Reprinted from 'Smilin' Ears Magazine', May 1997
NOTE: Since the publication of this article there has been a ton of information that has come to light about the topic of unreleased Pete Townshend news that supplants some of the 'facts' that are being touted here. A good journalist admits to when he has been 'scooped' with regards to better information!
Hi friends! Once again it's time for another edition of "Rare Tape Round-Up". Here on the Northeast coat of the United States the weather man has yet to figure out the fact that it's almost Summer. I keep listening to the forecasts and he keeps saying that it's either going to rain, or that the temperature is going to hang around somewhere in the regions of "breezy" and "chilly". I say ..."Enough already!" Let's get some warmth happening around here! Well, at least the temperamental temperature changes HAVE managed to accelerate my getting my tape-dubbing duties for fellow traders accomplished.
Ironically enough it is a beautiful day as I sit typing this, but the new tapes will come into the car with me as I head out for a relaxing drive. It seems that now that cassette decks are standard in most cars these days, and since Walkman style tape players are cheaper than a movie here in the U.S., it's become extremely easy for us tape collectors to take our habit "on the road" (so to speak).
While I won't be able to take any notes on tapes while I'm in the car, you can be sure that it won't stop a July installment of "Rare Tape Round-Up" from coming your way! For now, however, here are some new discoveries from March and April, beginning with ...
1) Allman Brothers Band - Fillmore West, CA: Jan 30, 1971 45 min. Sdbd.
I have found myself on a bit of an Allman Brothers kick lately. There are two logical reasons for this that I can figure. The first reason is that I have recently come into somewhat of a mother lode of Allman's shows. There aren't any huge unexpected surprises with regards to shows that include Duane's incredible slide work, but there are some exciting upgrades of tapes that I've had in the past, along with some phenomenal shows from the 1990's.
This '71 Fillmore show is a treat. The Fillmore venues always seemed to bring out the best of the artists that played there. Perhaps it was the atmosphere that promoter Bill Graham tried to put across; performers felt that it was "home". Over the years, that element has helped to provide collectors with hundreds of wonderful shows, often from soundboard origin or from radio broadcasts. Thanks, Bill ... wherever you are.
Now, back to the tape ... A beautiful version of "Dreams" is a highlight. The "Elizabeth Reed" features some great instrumental interplay. "Whipping Post" is not as lengthy and, while I hate to say this ... drawn out as other versions are from around this period. It's got punch and power and is another high point of the set. Unfortunately, on this fine quality copy, the version of "Statesboro Blues" is cut, but it exists on other slightly higher generation copies of the recording. Overall, this is a very enjoyable addition to the Allman's tape catalog.
The set: Trouble No More / (In Memory Of) Elizabeth Reed / Midnight Rider / Hoochie Coochie Man / Dreams / Hot 'Lanta / Whipping Post / Statesboro Blues (cut)
2) Crosby, Nash & Young - Winterland, San Francisco CA.: March 28, 1972 80 min. Sdbd - A benefit concert to promote Hongisto(?) for sheriff
Wow! What a find. While I enjoy Stephen Stills, and I usually appreciate his presence at a show that involves Mr. Crosby and Mr. Nash, I also love hearing these two incredible musicians together as a duo. When you add to this mix a "surprise" appearance by the auxiliary member of the entourage, Mr. Neil Young, you've got a guarantee that the show ... and the subsequent recording ... is going to be magical.
The tape begins with microphone checks, indicating that this is probably a true board recording as opposed to an FM broadcast(it's hard to know for sure at times with shows from this period). After saying a quick "hello" the two drift into a very nice "Wooden Ships". Vocally they are still finding their proper places, and their guitars clash slightly at points, but the spirit is there in abundance. A wonderful take on Graham's "I Used To Be A King", from his first solo LP, follows the opener. Early on in the set the crowd becomes a bit rowdy (while remaining pleasant). After David reminds them that this is going to be an acoustic evening and that " ... no-ones going to be coming out with a big drum set or anything like that", they mellow out once again. They are treated to a very nice version of "All Along The Lee Shore".
The "surprise" guest takes the stage at this point, and delivers a somewhat tentative but very enjoyable version of "Harvest" to trumpet his arrival. The others then join him for a sincere rendering of "Only Love Can Break Your Heart". As the show continues from this point, it is questionable as to when Neil is onstage and when he is not. David tells the crowd at one point not to worry, and that " ... he'll be back". Before Neil appears again on lead vocals, however, the crowd are treated to some great Crosby/Nash works. It always surprises me just how well "Almost Cut My Hair" works as an acoustic number, and I'm reminded of that fact here. The pure power of David's vocals and guitar make this song a tape highlight. "Page 43" and "And So It Goes" are beautifully executed follow-ups. Graham's wonderful "Immigration Man" is met with a nice response from the crowd, and the two present a classic performance of the tune.
Neil returns to the delight of the crowd and offers up what was, at the time, his current single "Heart of Gold". Obviously the "Harvest" album was still fresh enough to be holding Neil's interest, as his whole heart and soul are in these renditions. "Needle and the Damage Done" follows, and then Neil lends some support as the spotlight returns to the duo. Graham leads the crowd on a very nice version of "Teach Your Children". The dynamics are a bit unusual here as the duo then return for what seems to be a rousing encore of "Military Madness". The strong lyrics of this song are a stark contrast to the lovely tune which preceded it, but it works nicely. The whole set is wrapped up with a fine take of "Chicago", again greeted with a nice crowd response.
Overall, this is one of my favorite tapes in recent times. Be forewarned that copies of this show have been circulating which run at a drastically slow speed, so pitch correction may be necessary if you trade for a copy. If you do not have a speed control deck, be certain that the person offering the tape has a good ear. These three sound awful when they are off-pitch!
There's fantastic music to be heard here, and it's truly a must for fans of any or all of these three gifted artists.
Contents: Wooden Ships / I Used To Be A King / All Along The Lee Shore / Harvest / Only Love Can Break Your Heart / Southbound Train / Almost Cut My Hair / Page 43 / And So It Goes / Immigration Man / Heart of Gold / Needle and the damage Done / Teach Your Children / Military Madness / Chicago
3) New Riders of the Purple Sage - Record Plant, CA: August 29, 1973 70 min. FM.
I admit that collecting New Riders shows is fairly new territory for me. They were (and are, I might add) such a fantastic bunch of musicians, and a hell of a live band that I knew I had to get around to them eventually.
Many fans and tape collectors will automatically pursue tapes of the group from 1970 and 1971, most of which feature the talents of one Jerry Garcia on slide guitar duties. While those are usually exceptional sets, the addition of Buddy Cage to the fold in (I believe) 1973 also led to some wonderful evenings of music from this band.
Record Plant recordings and broadcasts (along with the shows from Ultrasonic Studios in New York) give collectors the chance to hear great bands live in a studio environment. The mixes going directly to tape can be controlled, and there is very little chance for a brilliant moment to be lost due to a sloppy board mix or a distant audience tape. Some of the most exciting live tapes of the seventies, from artists like Steely Dan, Dr. John, Fleetwood Mac and Lou Reed stem from these two "venues". This N.R.P.S. show can be added to this list of exceptional performances and live documents.
The band is in fine form from start to finish. They kick things off with the classic "Panama Red", which sets the tone for a fun-filled evening of great music. Dawson (Marmaduke), Rowan and Cage play off each other wonderfully throughout the set. The guys greet the crowd, and then kick into a heartfelt "Lonesome LA Cowboy". An early highlight of the night is the version of "Sing Me A Rainbow". "Hello Mary Lou" is always a delightful little "throwaway". After a bit of tuning following " ... Mary Lou", the guys launch into a great version of John Dawson's "Henry". This is always one of my high points on any New Riders tape, and this is no exception.
There are a number of other notable moments. The version of "Lochnivar" presented here includes some great instrumental interplay. "Last Lonely Eagle", followed by "Louisiana Lady" make a very nice combination. To finish things off, the band picks up the pace with a one-two punch of "Willie and The Hand Jive" and Chuck Berry's "School Days". The show ends to thunderous applause. I think I caught my tape deck clapping too. This is, quite simply, a really fine set and a dynamite live tape.
... And the whole show is: Panama Red / Lonesome LA Cowboy / Ain't No Groupie / Sing Me A Rainbow / One Too Many Stories / Hello Mary Lou / Henry / Parson Brown / Important Exporting Man / Lochnivar / Teardrop In My Eye / It's Alright With Me / Last Lonely Eagle / Louisiana Lady / Willie and the Hand Jive / School Days
--------------------------
Okay, now that I've gone through some fine tapes that I know, for an absolute fact, exist out here in tape trader land, let me begin what may be a recurring feature in "Rare Tape Round-Up"! I have done this sort of thing before with live sets or unreleased albums that I have "wished for", and some of those have actually turned up since I discussed or questioned their existence. This time around, however, I'd like to revive the concept as a segment within "Rare Tape Round-Up", and I want to kick it off by calling attention to some highly elusive musical "items". These are compositions which have yet to surface that are credited on paper (publisher documents, etc.) to well-known composers. These are songs (or song fragments) which ... at least to this collector's knowledge ... haven't shown up among collectors in any recognizable forms. Now please bear in mind that I do not claim to be all-knowing, so if I am missing anything which another collector considers "obvious", please be merciful in your comments. And your comments, by the way, are highly encouraged. If you know the origin, or the actual released form, of any of these titles please let us know here at "Smilin' Ears". So here goes ...
MISSING IN ACTION!
Let me start things off with a list of some titles which are credited, in whole or in part, to Mr. Peter Townshend. Again, if you know the whereabouts of any of these musical pieces, please let us know!
All of the reference numbers are current U.S. copyright registration numbers.
COME TO MAMA BMI Work # 000232552
COMIN' OUT TO GET YOU BMI Work # 000234369
(Could this be "Gonna Get Ya" from the "Empty Glass" LP?)
CRUZIN IN THE BENZ BMI Work # 000261044
DECEIVED BMI Work # 000288627
DO YOU WANT KIDS KIDS BMI Work # 000312928
DRIVING FOUR BMI Work # 000346271
FAIRGROUND BMI Work # 000398903
HELLS ANGELS BMI Work # 000554519
HIGHER BMI Work # 000566919
IT WAS YOU BMI Work # 000752442
NE T EN FAIS PAS FOUR CONNIE BMI Work # 001051523
NEW LIFE BMI Work # 001059409
OVER BRIDGE BMI Work # 001143003
REX BEANS BMI Work # 001247847
(Could this have become "The Who Sell Out" track "Heinz Baked Beans"?)
TEACHING DISABLED BMI Work # 001462231
WHAT WOULD I DO WITHOUT YOU BMI Work # 001639382
Also note that the following entry confirms the title of the song which Townshend performed at the Roundhouse in London in 1974 ...
JOIN MY GANG BMI Work # 000774771
Now, fellow Townshend fans, it's time to go off and running! Over a dozen Townshend compositions or co-compositions are hiding out somewhere ... missing in action!
--------------
That's all for now from the crazy world of tape collecting. See you all next issue. For now, keep your eyes and ears open ... and have fun!
Ironically enough it is a beautiful day as I sit typing this, but the new tapes will come into the car with me as I head out for a relaxing drive. It seems that now that cassette decks are standard in most cars these days, and since Walkman style tape players are cheaper than a movie here in the U.S., it's become extremely easy for us tape collectors to take our habit "on the road" (so to speak).
While I won't be able to take any notes on tapes while I'm in the car, you can be sure that it won't stop a July installment of "Rare Tape Round-Up" from coming your way! For now, however, here are some new discoveries from March and April, beginning with ...
1) Allman Brothers Band - Fillmore West, CA: Jan 30, 1971 45 min. Sdbd.
I have found myself on a bit of an Allman Brothers kick lately. There are two logical reasons for this that I can figure. The first reason is that I have recently come into somewhat of a mother lode of Allman's shows. There aren't any huge unexpected surprises with regards to shows that include Duane's incredible slide work, but there are some exciting upgrades of tapes that I've had in the past, along with some phenomenal shows from the 1990's.
This '71 Fillmore show is a treat. The Fillmore venues always seemed to bring out the best of the artists that played there. Perhaps it was the atmosphere that promoter Bill Graham tried to put across; performers felt that it was "home". Over the years, that element has helped to provide collectors with hundreds of wonderful shows, often from soundboard origin or from radio broadcasts. Thanks, Bill ... wherever you are.
Now, back to the tape ... A beautiful version of "Dreams" is a highlight. The "Elizabeth Reed" features some great instrumental interplay. "Whipping Post" is not as lengthy and, while I hate to say this ... drawn out as other versions are from around this period. It's got punch and power and is another high point of the set. Unfortunately, on this fine quality copy, the version of "Statesboro Blues" is cut, but it exists on other slightly higher generation copies of the recording. Overall, this is a very enjoyable addition to the Allman's tape catalog.
The set: Trouble No More / (In Memory Of) Elizabeth Reed / Midnight Rider / Hoochie Coochie Man / Dreams / Hot 'Lanta / Whipping Post / Statesboro Blues (cut)
2) Crosby, Nash & Young - Winterland, San Francisco CA.: March 28, 1972 80 min. Sdbd - A benefit concert to promote Hongisto(?) for sheriff
Wow! What a find. While I enjoy Stephen Stills, and I usually appreciate his presence at a show that involves Mr. Crosby and Mr. Nash, I also love hearing these two incredible musicians together as a duo. When you add to this mix a "surprise" appearance by the auxiliary member of the entourage, Mr. Neil Young, you've got a guarantee that the show ... and the subsequent recording ... is going to be magical.
The tape begins with microphone checks, indicating that this is probably a true board recording as opposed to an FM broadcast(it's hard to know for sure at times with shows from this period). After saying a quick "hello" the two drift into a very nice "Wooden Ships". Vocally they are still finding their proper places, and their guitars clash slightly at points, but the spirit is there in abundance. A wonderful take on Graham's "I Used To Be A King", from his first solo LP, follows the opener. Early on in the set the crowd becomes a bit rowdy (while remaining pleasant). After David reminds them that this is going to be an acoustic evening and that " ... no-ones going to be coming out with a big drum set or anything like that", they mellow out once again. They are treated to a very nice version of "All Along The Lee Shore".
The "surprise" guest takes the stage at this point, and delivers a somewhat tentative but very enjoyable version of "Harvest" to trumpet his arrival. The others then join him for a sincere rendering of "Only Love Can Break Your Heart". As the show continues from this point, it is questionable as to when Neil is onstage and when he is not. David tells the crowd at one point not to worry, and that " ... he'll be back". Before Neil appears again on lead vocals, however, the crowd are treated to some great Crosby/Nash works. It always surprises me just how well "Almost Cut My Hair" works as an acoustic number, and I'm reminded of that fact here. The pure power of David's vocals and guitar make this song a tape highlight. "Page 43" and "And So It Goes" are beautifully executed follow-ups. Graham's wonderful "Immigration Man" is met with a nice response from the crowd, and the two present a classic performance of the tune.
Neil returns to the delight of the crowd and offers up what was, at the time, his current single "Heart of Gold". Obviously the "Harvest" album was still fresh enough to be holding Neil's interest, as his whole heart and soul are in these renditions. "Needle and the Damage Done" follows, and then Neil lends some support as the spotlight returns to the duo. Graham leads the crowd on a very nice version of "Teach Your Children". The dynamics are a bit unusual here as the duo then return for what seems to be a rousing encore of "Military Madness". The strong lyrics of this song are a stark contrast to the lovely tune which preceded it, but it works nicely. The whole set is wrapped up with a fine take of "Chicago", again greeted with a nice crowd response.
Overall, this is one of my favorite tapes in recent times. Be forewarned that copies of this show have been circulating which run at a drastically slow speed, so pitch correction may be necessary if you trade for a copy. If you do not have a speed control deck, be certain that the person offering the tape has a good ear. These three sound awful when they are off-pitch!
There's fantastic music to be heard here, and it's truly a must for fans of any or all of these three gifted artists.
Contents: Wooden Ships / I Used To Be A King / All Along The Lee Shore / Harvest / Only Love Can Break Your Heart / Southbound Train / Almost Cut My Hair / Page 43 / And So It Goes / Immigration Man / Heart of Gold / Needle and the damage Done / Teach Your Children / Military Madness / Chicago
3) New Riders of the Purple Sage - Record Plant, CA: August 29, 1973 70 min. FM.
I admit that collecting New Riders shows is fairly new territory for me. They were (and are, I might add) such a fantastic bunch of musicians, and a hell of a live band that I knew I had to get around to them eventually.
Many fans and tape collectors will automatically pursue tapes of the group from 1970 and 1971, most of which feature the talents of one Jerry Garcia on slide guitar duties. While those are usually exceptional sets, the addition of Buddy Cage to the fold in (I believe) 1973 also led to some wonderful evenings of music from this band.
Record Plant recordings and broadcasts (along with the shows from Ultrasonic Studios in New York) give collectors the chance to hear great bands live in a studio environment. The mixes going directly to tape can be controlled, and there is very little chance for a brilliant moment to be lost due to a sloppy board mix or a distant audience tape. Some of the most exciting live tapes of the seventies, from artists like Steely Dan, Dr. John, Fleetwood Mac and Lou Reed stem from these two "venues". This N.R.P.S. show can be added to this list of exceptional performances and live documents.
The band is in fine form from start to finish. They kick things off with the classic "Panama Red", which sets the tone for a fun-filled evening of great music. Dawson (Marmaduke), Rowan and Cage play off each other wonderfully throughout the set. The guys greet the crowd, and then kick into a heartfelt "Lonesome LA Cowboy". An early highlight of the night is the version of "Sing Me A Rainbow". "Hello Mary Lou" is always a delightful little "throwaway". After a bit of tuning following " ... Mary Lou", the guys launch into a great version of John Dawson's "Henry". This is always one of my high points on any New Riders tape, and this is no exception.
There are a number of other notable moments. The version of "Lochnivar" presented here includes some great instrumental interplay. "Last Lonely Eagle", followed by "Louisiana Lady" make a very nice combination. To finish things off, the band picks up the pace with a one-two punch of "Willie and The Hand Jive" and Chuck Berry's "School Days". The show ends to thunderous applause. I think I caught my tape deck clapping too. This is, quite simply, a really fine set and a dynamite live tape.
... And the whole show is: Panama Red / Lonesome LA Cowboy / Ain't No Groupie / Sing Me A Rainbow / One Too Many Stories / Hello Mary Lou / Henry / Parson Brown / Important Exporting Man / Lochnivar / Teardrop In My Eye / It's Alright With Me / Last Lonely Eagle / Louisiana Lady / Willie and the Hand Jive / School Days
--------------------------
Okay, now that I've gone through some fine tapes that I know, for an absolute fact, exist out here in tape trader land, let me begin what may be a recurring feature in "Rare Tape Round-Up"! I have done this sort of thing before with live sets or unreleased albums that I have "wished for", and some of those have actually turned up since I discussed or questioned their existence. This time around, however, I'd like to revive the concept as a segment within "Rare Tape Round-Up", and I want to kick it off by calling attention to some highly elusive musical "items". These are compositions which have yet to surface that are credited on paper (publisher documents, etc.) to well-known composers. These are songs (or song fragments) which ... at least to this collector's knowledge ... haven't shown up among collectors in any recognizable forms. Now please bear in mind that I do not claim to be all-knowing, so if I am missing anything which another collector considers "obvious", please be merciful in your comments. And your comments, by the way, are highly encouraged. If you know the origin, or the actual released form, of any of these titles please let us know here at "Smilin' Ears". So here goes ...
MISSING IN ACTION!
Let me start things off with a list of some titles which are credited, in whole or in part, to Mr. Peter Townshend. Again, if you know the whereabouts of any of these musical pieces, please let us know!
All of the reference numbers are current U.S. copyright registration numbers.
COME TO MAMA BMI Work # 000232552
COMIN' OUT TO GET YOU BMI Work # 000234369
(Could this be "Gonna Get Ya" from the "Empty Glass" LP?)
CRUZIN IN THE BENZ BMI Work # 000261044
DECEIVED BMI Work # 000288627
DO YOU WANT KIDS KIDS BMI Work # 000312928
DRIVING FOUR BMI Work # 000346271
FAIRGROUND BMI Work # 000398903
HELLS ANGELS BMI Work # 000554519
HIGHER BMI Work # 000566919
IT WAS YOU BMI Work # 000752442
NE T EN FAIS PAS FOUR CONNIE BMI Work # 001051523
NEW LIFE BMI Work # 001059409
OVER BRIDGE BMI Work # 001143003
REX BEANS BMI Work # 001247847
(Could this have become "The Who Sell Out" track "Heinz Baked Beans"?)
TEACHING DISABLED BMI Work # 001462231
WHAT WOULD I DO WITHOUT YOU BMI Work # 001639382
Also note that the following entry confirms the title of the song which Townshend performed at the Roundhouse in London in 1974 ...
JOIN MY GANG BMI Work # 000774771
Now, fellow Townshend fans, it's time to go off and running! Over a dozen Townshend compositions or co-compositions are hiding out somewhere ... missing in action!
--------------
That's all for now from the crazy world of tape collecting. See you all next issue. For now, keep your eyes and ears open ... and have fun!