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sabato 10 novembre 2018

OIL WELL RSC CD - PROJECT


Last edits on 12/09/2023

Many times collecting is synonymous with deepening, to know more about a band, an author. Other times instead it is limited to being a sterile "possessing", setting aside without ever listening or reading, without comparing, buying maybe the same product several times!. This blog has a different and precise purpose. Not so much to inform the readers about all the outputs of the Oil Well label (you can use Discogs for this) but to know through researches, more sources and official publications the material published by it - paying attention to the dates, locations, lineups, audio quality and anecdotes. In fact listening, as well as reading something, if out of its context, appears completely meaningless or at least less interesting: especially for live recordings and concerts. At the same time many times you ask yourself: in what situation was that song performed? Where were they? Who was there?. It is something you ask yourself spontaneously once you are absorbed by the music and I think that a research space (like this one) must also respond to these needs.

Surely what unites the collectors of the old generation is the prevailing will of a cultural end, “certainly characterized by personal ambitions, but not by directly economic interests. Some might define this blog and the work related to it anthropological and perhaps it would not be wrong. But the goal is only , to share the fruit of years of passion and research with the rest of the users.

More than six years have passed since I decided to really collect and reconstruct the history of this label: looking for informations, mp3s or when possible buying albums, searching for different sources, photographs and scans. Behind this work there is a great passion but also something purely affective. Cream's Stepping Out was my first album, one of the first works that I listened to as a child. Already at the time I was fantasizing about reading the titles of the other releases of the label (there was a list of bootlegs in the booklet). Years later I continue to listen to that record struck by the beauty of those performances and the charm of that music - with the same intensity of the first days. Now the work is complete and I am very proud of it.
Good surfing and good listening!
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The bootleg CDs have appeared on the market since the end of the 80s, produced especially in Italy and Germany, whose legislation allowed to freely print live recordings making hypothetical payments of royalties to favor of the artists. This situation has contributed to the birth of dozens of labels operating in this sector, with sometimes amazing results: rare etchings of excellent quality, combined with very rich booklets, more accurate than many official editions. But the market has also ended up with bad quality CDs, lacking the minimum accompanying note.

Record companies have described bootlegs as "grey area, live recordings", describing them as "semi-condoned". Research into bootleg consumers found that they are committed fans of the artist; a study of Bruce Springsteen fans showed 80% felt some bootlegs were essential purchases despite owning every official release. Springsteen has said he understands why fans buy bootlegs, but dislikes the market due to the lack of quality control and making profit over pleasing fans. Frank Zappa hated bootlegs and wished to control his recordings, so he created the Beat The Boots boxed sets, each containing eight LPs that were direct copies of existing bootlegs. He set up a hotline for fans to report bootlegs and was frustrated that the FBI were not interested in prosecuting. The first set included As An Am Zappa, in which he can be heard complaining about bootleggers releasing new material before he could.

Throughout their career, the Grateful Dead were known to tolerate taping of the live shows. There was a demand from fans to hear the improvisations that resulted from each show, and taping appealed to the band's general community ethos.They were unique among bands in that their live shows tended not to be pressed and packaged as LPs, but remained in tape form to be shared between tapers.The group were strongly opposed to commercial bootlegging and policed stores that sold them, while the saturation of tapes among fans suppressed any demand for product. In 1985, the Dead, after years of tolerance, officially endorsed live taping of their shows, and set up dedicated areas that they believed gave the best sound recording quality. Other bands, including Pearl Jam, Phish and the Dave Matthews Band tolerate taping in a similar manner to the Dead, provided no profit is involved. Because of the questionable legality of bootlegs, fans have sometimes simply dubbed a bootleg onto tape and freely passed it onto others.

The proliferation of burned CDs has created a great deal of confusion and has often been misled and it is no longer so easy to recognize one another. In recent years, the production of bootlegs with new recordings seems to be falling  while always very strong is the piracy itself that makes illegal copies of regular CDs.

In the mid-1990s, as a result of pressure from other nations such as the United States and Great Britain, copyright laws were amended to block these "legal" bootlegs. The production of actual bootlegs began, especially in Italy and Japan, very expensive and difficult to find.
The publicity surrounding raids staged all across the continent sent bootleggers even further underground. Around this period most major bootlegging operations moved to Europe or Japan, where bootlegs continued to come out and get imported into the United States at ever greater cost to the collector.

Alegra, American Concert Series (ACS), Aphrodites Studios, Aulica/Aulica Deluxe, Big Music, Capricorn Records, Chapter One, Classical Shots On CD, Continental Sounds, Deep Records, Discomagic (a spin-off from On Stage label), Discurios, Double Time, Eagle Music, Entertainers, Exile Records, Fancy Pantry, Flamingo, Grand Pick Records (same company as the Swingin' Pig), Home, Insect Records, Jolly Roger Records, Kobra Records, Koine Records, Limes, Live & Alive, Live Experience (The), Live Storm, Luna Records, Men At Work, Minotaur Records, Moonlight Records, New Plastic Records, OffRoadTracks, On Stage, Pacific, Post Script, Rock Calendar Records, Roundpin Productions, Satelite Records, Silver Shadow, Smoking Pig (a spin-off from Silver Rarities), Sugarcane Records, Tie Dye Records, Tintagel and Wild Bird Records were another mostly low budget bootleg companies that issued some rather not worthwhiling titles bewteen late 1980's and mid 1990's. Often they just copied material from older European or early Far East labels, adding sometimes bonus tracks taken from worn vinyl. In this context fits also a label called Oil Well, object of this site.

Oil Well was an italian unofficial record label that published between 1993 and 1995 a series of audience and broadcast recordings. Some of its publications are clones, copies of other bootlegs of the period released by different labels. Bob Dylan's The Genuine Basement Tapes;  The Doors' Complete Matrix Club Tapes;  The Rolling Stones' Philadelphia Special I and II are just some examples.

In some cases, the quality of the selected recordings is very high often as regards the audio quality. These bootlegs offer an excellent image of the various bands, in some cases, better than the official material of the time. This is the reason why many of its bootlegs have been released officially in different moments: Ladies And Gentlemen The Grateful Dead, Cream’s BBC Sessions; Pink Floyd’s The Early Years 1965-1972, Led Zeppelin’s BBC Sessions and Jimi Hendrix’s Experience’s – Electric Ladyland 50th Edition.

Very often, as with unofficial publications (not only for this record label) the associated dates are incorrect. Here we tried to report the correct recording date and the correct location for each bootleg/concert all inserted in the information file attached to each album.

As said there are numerous publications in common with The Swingin 'Pig Label. "Oil Well" company bought out "Swingin' Pig Records". In particular some Pink Floyd's bootlegs appeared under the "Oil Well" label but some of them were in fact digital copies (same quality) of old "Swingin' Pig". Some examples: "Echoes" is a reissue of "One Of These Days", "Green Is The Colour" is a reissue of "Amsterdam 69", "Black Wizard" and "White Witch" are a reissue of "Live In Montreux". Other albums are in common with Oh Boy label and with Fabbri Editori’s series "I Miti del Rock Live" (another interesting project released in Italy and Spain simultaneously) published with a different name and different artwork.

Some bootlegs are very rare and have been published with an alternate coloured cover (The Doors Touch Me;  Pink Floyd - Green is the colour;  The Beatles - Get Back; Jethro Tull - Back to the family;  Jimi Hendrix - Voodoo Chile; Lou Reed - Streets of Berlin; Otis Redding  - Try a Little Tenderness; Pink Floyd – Echoes; Rod Stewart & The Faces – Maggie Mae; The Who – Pinball Wizard) and some (1 to 15, 17 to 20, 30, 35 to 39, 42, 43, 46, 47) have been republished (?) with  an OBI - a piece of paper  wrapped around the spine of Japanese CDs.  More simply, an OBI has been attached to some publications. They are not reprints, the editions are and always remain of the first 90s. What changes is clearly the price of these bootlegs. But the collector's market is a curious thing! Many publications of the label appear to be unknown; in any case, our project starts with Rolling Stones’s As Tears Go By (RSC CD 001) and ends with Eagles & Little Feat – Sailin’ Shoes (RSC CD 149).

Helpful links:

Sources used:


Missing:
RSC 96 113 124 125 126 127 128 129 130 132 133 134 135 136 137 138 140 143 147 148 150

Download the entire collection here!
https://t.me/oilwellrscbootlegs
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Please notice that this bootleg database is just for informative purpose.
We don't promote nor sell any bootlegs: everything here is for reference only

If you want to contribute to this site by providing informations about bootlegs or have notice some incorrect informations on this site (or if you have HQ scans of the albums and pictures of the silver CDs) please feel free to send an email to the site administrator.
 
 
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domenica 4 novembre 2018

Eagles & Little Feat – Sailin' Shoes Oil Well – RSC 149

Eagles & Little Feat – Sailin' Shoes
Oil Well – RSC 149



01 Peaceful Easy Feeling 4:45
02 Midnight Flyer 4:20
03 Twenty One 2:30
04 Oll' 55 4:34
05 James Dean 3:59
06 Doolin' Dalton 5:41
07 Desperado 3:01
08 Take It Easy 5:45
09 Already Gone 4:57
10 Willin' 3:15
11 Sailin' Shoes 4:07
12 Dixie Chicken 4:29
13 Trip Face Boogie 6:18

Note:
All songs by Browne/ Frey/ Souther/ Henley unless noted.
Live in New York City, NY - 30 April 1973 

Tracks 1 to 9: The Eagles live at Beacon Theatre - New York, NY - March 14, 1974
Tracks 10 to 13: Little Feat live at Ultrasonic Studios - Hempstead, NY - April 10, 1973

Little Feat:
Lowell George - vocals, slide guitar
Paul Barrere - guitar, vocals
Bill Payne - keyboards
Kenny Gradney - bass
Richie Hayward - drums
Sam Clayton - percussion

Eagles:
Glenn Frey – vocals; acoustic rhythm guitar; electric rhythm guitar; lead and slide guitars; piano
Don Henley – vocals, drums
Bernie Leadon – vocals, lead, acoustic and rhythm guitars, banjo, pedal steel
Randy Meisner – vocals, bass guitar

This album is a clone of: Eagles / Little Feat – "Take It Easy" - Fabbri Editori – MRL 070.
Oil Well's version has a fine cover, fine quality for the time. It's limited to 200 copies only. Due to its rarity and good quality, this disc is recommended. On the front cover a picture of the two bands performing live in the 70s.
Recommended songs: Peaceful Easy Feeling, James Dean, Sailin shoes.

Audio quality
Quality content
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Eagles with Linda Ronstadt & Jackson Browne - Don Kirshner's Rock Concert - Beacon Theatre - New York, NY - March 14, 1974
In 1974 the Eagles were still a young band, far from the successes that would come in the following years. The band was in all respects a cult group closer to certain coutry sounds than to pop that would have characterized the subsequent works. In recent years there has been a rediscovery of this first lineup of the band in which the Leadon figure was predominant. But what do we have here?. There is a long-bootlegged vintage Eagles concert from March 14th, 1974 at New York City's Beacon Theatre. The show, which was filmed for Don Kirshner's Rock Concert, features the band's original lineup of Glenn Frey, Don Henley, Bernie Leadon, and Randy Meisner. Joining the group are close friends and collaborators, Jackson Browne and Linda Ronstadt who take the stage for a few songs each, and help the Eagles close the show with a rousing version of their breakthrough hit, "Take It Easy," which was co-written by Browne and released on their first album.

During his 2014 speech inducting Linda Ronstadt into the Rock and Roll Hall of Fame, the late, great Glenn Frey touched upon how the Eagles learned their craft while serving as her backing band: “Obviously the first thing we all noticed was what a great singer she was. And for Don (Henley) and I, to be the two harmony singers to be singing with all these incredible songs that she loved, y’know, was just the step in the right direction for us. We both loved harmony singing, and to be able to do it with Linda was a treat.”

Bernie Leadon, who was by far the most professionally experienced member of the Eagles' co-founders, remembers being impressed early on by Don Henley's songwriting talents: "When the band started, Henley wasn't really writing. So, he only co-wrote one song on the first album — that was 'Witchy Woman' with me. And then the second album he comes out with this full-blown, masterpiece song 'Desperado.' Now, how could he do that? I don't know, except the fact that he was an English major, so he understood storytelling, he understood language. (Laughs) He pulled that out of a dark and hidden place."

Little Feat live at Ultrasonic Studios - Hempstead, NY - April 10, 1973
For some listeners and fans, 1973 is the year of glory for Little Feat: Dixie Chicken's release and live amalgam were at their peak. The bootleg is a confirmation of what has just been said - assuming that confirmations were necessary. This exceptionally good FM radio broadcast recording showcases Little Feat in session at Ultrasonic Studios for WLIR-FM, Long Island, NY. The show is very good, with loads of Lowell George's juicy, down-home slide pervasive throughout. The recording is very high quality for 1973. Some tidbits of DJ interviewing Lowell and the boys are on here between songs.

This is an unbelievable show both in terms of sound quality and playing and this is a "must have" show for all you Feat freaks and casual listeners out there".
All the pieces are performed brilliantly in particular a great version of A Apolitical Blues stands out: the influence of Captain Beefheart and Howlin Wolf in Lowell's singing is clear. A limping, dragged, absurd blues with a noteworthy guitar work. This concert is part of a series of tuesday night live radio concerts aired on Wlir-FM, 92.7. the station was located a few blocks from Ultra Sonic recording studios. Lowell George stayed after the live show and remixed the tapes till the wee hours. It was later used as a promotional live show by Warner Bros.Those Tuesday night concerts are an incredible sonic history of pretty much every first and second tier band of the 70's. From hot tuna to graham nash solo, jethro tull, jackson browne...they all showed up in that small intimate venue.

Lowell talks about writing "Willin" while in the Mothers of Invention. They perform an absolutely beautiful version of On Your Way Down. The mood of the recording is laid back and there are a handful of people hanging out there, who you can hear clapping between songs. Arguably the best of the early Feat "boots", perhaps the only other one that rivals it is the other tape from the Ultrasonic on September 19, 1974.

Little Feat:Live at Ultrasonic Studios, Hempstead NY April 10, 1973
If you talk to Little Feat fans that cherish, embrace and obsess over the Lowell George era of the band, which...let's be honest is most of us, many will bring up similar seminal live performances that document the band at their prime. The 1977 Lisner Auditorium and Rainbow Theatre shows that spawned Waiting For Columbus are of course among them, but many fans, even some of the more casual, hold a fondness for a particular bootleg which has come to be known in taper circles as Electrif Lycanthrope. This set, which due to the fortunate online freeing of many bootlegs which were sold at inflated prices with no royalties to the bands that they featured , is readily available online. Electrif Lycanthrope is in essence roughly half of a series of two intimate shows recorded at Ultasonic Recording Studios in Hampstead NY on April 10, 1973 and September 19, 1974. For the sake of reviewing and discussing this exceptional and historic document of Feat at their finest, I will be splitting the Ultrasonic sessions in to separate reviews beginning with the 1973 show.

What will become apparent to anyone listening to the show, is the phenomenal audio quality. This is Feat playing to a small, and very fortunate crowd, as they rocket through a series of songs from their Sailin' Shoes and Dixie Chicken albums with the spark and chemistry of a band loving playing together. This was the beginning of the second phase of the band with Paul Barrere, Kenny Gradney and Sam Clayton still relatively new additions, and there is a rawness and excitement to these performances that is hard to match. From the slow burns of A-Political Blues and Got No Shadow, to the epic one-two punch of Two Trains in to Fat Man In The Bathtub, Lowell George proves over and over again that he is the greatest frontman of a band that was blowing minds and humbling headliners everywhere they went. Sailin' Shoes, another stand out track begins with George singing A-Capella and then transitions into a beautiful jazz/swing influenced number highlighting Bill Payne's diversity on piano. The set concludes with 4 classics, Cold, Cold, Cold, and Dixie Chicken played fairly straight from the album but to perfection nonetheless, followed by brilliant high energy versions of Tripe Face Boogie and Teenage Nervous Breakdown that feature some immense guitar interplay between George and Barrere as well as the more improvisational and eclectic side of the band that became it's trademark to this day.

Throughout this set it is clear that we are listening to masters at their craft and that few if any could top them as a unit. Richie Hayward's drumming is on a different level and this set is one of the finest documents of what he was capable of off record, and it is a wonder to behold. Aside from the songs, which speak for themselves we get something extra special on this set. We as fans, many who were unable to see a Feat show with Lowell George (I wasn't born yet when he passed) get a rare opportunity to hear the man talk in a brief interview where he introduces the band and discusses the inclusion of Willin' on two albums. He comes off as kind, humble, and warm with a great sense of humour and the charisma we always hear about from those that knew and loved him.

I've listened to this show hundreds of times. It deserves to be heard by all
lovers of good music. Musicology professors should be playing it to students in their classes. Along with its successor which will be discussed later, the Ultrasonic Studios ,1973 recording is a must listen document of a band at their prime and of a man that left us far too soon.
Review and discussion by: Mike Gruneir

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Scans source oilwellrscbootlegscd.blogspot.com/

Elvis Presley - Suspicious King - Oil Well 146 RSC CD

Elvis Presley - Suspicious King
Oil Well 146 RSC CD



01 Also Sprach Zahratustra / See See Rider 06:09
02 My Way 03:50
03 Johnny B. Goode 01:49
04 Blue Suede Shoes 01:20
05 Hound Dog 00:57
06 Long Tall Sally 00:53
07 Whole Lotta Shakin' Goin' On 01:20
08 Love Me 01:35
09 Are You Lonesome Tonight  03:01
10 Can't Help Falling In Love 01:44
11 I Got A Woman 03:02
12 Suspicious Minds 04:24
13 American Trilogy 04:14
   
Notes:
All songs by Leiber/Stoller unless noted.
Live in Lake Tahoe, CA - October 30, 1973 

Tracks 1, 9,11 recorded at Rushmore Civic Center in Rapid City, South Dakota, 21 June 1977
Tracks 2,3,4,5,6,7,12,13 recorded at Honolulu International Center, Honolulu, 14 January 1973
Tracks 8,10 recorded at Mid-South Coliseum, Memphis, Tenesse, 20 March 1974

1977 Lineup
Elvis Presley – vocals, acoustic guitar on  "Are You Lonesome Tonight"
James Burton – lead guitar
John Wilkinson – rhythm guitar
Charlie Hodge – acoustic guitar, vocals
Jerry Scheff – bass guitar
Ronnie Tutt – drums
Tony Brown – piano
Bobby Ogdin - electric piano, clavinet
The Sweet Inspirations, The Stamps Quartet, Kathy Westmoreland, Sherrill Nielsen – vocals
Joe Guercio – orchestra

1974 Lineup
Elvis Presley - vocals, acoustic guitar
James Burton - lead guitar
Charlie Hodge - acoustic guitar, backing vocals
John Wilkinson - rhythm guitar
Glen D. Hardin - piano
J.D. Sumner and the Stamps - backing vocals
Kathy Westmoreland - backing vocals
The Sweet Inspirations - backing vocals
Duke Bardwell - bass guitar
Ronnie Tutt - drums

This album is a clone of: Elvis Presley – "Blue Suede Shoes" Fabbri Editori – MRL 018 - I Miti Del Rock Live.
This Oil Well version has a fine cover, fine quality.  Limited to 200 copies only. Due to its rarity and good quality, this disc is recommended.For someone this is a cd to avoid - a collection of live songs from RCA releases with nothing new. But this is for the die-hard collector a must to have in your collection. It's a very hard to find bootleg.
Recommended songs: Johnny B. Goode and Blue Suede Shoes

Audio quality
Quality content

 © Official released material:
Tracks 2,3,4,5,6,7,12,13 have been released officially on "Aloha From Hawaii Via Satellite
Tracks 8, 10 have been released officially on Elvis Recorded Live on Stage in Memphis 
_______________________________________________________________

Aloha from Hawaii Via Satellite
Aloha from Hawaii Via Satellite is a concert that was headlined by Elvis Presley, and was broadcast live via satellite on January 14, 1973. The concert took place at the Honolulu International Center (HIC) in Honolulu (now known as the Neal S. Blaisdell Center) and aired in over 40 countries across Asia and Europe (who received the telecast the next day, also in primetime).
Elvis made television and entertainment history with his "Elvis: Aloha from Hawaii - Via Satellite" concert special.

Performed at the Honolulu International Center Arena on January 14, 1973 at 12:30 AM Hawaiian time, it was beamed live via Globecam Satellite to Australia, South Korea, Japan, Thailand, the Philippines, South Vietnam and other countries, and was seen on a delayed basis in approximately thirty European countries. The first American airing was April 4, 1973 on NBC-TV. It was a worldwide ratings smash and the soundtrack album went to number one on the "Billboard" album chart.

Despite the satellite innovation, NBC did not broadcast an edited version of the concert in the United States until April 4, 1973 because the concert took place the same day as Super Bowl VII. The decision paid off handsomely for the network, attracting 51 percent of the television viewing audience to become NBC’s highest rated program of the year.Viewing figures were estimated to be between 1 and 1.5 billion viewers worldwide: more people than saw man landing on the moon. The show was the most expensive entertainment special at the time, costing $2.5 million

Elvis In Concert  TV Special
Elvis In Concert is a posthumous 1977 TV special starring Elvis Presley. It was Elvis' third and final TV special, following Elvis (a.k.a. The '68 Comeback Special) and Aloha From Hawaii. It was filmed during Presley's final tour in the cities of Omaha, Nebraska, on June 19, 1977, and Rapid City, South Dakota, on June 21, 1977. It was broadcast on CBS on October 3, 1977, two months after Presley's death. It was transmitted by the BBC in the United Kingdom on June 9, 1978. Unlike the majority of Elvis' programs, it is unlikely to be commercially released on home video and is only available in bootleg form. This is because it showed Elvis near the end of his life when he was overweight and addicted to prescription drugs, and much of his performance reflects his poor health. However, parts of the special were used in the video documentary Elvis: The Great Performances and the theatrical documentary This is Elvis, both of which were released on home video.

This special has never been released on VHS or DVD, and Elvis' estate has issued a statement saying that they have "no plans" to release the special, due to the fact that Elvis was visibly "far from his best in the way he looked and the way he performed".

Footage from this special has, however, appeared elsewhere on home video: the performances of "Are You Lonesome Tonight", "Love Me" and "My Way" were used in 1981's This Is Elvis, and the performance of "Unchained Melody" (which was not featured on the original CBS telecast) appeared in the 1990 home video release The Great Performances, Volume One: Center Stage. And there has been no prohibition on the soundtrack being reissued over the years.

Elvis in Concert Album
Elvis in Concert is the live album released by RCA Records in October 1977 in conjunction with the television special of the same name which featured some of the final performances of American singer and musician Elvis Presley. Videotaped and recorded in June 1977, both the special and album were broadcast and released on October 3, (the single "My Way"/"America the Beautiful" was released the same day) six weeks after Presley's death. The album peaked at No. 5 on the Billboard chart in late 1977. It was certified Gold and Platinum on October 14 and 3x Platinum on August 1, 2002, by the RIAA.

The show was recorded over two days at concerts in Omaha on June 19 and Rapid City, South Dakota on the 21st. Longtime RCA Victor/Elvis producer Felton Jarvis produced the recordings, which were done to 4-track multitrack. According to Elvis: The Illustrated Record by Roy Carr and Mick Farren, the shows were taped with the intent of producing a television special, but Presley's deteriorating physical condition put the project on hold. After his death, they write, it was decided to go ahead with the special as a tribute. Although both the June 19 and 21 concerts are the last official live professional ones ever recorded of Presley alive, Vernon Presley, Elvis' father, recorded a message that was broadcast at the end of the special and included on the soundtrack album, in which he erroneously states that the performance featured was his son's last appearance; in fact Elvis made five more concert appearances after the filming of the special. Elvis' last concert was in fact on Sunday, June 26, 1977 at the Market Square Arena in Indianapolis, Indiana. No professional recording of this last performance has ever been issued, but bootlegs of amateur recordings have.

During the special, Presley performs a selection of his hits, along with songs not normally associated with him. Although it was a regular part of his repertoire for years, Presley requires a lyric sheet when he performs Paul Anka's "My Way" (noted for its opening lyric, "And now the end is near/And so I face the final curtain"). He also loses his train of thought during "Are You Lonesome Tonight?", although Darrin Memmer's book "Elvis Presley – The 1977 CBS Television Special," published in 2001 by Morris Publishing, makes a strong case that Elvis regularly played around with the words during the spoken portion of the song when performing it on stage, rather than it being a case of poor memory. Indeed, a concert recording of Presley similarly joking around during the monologue section of "Are You Lonesome Tonight?" dating from 1969 has been reissued by RCA several times (dubbed the "Laughing Version", it even made the UK charts after Presley's death), and he also poked fun at the song during his 1968 Comeback Special. Nonetheless, the documentary This is Elvis uses this performance to illustrate Presley's poor condition at the time and in the actual Elvis in Concert broadcast, the show cuts away to a fan who speaks about Elvis, obscuring the recitation.

The soundtrack album was issued as a 2-LP package, including a second disc of performances that were not included in the TV special. On May 22, 1992, the album was reissued on a single compact disc. Unfortunately, the CD barely improved on the somewhat poor sound quality of the original LP release.


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Scans source discogs. 

Beach Boys – Cool Water Oil Well – RSC 145 CD

Beach Boys – Cool Water
Oil Well – RSC 145 CD



1 Barbara Ann 2:09
2 Their Hearts Were Full Of Spring 1:53
3 Do It Again 3:05
4 Darlin' 2:47
5 Aren't You Glad 3:45
6 Cottonfields 3:19
7 Vegetables 3:09
8 Okie From Muskogie 3:42
9 Cool, Cool Water 4:19
10 In My Room 2:16
11 Riot In Cell Block No. 9 4:20
12 Help Me, Rhonda 3:48
13 Wouldn't It Be Nice 2:20
14 God Only Knows 2:37
15 Good Vibrations 4:44
16 California Girls 2:20
17 Surfer Girl 2:40
18 I Get Around 2:08

Note:
All songs by Wilson/ Love unless noted.
Live in New York City, NY - May 8,1971 

Tracks 1,2 recorded on 1968-11-08 Finsbury Park Astoria, London
Tracks 3-9; 13-18 recorded on 1971-05-11 Manley Field House, Syracuse University, Syracuse, NY
Tracks 11,12 recorded on 1971-04-27 Fillmore East, New York, NY

Lineup:
Mike Love - vocals
Carl Wilson - vocals, lead guitar
Al Jardine - vocals, rhythm guitar
Bruce Johnston - vocals, bass
Dennis Wilson - vocals, drums except on track 11
Daryl Dragon – organ
Ed Carter - bass
Mike Kowalski - percussion
Uncredited horns and keyboards

Bill Kreutzmann - drums on track 11
Jerry Garcia - vocals and guitar on track 11
Bob Weir - guitar on track 11
Ron "Pigpen" McKernan - keyboards on track 11
Phil Lesh - bass on track 11

This album is a ditigal clone of "Good Vibrations" -  Fabbri Editori, I Miti Del Rock Live – 60.
This Oil Well version has a fine cover, fine quality.  Limited to 200 copies only.
Due to its rarity and good quality, this disc is recommended. We say it here but this will also apply to other bootlegs released by this label: in many cases Oil Well will make a series of collections of live songs from different concerts and much of this material at the time of publication (1991-1995) was already available in official and legally released material. In this case in the bootleg there are two live tracks already released in 1970 on the famous Live in London. Read below for more informations!
Recommended song: Barbara Ann,Their Hearts Were Full Of Spring and Help me Rhonda.

Audio quality
Quality content

 © Official released material:
Tracks 1,2 from Live in London 
____________________________________________________________________

Live in London 
Live in London is a live album by American rock band the Beach Boys released by EMI in the UK in May 1970. When released in the US on November 15, 1976, the album was renamed Beach Boys '69 (The Beach Boys In London) via Capitol Records. The album was produced by Carl Wilson and Stephen Desper

1968 was a difficult year for The Beach Boys at home, where their reputation had soured considerably, yet their European success was still strong, as evidenced by these confident performances recorded while the group were making their 20/20 album. After the surprise success of the Endless Summer and Spirit of America hits packages in 1974 and 1975, the Beach Boys enjoyed a resurgence of popularity at home, especially on the concert circuit. It was during this time that Capitol decided to strike while the iron was hot and issue a renamed edition of the album for the first time in the US. The reissue had art by rock artist Jim Evans, and a new title, Beach Boys '69. Besides the fact that the live performance was actually recorded in December 1968, the LP's appearance added confusion to the marketplace as the group had recently issued a new, live double album—The Beach Boys in Concert—on their own Brother Records label, as part of a distribution deal with their new label, Reprise. Despite this, the record became a small chart success in the US, following the Top 10 placing of 15 Big Ones, reaching #75 in the Fall of 1976 during a US chart stay of 10 weeks. The UK edition failed to chart.

It is believed that The Beach Boys owed Capitol one more album (this may have been it, instead of the Fading Rock Group Revival/Reverberation project), and so, this release ended their relationship with the record label, and with EMI in the UK. When their albums were remastered for CD in 1990 (and again in 2001), Live in London was paired with their 1964 live release Beach Boys Concert.

The Grateful Dead Jammed With The Beach Boys At Fillmore East 
On April 27th, 1971, the Grateful Dead was smack-dab in the middle a run at the Fillmore East in New York City spanning from April 25th through 29th. The Dead had some surprises up their sleeve for the Tuesday performance, inviting The Beach Boys (consisting of Mike Love, Carl Wilson, Bruce Johnston, and Al Jardine) to join them for a short string of songs toward the end of their set. The Beach Boys, who were introduced as “another famous California group” to the surprise of the crowd, came out for “Searchin'” during the second set following “Dire Wolf.” Together, the two popular and wildly different bands moved into a cover of The Robins’ “Riot In Cell Block #9.”

The Dead then departed the stage, leaving the Beach Boys to play out their classic tracks “Good Vibrations” and “I Get Around.”
It’s a silly and delightful interlude in the recording with giggling at the start of “Good Vibrations” showcasing the lighthearted-nature of the evening.
“If we start another song, maybe they’ll come back out and join us,” starts the next song, with the Dead eventually returning to the stage during the number. Together the two bands now on stage teamed up for renditions of Merle Haggard’s “Okie From Muskogee” and Chuck Berry’s “Johnny B. Goode,” but not before a chaotic tuning session during which the members on stage confirm that the appearance was unplanned and that they’re trying to get things figured out.

It was a one-of-a-kind performance, during which two popular bands that have come to define those times in very different ways came together and clearly had a good time. Audio from the Dead’s Fillmore East run was released officially on the 2000 release of Ladies and Gentlemen… The Grateful Dead, though none of the Beach Boy collaborations made the cut.
https://liveforlivemusic.com/features/grateful-dead-beach-boys/

Saturday, November 21, 1964: Koncerthuset, Stockholm, Sweden-with Jackie de Shannon, Jan Rohde & the Wild Ones and the Mascots (8:00 PM Show)
Following their return trip to France, the Beach Boys headed to Sweden for more promotion.On November 21, the group performed their second and last live concert of the tour at the Koncerthuset. The show was simulcast on the radio as well. According to Earl Leaf, the Swedish audiences received the Beach Boys very well. “During the performance gaggles of girls ran up on the stage to grab their favorite, wrenching Carl Wilson’s neck, tearing Brian Wilson’s shirt, biting Alan Jardine’s cheek and grabbing Mike’s legs, almost toppling him to the floor. When one Swede-heart hurled herself at Dennis Wilson and sent his drum sticks flying, he has to finish the show beating the skins with his bare hands.

"The reviewer for the Stockholm newspaper Aftonbladet was more enamored by Jackie de Shannon and wrote, “Beach Boys and Jackie de Shannon was the subject for Saturday night’s usually dapper pop show at Koncerthuset.

But a reversed playing order would have been fairer. Jackie…really got the show to take off. Despite a fever and a bad cold, she was on her own radiating more electricity than all five Beach Boys together.” The next day, the Beach Boys headed off to Copenhagen, Denmark for a “quickie holiday."
https://www.beachboysgigs.com/1964-2/

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