Recordings of Indeterminate Origin

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recordcratesunited.com/2017/06/23/festival-fridays-the-strawberry-fields-festival-1970/

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[JTull 007]

Dortmund Live Presents Jethro Tull  Label:  Blaze Music Enterprise – BM0064
Format:  CD, Unofficial Release      Country:       Malaysia     LINK 
            
             

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The whole story here :

jethrotull.proboards.com/thread/1316/uk-convention-1996

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'A' live record bootleg, splatter vinyl

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www.progrock.co.uk/jethro-tull-at-the-turn-of-a-page-c2x35755115

JETHRO TULL - At The Turn Of A Page

Live recording of Jethro Tull in the midst of their first tour of America as headliners in July 1970
Format: CD / Cat No: LFMCD608 / PRE-ORDER Release Date: 03/09/2021



Track Listing: 1. Nothing Is Easy (5:31) / 2. My God (10:21) / 3. With You There To Help Me / By Kind Permission Of (11:59) / 4. Dharma For One / Drum Solo (21:09) / 5. We Used To Know / Guitar Solo / Tanglewood Improv Jam / For A Thousand Mothers (24:52) / 6. Bill Graham Announcements (3:57)

More information: During the summer of 1970, Bill Graham presented an extraordinary series of concerts at Tanglewood, the renowned classical music venue located in the scenic Berkshire Hills of western Massachusetts. At the time, presenting rock music in a classical venue was a surprising and precarious step to take. To many, hearing The Fillmore and Tanglewood in the same sentence equated to "when worlds collide." Much like his approach at the Fillmores, Graham's "The Fillmore at Tanglewood" series presented diverse handpicked triple bills, but with the added advantage of a beautiful open-air venue and plenty of informal lawn seating.

The July 7th presentation at Tanglewood, featuring the Who as headliners was certainly one of the most highly anticipated of the three concerts presented during the 1970 series. Also, on the bill that night was San Francisco's It's A Beautiful Day and an up-and-coming English group Jethro Tull, then in the midst of their first tour of America as headliners.

1970 was a pivotal year for Jethro Tull, when their relentless roadwork and perseverance began paying off. The group's third album, Benefit was their most ambitious and original work to date. In terms of the band's profile in America, 1970 was the year Jethro Tull had truly arrived. The previous album, Stand Up introduced guitarist Martin Barre to the fold and found the band stretching well beyond the parameters of the blues-based debut. Both albums conveyed Anderson's growing confidence as a songwriter and with Barre on board, the group's originality and style had come into sharper focus. By the time of the Tanglewood concert, Anderson was becoming a prolific songwriter with increasing range and depth.

The 1970 American tour would find the group expanding to a quintet, with Anderson's long time cohort John Evan joining the group on keyboards, further expanding the sonic palette. This tour would primarily focus on choice material from the group's first three albums. The one notable exception was the introduction of a new song, more scathing than anything Anderson had written before, titled ‘My God,’ Destined for the centre position on Aqualung, the most popular album of Tull's career, this new number wouldn't see a release until the following year, and then in considerably shorter form.

The Tanglewood audience had no intention of letting them leave without an encore, and when the group returns to the stage, Anderson said, "We'll do one more, but it'll have to be as short as it can be." However, nothing could have be further from the truth, as the group proceeded into a nearly 24 minute sequence of music that begins with the straightforward ballad ‘We Used to Know’ and then veers off into an extended showcase for guitarist Martin Barre. The band slams into the blistering hard rock of ‘For a Thousand Mothers.’ This comes across like a pummelling wave, other than the softer bridge section providing one last dynamic shift, and then they bring the performance to a powerful close. With the audience cheering and Anderson even saying "thank you", it proves only to be a false ending, and Tull fly off into one last sequence before concluding this monumental encore. Recorded for simultaneous radio broadcast, this stunning Tull show is now available on CD for the first time.

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The actual name of the radio station in London is Capital Radio. This was about the last quality programme they broadcast before they sacked all the decent presenters and became a shadow of its former self.

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ultimateclassicrock.com/



It all started because a Bob Dylan fan wasn't happy with the direction the singer-songwriter had taken on John Wesley Harding and Nashville Skyline. So the fan took matters in his own hands, crafting a new Dylan album, Great White Wonder, from various outtakes spanning a 1961 hotel-room tape through 1967's "The Basement Tapes" recordings.

In the summer of 1969, the album began showing up in Los Angeles record shops, and the bootleg industry, for all intents and purposes, was born. In A Pig's Tale: The Underground Story of the Legendary Bootleg Label Trade Mark of Quality, Ralph Sutherland and Harold Sherrick chronicle the story of the company that was behind some of the era's greatest borderline-legal LPs: Trade Mark of Quality.

The label – known for its pig logo, colorful vinyl and, later, fantastically illustrated covers – was conceived and operated by a man the book refers to as Pigman, along with his friend Carl. (Other sources have identified the pair as "Dub" Taylor and Ken Douglas.) "Names have been used in such a way to protect the sources of information for the book," Steven W. Booth, a publisher at Genius Books, tells UCR. "Readers are welcome to draw their own conclusions. We can neither confirm nor deny any such speculation, since that's just what it is."

The book's two writers were on the frontlines from the start. Sutherland was working at one of the Los Angeles record shops where Pigman self-distributed the first Trade Mark of Quality bootlegs; the teenage Sherrick was with Pigman during the recording of several TMQ live albums and accompanied him on his deliveries around town.

"This story took place in another space in time," Sherrick tells UCR. "It could never happen in today’s world."

Most of music's biggest names of the era were subjects of classic TMQ bootlegs: The Beatles, David Bowie, Jimi Hendrix, Jethro Tull, Led Zeppelin, the Rolling Stones, the Who and Neil Young all had multiple records put out by the label.

In addition to covering the narrative from in-person point-of-views, A Pig's Tale includes photos and detailed grids of the approximately 100 LPs manufactured during TMQ's original run between 1969-76. It's a fascinating document of pre-internet history that existed in a shared but divergent timeline during rock's golden-god years.

Sutherland and Sherrick helped UCR sort through the dozens of albums released by the label back then, with each recommending five personal favorites along with their explanations as to why these records remain such important LPs in the history of rock 'n' roll bootlegs.

(A Pig's Tale: The Underground Story of the Legendary Bootleg Label Trade Mark of Quality is available for order now.)

geniusbookpublishing.com/products/a-pigs-tale-open-edition

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