskie Point outtakes (these somewhat rare compared to the rest) take up CD 7. CD 8 is Meddle era 1971 with an early version of Echoes, again BBC stuff. CD 9 is a clunker-a 2016 remix of Obscured By Clouds. Why? The original is a favorite of many Floyd heads and was the opening section of the first leg of the 1972 US tour. Unnecessary. The final CD is back to BBC 1967 with Syd Barrett, some 1968 BBC stuff and the famed 1969 session they did for the moon landing.

The DVD and Blu-ray stuff is more enigmatic. First-is this set really a mixture of Blu-ray and DVD? Why? Blu-ray folks will put their noses in the air at DVDs. And DVD people will not be able to play Blu-rays. Puzzling in the extreme. (a closer look reveals that the DVDs and Blu-Ray duplicate each other-so it is really a 19 disc set, which puts this at a gagging price of over $36.00 per disc!) Yet this stuff is where most of the unreleased material resides. A compendium of exactly what is on the set can be found here.

A video of the unboxing with some close ups of the extra memorabilia is here.

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Five original facsimile picture sleeve 45s are included, as well as facsimile memorabilia (a la Who Live at Leeds lp) in a nod to the vinyl collectors (very few of who actually still spin 45s, as they are a royal pain in the ass to change every 3 minutes).

So the main underlying question remains: Is this thing worth it? Could I spend the same amount of money on something else?

So what could a budding rock aficionado get for $699? Let’s put together a comparably priced fantasy space/prog/classic rock new CD essential collection with seven hundred bucks to spend (using Amazon prices for new CDs), and see what we can come up with:

Pink Floyd -Dark Side of the Moon $7  A prism refracting white light into a rainbow on a black background

Pink Floyd – Meddle $7.50  Related image

Pink Floyd – Atom Heart Mother $7.00 Image result for atom heart mother

Pink Floyd -Piper at the Gates of Dawn $8.00 Pink Floyd - The Piper At The Gates Of Dawn special edition vinyl replica CD

Pink Floyd – Saucerful of Secrets $4.00 Pink Floyd

Pink Floyd – Obscured by Clouds $8.00 Obscured by Clouds by Pink Floyd (CD, Mar-1987, Capitol)

Pink Floyd- More $7.oo  Image result for more pink floyd

Pink Floyd – Ummagumma $16 Ummagumma by Pink Floyd (CD, Apr-1994, 2 Discs, Capitol) Remastered w/ Slipcase!

Pink Floyd – Wish You Were Here $9 PINK FLOYD**WISH YOU WERE HERE**CD

Pink Floyd- Animals $8 Pink Floyd - Animals (Remastered CD 2011) Brand New & Sealed

Pink Floyd -Relics $9 PINK FLOYD**RELICS (GATEFOLD/STEREO)**CD

Hawkwind-the first 8 albums in one box 11 cd  $39

Tangerine Dream- 3 cd 4 lp virgin box $11 The-Virgin-Years-1974-1978-Box-by-Tangerine-Dream-CD-Jan-2011-3-Discs

Ash Ra Tempel – Best of Private Tapes 2 cd $11 Ash Ra Tempel

Klaus Schulze – La Vie Electronique 3 cd  $20 Klaus-Schulze-La-Vie-Electronique-CD-Box-Set-NEW

Faust-Complete 5 cd $39 Product Details

Can-the Lost Tapes 3 cd $30 Can-The-Lost-Tapes-UK-IMPORT-CD-Box-Set-NEW

Ozric Tentacles-Vitamin Enhanced 6 cd $60 Vitamin Enhanced [Box] by Ozric Tentacles

Gong- the Trilogy box 3 cd $49 Gong - Radio Gnome Invisible Trilogy [CD New]

Magma – Konzert Zund 12 cd $70 Kohnzert Zund

Grateful Dead-the Golden Road 1965-1973 complete 12 cd $70 The Golden Road (1965 - 1973)

Yes – The Studio Albums 1969-1987 12 cd $40 The Studio Albums 1969-1987

Frank Zappa –  Läther 3 cd $10 Läther

Sensation’s Fix-Music is Painting in the Air 1974-1977 $12 Music Is Painting In The Air (1974 - 1977)

Genesis-Archive 4 cd $57 Genesis Archive, Vol. 1: 1967-1975

King Crimson-21st Century Guide to King Crimson 4 cd $45 21st Century Guide to King Crimson 1: 1969-1974

Okay let’s stop there and figure out what we got with that haul. 16 bands. 25 releases. 95 cds. Roughly six hundred bucks. This would keep anyone pretty busy for….what, a year at least?

In the end, this box isn’t really universally the “unheard” motherlode it appears to be, but is coming from a similar place as Frank Zappa’s Beat the Boots box set, where Frank reissued some of the most important Zappa bootlegs in their original covers. What were they gonna do-sue him? So I hope this last part gives a bit of perspective on where your six hundred dollars could be spent otherwise. If this was at a more reasonable $15 per disc, it would be $285.00 for the box. This begs the larger question: “WHERE DID THE OTHER $400.00 GO? This might be where one could say ‘Can someone charge a record company with fraud?” and actually mean it. A box set that is priced $400 over what it should roll out at is……..friggin’ criminal.

And perhaps, in the spirit of the bootleg origins of most of the material on this Floyd box, and the spirit of the truly ironic, many of us will wait and…you know….see if it will show up somewhere sketchy for download instead? Shhhhhh…

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C’mon, SEVEN HUNDRED bucks for a fucking CD box? Really?

fortes fortuna adiuvat

Update: Warning-Caveat Emptor
Even at $400, this is still overpriced for what you get. On paper, the 10 cd audio content is tantalizing. In reality, the tendency to screw up remixes in sonic quality (which has become a trend lately) hits this package squarely on the nose, and bloodies up the whole thing. Huge clanging treble issues render much of the audio borderline unlistenable. In many songs, cymbals crash with a harshness that cymbals just aren’t supposed to sound like. The Obscured By Clouds disc suffers heavily from a harsh, unnatural and digital sounding mix that makes this particular disc something no one needs. If one is only going to listen to this on mp3 on their computer, perhaps some of the sonic problems would be less noticeable. Can’t say I know of anyone ready to dish out $400-$500 for mp3s though.
More specifically in the complaint department, why some of the BBC stuff I have owned on cassette since the 80’s is superior in sound quality to what shows up here is dumbfounding. It is like the research department spent zero time tracking down better versions that are readily found in the bootleg field.

Pet peeves:
Where is Let’s Roll Another One instead of Candy and a Currant Bun? My friends and I have had this for decades, and they didn’t bother to look for a version of it? Mixing out the chipmunk vocals on Scream Thy Last Scream? To what end I’d ask? The  1967 Advision sessions not included (which had Lets Roll Another One). Remixed Vegetable Man instead of the original mix. Stockholm live 1967. Sigh-vocals from the show are not up in the mix. Nothing to do about that as it was a product of the show at the time, but still, this holy grail bit is slightly underwhelming. In the Beechwoods, something discussed for years as one of the unheard Floyd masterpieces is an intriguing and out of character sounding instrumental, decent quality-is missing the vocal melody, an unfinished eye opener of sorts.
So, 8 of the video discs duplicate each other, the Obscured disc is a listen once throw away, leaving us 18 real discs at a minimum of $400 at this date (12/10/16)—still over twenty dollars per disc. The vinyl 45s suffer from a similar over equalization towards a harsher high end. Throw in defective BluRays that most everybody got and now have to exchange, and you have a product that is nowhere near even a $300 price point.
Some good stuff in there, to be sure, but dodgy sound on more of the live stuff than I expected, overly ‘high end heavy’ equalization yielding harsh treble across so many songs? Peeved. In the end, although this seemed to be the Floyd dream, it’s really not worth a huge financial outlay by a longshot. Fortunately, a friend kicked down to buy one, giving many a chance to hear the great, the good and the disappointing together. Try the $12 two cd condensed version of it first to give it a test run for the sound would be my advice. Separate sets are coming after the New Year to give the subsets of this more manageable release.

 

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Three Albums That Almost Changed the Record Business–Bootleg Records Arrive, 1969

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It’s 1969, and Rock n Roll is King of the World. Movie stars have taken a back seat to rock stars, and the international press trumpeting of Carnaby Street, Pirate Radio, Psychedelia, and the Summer of Love have given the naysayers who thought rock was a passing fad a solid thump on the chin. Albums have replaced 45’s, bands have replaced pop stars, and things are changing faster than anyone can keep track. Early sixties bands that once ruled the airwaves are melting away like a spring frost on the lawn. Mid sixties bands are either adapting or dying on the vine. And nobody doubts that there are two giants in music that changed everything: The Beatles and the Rolling Stones. And coincidentally, these two bands are responsible for two of the first three bootleg records in the history of rock music. And these records were responsible for some big changes in the perceptions of those who thought “they knew how it is done”.
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The first bootleg in the history of rock was Bob Dylan’s Great White Wonder. Released in July of 1969, it was studio quality outtakes of recordings with the Band in 1967. It was a double album contained in a plain white sleeve, and it confused the hell out of everyone. Record stores were serviced back then by “rack jobbers”, independent distributors of vinyl that had access to regular release albums. Some of the more connected jobbers had access to this release, and the fact it was played heavily on the West Coast meant that there were thousands out there that would be customers for this. The lack of any information on the sleeve or label lent a cryptic air to the proceedings. Of course, anyone actually working in a record department of a larger department store had pretty much no idea what anything was. If it was on the shelves, they sold it.
That Dylan album was the first foray into the business of the most famous bootleg label in the history of music, The Trademark of Quality label, or TMOQ. Based in Los Angeles, they were responsible for most of the original bootlegs in 1969 and the early 70’s. (Stealin’ and GWW John Birch Society Blues were two very high quality follow ups to Great White Wonder, also put out by ‘Dub’ and ‘Ken’ the anonymous bootleggers in late 1969)
The next release was something altogether different, and got some serious attention from record companies. The Rolling Stones played in Oakland Coliseum in November 1969- two shows. This was the first Stones tour since the halcyon days of early 1966, the days of screaming teenagers, poor sound systems and shortened shows. In 1969, audiences had matured. LSD and marijuana were now commonplace, and teens no longer showed up to shriek, the showed up to LISTEN. Rock concerts had changed from high energy female shoutfests to sweaty communal gatherings of a near religious import. The tribes had been identified, and had gathered at Monterey and Woodstock in large numbers. They now gathered to commune with the Stones on their 1969 tour.

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An enterprising audience member from the Bay Area decided to show up with a high end reel to reel deck tape deck, and expensive shotgun microphones. You see, there was little to no security back then, and nobody would question someone lugging in some unwieldy professional gear. (hell people could sneak KEGS into shows back then, never mind a beer). The resulting recording was quickly pressed, and hit the streets in December 1969, a month after the show. It was reviewed in Rolling Stone magazine in February 1970, and was highly praised. Other reviews claimed it to be the best representation of the Stones to date. (this was early in Mick Taylor’s first tour with the band) This put the record industry in a difficult bind. Sources for the label said that it had sold in excess of 200,000 copies by November, enough to qualify for a Gold Record award. Panic ensued in most major labels offices. Some schlump could buy a ticket, drag in a suitcase full of semi pro gear, and press up his own hit album? This defied the industry paradigm. What about copyright control? Publishing rights? Art choices? The all important ‘record company cut’ ? If this guy could do it, and get reviewed in Rolling Stone, what was to stop anyone from doing it? This would be the end of the recording industry’s control over their acts. In the spirit of revolution, the people had tried to seize control of their own music.

The Stones and their label Abkco reacted quickly. Press releases said that East Coast shows were to be recorded for an official live album, and Get Your Ya Ya’s Out was rush released to counteract the threat. Most sources agree this album was not planned until the storm of this bootleg broke. (others pointed out that Ya Ya’s had many overdubs to clean up mistakes, and wasn’t technically a live album, leaving Live’r as still the honest album)  All major arenas were warned sternly by promoters to have heavy security on hand to prevent any repeats of this debacle. Billboard reluctantly included it on a list of top selling bootlegs of the year, but did not put it on any charts, to curb any possibilities of ‘legitimizing’ this burgeoning illegal industry.

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The other major release came very shortly after the Stones, in December 1969. This was a preview copy of the upcoming Beatles album, eventually titled Let it Be. It’s working title throughout 1969 had been Get Back, hence the play on words with Kum Back. This version was stripped down high quality rock ‘n roll-no strings, few overdubs, different songs, wholly different mixes-a holy grail for many Beatles fans. The master tape for the album had been mixed several times in early 1969, and these Glyn Johns mixes were reportedly in John Lennon’s possession in late summer 1969 when he visited the States, and he traded an acetate to a collector who had some early Beatles recordings he did not have. This is the generally accepted story, per his own quote. Whatever the truth, this album circulated throughout the major FM stations of the country-WBCN in Boston broadcast it in late September 1969. WKBW in Buffalo played it at the end of August 1969. WBAI in New York, WMMS Cleveland, CKLW Winsor/Detroit, KXOK in St Louis and WEBN in Cincinnati were also among the first to air this. For an album officially released in May 1970, this September 1969 radio release of the largest selling band in the history of music would be considered an extremely troubling leak, or a disaster of near apocalyptic scale, depending on your view.  High quality mixes circulated across the country courtesy of these radio stations, and the WBCN tape was used as the source for the album itself.

Like the Stones live album, this showed up in droves in legitimate stores, sold by the pallet-load, and was reviewed once again by Rolling Stone, confusing the issue of legitimacy. Storm clouds gathered in powerful circles. What could companies do to wrest control back of these cash cows from the stoned and delighted masses? Music belongs to the people was a quote oft heard back in the late ’68 and early ’69. Now it was coming true. Bootlegs needed to be demonized, made illegal, and draconian penalties had to be associated with this behavior. While this was in practice true, bootleg records continued to flourish well into the 1980’s and the advent of the CD era.

All three of these albums were sold in department stores (the major source of records for mainstream America) and underground record stores. Little distinction was made as to the legitimacy of each release. It was just ‘cool’. And to be fair, few clerks in a department store would have any idea what it was other than just another obscure ‘rock’ album. They all got reviews in major music magazines, including Rolling Stone. They sold well enough to earn Gold Record awards. They gave record companies endless nightmares. One more thing they have in common, though…

As legendary and as rare as these albums are, many will be surprised to learn that they are not out of reach for the average vinyl collector. This year I found two copies of Live’r Than You’ll Ever Be in one store, both for around ten dollars. Kum Back I found last month for an inexplicable three dollars. Great White Wonder is a bit harder to find, but generally a patient person can find one for around 25 bucks or so. These prices are definitely on the low side, but the diligent collector who puts time in can do it. This is something anyone into rock history should investigate: three albums that together nearly brought the record companies to their knees? That is the power of the people in action. Rhetoric is easy, but actions are powerful. These albums caused the largest uproar in the history of rock. Go find ’em.