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Sodom
Till Deaf Do Us Part
Ich habe das von Discogs und da steht nichts von Bootleg.
Bei Musiksammler steht auch nichts von Bootleg.
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hofi
Till Deaf Do Us Part
A
Die Qualität der Datensätze bei Musiksammler und bei Discogs hängt eben auch stark vom wissen und wollen der Anlegenden ab. Und wenn ich mir so die dort eingegebenen "Plattenfirmen" Van Blad (Brasilien) und Srp (Polen) so anschaue glaube ich kaum an eine offizielle VÖ unter deren Banner in 2007.
Krachturm
Till Deaf Do Us Part
So Freunde, meine Boneshaker-Huldigung ist in Stein gemeißelt und darf nun bis zur Veröffentlichung reifen.
Jetzt kann ich mich den ganzen 24. Dezember auf Mitternacht freuen. Und wenn ich abends vom Weihnachtsbraten bei meiner Familie nach Hause komme, werde ich mir schön einen einschenken, den Countdown mitzählen - und Boneshaker hören!
Freu mich drauf!
Jetzt kann ich mich den ganzen 24. Dezember auf Mitternacht freuen. Und wenn ich abends vom Weihnachtsbraten bei meiner Familie nach Hause komme, werde ich mir schön einen einschenken, den Countdown mitzählen - und Boneshaker hören!
Freu mich drauf!
Fallen Idol 666
Till Deaf Do Us Part
Die DVD auch? Oder das göttlich aufgemachte Vinyl?So Freunde, meine Boneshaker-Huldigung ist in Stein gemeißelt und darf nun bis zur Veröffentlichung reifen.
Jetzt kann ich mich den ganzen 24. Dezember auf Mitternacht freuen. Und wenn ich abends vom Weihnachtsbraten bei meiner Familie nach Hause komme, werde ich mir schön einen einschenken, den Countdown mitzählen - und Boneshaker hören!
Freu mich drauf!
Krachturm
Till Deaf Do Us Part
Fallen Idol 666
Till Deaf Do Us Part
So, hab nochmal wegen der Birthday Party DVD nachgeschaut, Quelle ist die aktuellste Version von meinem Motörhead Collecotr's Guide von Übersammler Mick Stevenson. Die brasilianische Van Blad ist ganz klar als Pirate gekennzeichnet, die deutsche SRP allerdings nicht! Ich habe keinen Vergleich, da ich nur das UK VHS-Tape habe und kenne.
Fallen Idol 666
Till Deaf Do Us Part
@zopilote hie rhast mal ne Erklärung zwecks der vielen Releases, die als semi-offiziell geführt werden. Reciever Records hat z.B. wirklich viele rausgebracht, was daran liegt, dass Fast Eddie nach seinem Ausstieg ein Teil der Songrechte an eben jene Company verkauft hat! Die wurden im Laufe der Jahre aufgekauft, das Zeugs nochmals verwertet, oft unter anderm Namen, dann die auch wieder von größeren und nochmal verwertet usw.... Sind darum keine Bootlegs, also sog. Pirates. Aber eben auch nur halboffiziell, da sie nicht das eigentliche Label der dato aktuellen Band waren. Dennoch hatten sie Teilrechte an den Songs. Warum Eddie das gemacht hat, schau ich nochmal nach, aber es ging um Kohle - was sonst.. Nur wieso er das so einfach machen konnte, schau ich eben nochmal, selbst grad neugierig. Hier mal ein Zitat von ner schwedischen Fanpage, die nahezu all die Teile aufführt: http://www.motorheadoverkill.se/
Here you will find all (well, if that is possible but I will try) Motorhead compilations that have emerged from the Receiver releases. With Receiver releases I mean the albums that contain those recordings that Fast Eddie Clarke sold the rights to. He sold those rights to Receiver Records and this resulted in Dirty Love (1989), Blitzkrieg On Birmingham (1989), Lock Up Your Daughters (1990), Jailbait (1992) and Stone Dead Forever (1997). Some of those albums, exepcially Blitzkrieg and Dirty Love, have been re-issued a millions of times and there have been numerous compilations with selections of tracks from those albums as well. It is not always easy to conclude just from the track listing of a compilation if it is a Receiver compilation or a general compilation. The Receiver label is related to the Trojan label and The full Trojan catalogue was acquired by Sanctuary in 2001. Other UK labels that have released Receiver recordings are Emporio, Recall/Snapper, Merlin, Action Replay, Tictone, Tring, Harmony, GF/Cedar. Those are probably related to Trojan as well. In Germany there are Mastertone, Abracadabra, Fireline, Arena, Flashlight. In the US it has been Cleopatra that has released Receiver Recordings
Here you will find all (well, if that is possible but I will try) Motorhead compilations that have emerged from the Receiver releases. With Receiver releases I mean the albums that contain those recordings that Fast Eddie Clarke sold the rights to. He sold those rights to Receiver Records and this resulted in Dirty Love (1989), Blitzkrieg On Birmingham (1989), Lock Up Your Daughters (1990), Jailbait (1992) and Stone Dead Forever (1997). Some of those albums, exepcially Blitzkrieg and Dirty Love, have been re-issued a millions of times and there have been numerous compilations with selections of tracks from those albums as well. It is not always easy to conclude just from the track listing of a compilation if it is a Receiver compilation or a general compilation. The Receiver label is related to the Trojan label and The full Trojan catalogue was acquired by Sanctuary in 2001. Other UK labels that have released Receiver recordings are Emporio, Recall/Snapper, Merlin, Action Replay, Tictone, Tring, Harmony, GF/Cedar. Those are probably related to Trojan as well. In Germany there are Mastertone, Abracadabra, Fireline, Arena, Flashlight. In the US it has been Cleopatra that has released Receiver Recordings
Fallen Idol 666
Till Deaf Do Us Part
und hiernochmal was zu den vielen halb legalen Live-Sachen von der gleihen Quelle:
In this section I will list all those live albums that have been released legally (or at least they pretend to be!) but not because Motorhead wanted it, but because some label had the rights, or licensed the rights, to the recording and put it out. These albums are therefore not really bootlegs (maybe official bootlegs would be adequate) but they have not released on the initiative by the band although the band might very well have approved them. On the other hand, Motorhead were not very keen on releasing No Sleept til Hammersmith either when that one was released. And not very fond of Steamhammer releasing the Boneshaker release as Live At brixton. But that is antother story.
A lot of these recording have been released with totally different titles and sleeves but they still contain the same recording. The 1977 Birmingham show first released in 1989 as Blitzkrieg on Birmingham have been released in a million different versions but it is still the same recording so therefore you will have to look in that seciton. A problem is that the record company who release it does not say it has previously been released with another title. Even some have been first released as bootleg initially but have later got a more "official" release (even if that can be questioned).
In this section I will list all those live albums that have been released legally (or at least they pretend to be!) but not because Motorhead wanted it, but because some label had the rights, or licensed the rights, to the recording and put it out. These albums are therefore not really bootlegs (maybe official bootlegs would be adequate) but they have not released on the initiative by the band although the band might very well have approved them. On the other hand, Motorhead were not very keen on releasing No Sleept til Hammersmith either when that one was released. And not very fond of Steamhammer releasing the Boneshaker release as Live At brixton. But that is antother story.
A lot of these recording have been released with totally different titles and sleeves but they still contain the same recording. The 1977 Birmingham show first released in 1989 as Blitzkrieg on Birmingham have been released in a million different versions but it is still the same recording so therefore you will have to look in that seciton. A problem is that the record company who release it does not say it has previously been released with another title. Even some have been first released as bootleg initially but have later got a more "official" release (even if that can be questioned).
Fallen Idol 666
Till Deaf Do Us Part
Nochmal ein Edit zur Birthday Party: ich habe ganz vergessen zu erwähnen, dass der Auftritt von Phil Lynott der letzte öffentliche vor seinem Tod war... und es waren 4000 Motörhead-Banger im Hammersmith Odeon an jenem Abend.
Die kommerzielle Ausschlachtung in Form der LP wurde mal wieder von Roadrunner, die wie Stiff, Chiswick, Bronze und dem Londoner Zweitverwertungs-Label Reciever etc., eben Rechte an den Songs besaßen und inflationär Sachen rausbrachten, vogenommen. Fehlt oben, drum als Nachreichung.
Die kommerzielle Ausschlachtung in Form der LP wurde mal wieder von Roadrunner, die wie Stiff, Chiswick, Bronze und dem Londoner Zweitverwertungs-Label Reciever etc., eben Rechte an den Songs besaßen und inflationär Sachen rausbrachten, vogenommen. Fehlt oben, drum als Nachreichung.
zopilote
Till Deaf Do Us Part
@Fallen Idol 666 danke, sehr interessant. Ich hab mal gelesen dass Fast Eddie diese Sachen aus seinem persönlichen "Archiv" hatte, was auch immer das bedeuten mag. Vielleicht hat er, beispiel Live '77, einfach Soundboardaufnahmen etc. gesammelt und die dann vertickt?
Übrigens glaube ich das Album heißt in der Erstauflage tatsächlich "BlitzkrEIg on Birmingham"
Übrigens glaube ich das Album heißt in der Erstauflage tatsächlich "BlitzkrEIg on Birmingham"
Fallen Idol 666
Till Deaf Do Us Part
und nochmal was zum Thema semi-offzielle Releases:
In this section I will list all those albums that have been released legally but not because Motorhead wanted it, but because some label had the rights, or licensed the rights, to the recordings and put it out. These albums are therefore not bootlegs but the initiative for release has not come from the band. That said, this does not mean the band would stop those releases even if they could. The Receiver albums were initiated by Eddie Clarke but the band were contacted before and they were ok with it. Also the On Parole album has been approved by the band even if they of course had hoped it would have been released already in 1976 when it was recorded.
It isn´t compilations either [...] So far only On Parole and the Receiver albums Dirty Love and Stone Dead Forever qualifies for this section.
In this section I will list all those albums that have been released legally but not because Motorhead wanted it, but because some label had the rights, or licensed the rights, to the recordings and put it out. These albums are therefore not bootlegs but the initiative for release has not come from the band. That said, this does not mean the band would stop those releases even if they could. The Receiver albums were initiated by Eddie Clarke but the band were contacted before and they were ok with it. Also the On Parole album has been approved by the band even if they of course had hoped it would have been released already in 1976 when it was recorded.
It isn´t compilations either [...] So far only On Parole and the Receiver albums Dirty Love and Stone Dead Forever qualifies for this section.
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zopilote
Till Deaf Do Us Part
Auch spannend! Ich hätte denen ja gesagt sie sollen sich einfach zurücklehnen und mir dabei zuschauen wie ich mit einem anderen Label durch die Decke gehe.
Fallen Idol 666
Till Deaf Do Us Part
hab hier nochmals interssante Facts zur Zeit des "Motörhead"-Albums und der Zeit davor, also "On Parole". Habe ich schonmal in nem Buch gelesen, aber nun im schlauen Netz wieder entdeckt, sehr geil und aufschlußreich wie ich finde und soll euch drum nicht vorenthalten sein:
The self titled first album Motorhead, released on the 12th of August in 1977 in the UK, was actually not the first album they recorded. Already by the end of 1975 they started to record an album for UA. That recording session was finished in the beginning of 1976, but UA was not pleased with the result so the album was not released until 1979 when UA could cash in on the recording. In the spring of 1977 Motorhead were ready to give up. They would do a final gig in April 1977 at the Marquee with The Damned and the plan was that Ted Carroll of Chiswick Records should record that gig for them. Lemmy had known Ted from the early 1970´s when he was in Hawkwind and used to hang around in Ted´s record shop Rock On in Golborne Road (Carroll 2001). So Lemmy called Ted just before the gig and asked if he was interested to help them record a live album from their final gig.
Ted thought that one gig would not result in enough material for an album. He wanted at least two gigs and therefore hoped to book two concerts in one day at a later date. Two gigs in one day would save some money when it comes to rent of the mobile studio that was going to be used. So the gig was never recorded and it did not work out to book two gigs later on. But Ted was there and he was impressed with what he heard and offered the band two days at the Escape Studio in Kent to record a single on the evening of 27th of April . The band of course grabbed that chance by the throat and they were so well rehearsed that after two days and nights had passed, without any sleep, they had recorded eleven backing tracks. According to an article that was written by Peter Silverton right after Ace of Spades was released, the band phoned Chiswick already after 12 hours to tell they almost had finished a complete album. Producer was Speedy Keen and John Burns was the engineer. The problem was that none of the songs were complete after those two days, they all lacked vocals and solos. But Ted, who showed up in the studio on the 28th, thought it sounded great and gave the band a few more days at Olympic Sound Studios in Barnes to finish all the songs (Carroll 2001). These scattered studio days took place in May, June and July. In the end they had recorded a total of 13 songs. Speedy and John were really into it and they actually mixed 24 versions of the song “Motorhead” alone during those days! Eight of the songs ended up on the album, Motorhead, Vibrator, Lost Johnny, Iron Horse/Born To Lose, White Line Fever, Keep Us On The Road, The Watcher and Train Kept A Rollin'. Motorhead was released as a single with City Kids as the B-side already on 10 June. The four remaining songs Instro, Beer Drinkers & Hell Raisers, On Parole and I´m Your Witchdoctor ended up on an EP released in 1980 on the Big Beat label.
Ted Carrolls´ partner, Roger Armstrong of Chiswick Records, remembers the days: “Lemmy had an acetate of the album that they had made with Dave Edmunds and that UA had decided not to release. He played it for Ted and then came over to the Soho market stall and played it to me. Ted and I agreed that UA were right. Eventually the word was that they were breaking up, but going to do one last gig in the Marquee. At first we were going to record them live and then got cold feet on that one – what if they had an off night – that sort of thing. So we plumped for a single. We booked them into a studio that Genesis used for 2 days to do the single. At the end of the 2 days Lemmy rang Ted to say that they had almost finished the album and could they have a couple more days. Of course it dragged on and eventually took weeks to do and cost more money than we had. We managed to bust the tapes out of the last studio and get the record out before the pressure to pay the bills got too big” (www.punk77.co.uk).
EDIT: Für alle Trüffelschweinchen und am alten 77er-Punk interesierte Maniacs wie mich (hab ne fette Vinyl-Sammlung hierzu) sei obige Seite dringlichst empfohlen!!
The self titled first album Motorhead, released on the 12th of August in 1977 in the UK, was actually not the first album they recorded. Already by the end of 1975 they started to record an album for UA. That recording session was finished in the beginning of 1976, but UA was not pleased with the result so the album was not released until 1979 when UA could cash in on the recording. In the spring of 1977 Motorhead were ready to give up. They would do a final gig in April 1977 at the Marquee with The Damned and the plan was that Ted Carroll of Chiswick Records should record that gig for them. Lemmy had known Ted from the early 1970´s when he was in Hawkwind and used to hang around in Ted´s record shop Rock On in Golborne Road (Carroll 2001). So Lemmy called Ted just before the gig and asked if he was interested to help them record a live album from their final gig.
Ted thought that one gig would not result in enough material for an album. He wanted at least two gigs and therefore hoped to book two concerts in one day at a later date. Two gigs in one day would save some money when it comes to rent of the mobile studio that was going to be used. So the gig was never recorded and it did not work out to book two gigs later on. But Ted was there and he was impressed with what he heard and offered the band two days at the Escape Studio in Kent to record a single on the evening of 27th of April . The band of course grabbed that chance by the throat and they were so well rehearsed that after two days and nights had passed, without any sleep, they had recorded eleven backing tracks. According to an article that was written by Peter Silverton right after Ace of Spades was released, the band phoned Chiswick already after 12 hours to tell they almost had finished a complete album. Producer was Speedy Keen and John Burns was the engineer. The problem was that none of the songs were complete after those two days, they all lacked vocals and solos. But Ted, who showed up in the studio on the 28th, thought it sounded great and gave the band a few more days at Olympic Sound Studios in Barnes to finish all the songs (Carroll 2001). These scattered studio days took place in May, June and July. In the end they had recorded a total of 13 songs. Speedy and John were really into it and they actually mixed 24 versions of the song “Motorhead” alone during those days! Eight of the songs ended up on the album, Motorhead, Vibrator, Lost Johnny, Iron Horse/Born To Lose, White Line Fever, Keep Us On The Road, The Watcher and Train Kept A Rollin'. Motorhead was released as a single with City Kids as the B-side already on 10 June. The four remaining songs Instro, Beer Drinkers & Hell Raisers, On Parole and I´m Your Witchdoctor ended up on an EP released in 1980 on the Big Beat label.
Ted Carrolls´ partner, Roger Armstrong of Chiswick Records, remembers the days: “Lemmy had an acetate of the album that they had made with Dave Edmunds and that UA had decided not to release. He played it for Ted and then came over to the Soho market stall and played it to me. Ted and I agreed that UA were right. Eventually the word was that they were breaking up, but going to do one last gig in the Marquee. At first we were going to record them live and then got cold feet on that one – what if they had an off night – that sort of thing. So we plumped for a single. We booked them into a studio that Genesis used for 2 days to do the single. At the end of the 2 days Lemmy rang Ted to say that they had almost finished the album and could they have a couple more days. Of course it dragged on and eventually took weeks to do and cost more money than we had. We managed to bust the tapes out of the last studio and get the record out before the pressure to pay the bills got too big” (www.punk77.co.uk).
EDIT: Für alle Trüffelschweinchen und am alten 77er-Punk interesierte Maniacs wie mich (hab ne fette Vinyl-Sammlung hierzu) sei obige Seite dringlichst empfohlen!!
Kiss of Death
Till Deaf Do Us Part
Die Qualität der SRP DVD ist aber wirklich grottig.
The Aftermath
Deaf Dealer
Mit etwas Verspätung will ich noch etwas zu Rock 'N' Roll schreiben (Ich habe jetzt zu jedem Album etwas geschrieben, insofern kann ich jetzt schlecht damit aufhören!). Toller Text, zopilote! "All For You" ist eine sehr interessante Wahl, ich kann es nicht unbedingt nachvollziehen, dafür geht es mir mit "Too Good To Be True" und "One More Fucking Time" genauso, aber dazu kommen wir ja noch! "Blackheart" und "Boogeyman" sind für mich auch die Geheimtipps des Albums, daneben steht der überlebensgroße Titeltrack. Abgesehen davon bin ich leider kein allzu großer Fan des Albums! Auf dem ersten Best Of das ich besaß, waren neben "Rock 'N' Roll" noch "Dogs" und "Eat the Rich" darauf und schon damals waren sie eher Skip-Kandidaten als Favoriten. Die Produktion ist sicherlich ein Faktor, auch wenn ich sie nicht ganz so verhunzt finde wie auf Orgasmatron. Auch "Just 'Cos You Got The Power" war nie einer meiner Lieblinge. Als ich zwischen 2007 und 2008 meine ersten MOTÖRHEAD-Gigs besuchte, ärgerten mein Kumpel und ich uns - Greenhorns wie wir waren - immer tierisch über die ewigen Gitarrensoli und das nie enden wollende Stück, da wir lieber "In The Name Of Tragedy", "Iron Fist" oder "Sucker" hören wollten. Rock 'N' Roll ist zusammen mit Snake Bite Love und Aftershock sicherlich das Album, das ich am meisten vernachlässige. Das sollte ich vielleicht mal korrigieren. Zumindest das Artwork zählt für mich zu den besten der Band und hat mich sogar dazu bewogen, wieder nach über einem Jahrzehnt bei einem eigentlich verhassten Online-Shop zu bestellen...
zopilote
Till Deaf Do Us Part
Rock'n'Roll-Cover-Trivia: die Band wollte ursprünglich, dass die Zunge nach oben geht (hä??). Da der Coverzeichner nicht wusste wie er das umsetzen soll - verständlich - sieht es jetzt so aus, wie es aussieht.
By the way, wenn @The Sleeping Tyrant hier schon dabei ist seine Schäfchen ins trockene zu bringen, möchte ich dir @Damage Case auch nachträglich nochmal zur Besprechung der "Nö Sleep" gratulieren, die ich besonders gelungen und lesenswert fand, eben weil du die Scheibe nicht so toll findest! Cheers!
By the way, wenn @The Sleeping Tyrant hier schon dabei ist seine Schäfchen ins trockene zu bringen, möchte ich dir @Damage Case auch nachträglich nochmal zur Besprechung der "Nö Sleep" gratulieren, die ich besonders gelungen und lesenswert fand, eben weil du die Scheibe nicht so toll findest! Cheers!
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