These are underground labels old and new, with no illusions of legitimacy.
Unmitigated Audacity(11 Records GLC D-549)
The Teenage Rockin Combo Concert Volume I(ZZYZX Records Vol. 1/ 11 Records MONO FZ001A-B)
The Teenage Rockin Combo Concert Volume II- Frank Zappa Live in Paris(11 Records MH 1005A-B)
Responsible for a re-issue ofAn Evening with… Frank Zappa & Captain Beefheart, and a yet unknown bootleg calledCrush This Box, probably withCrush All Boxesmaterial.
Quality-conscious do-it-yourself CD-R label in Stockholm, Sweden, with a CD of the vinyl mix ofCruisin with Ruben & the Jetsto its name.
CopiedDoes Humor Belong in Music?and theMystery Disc from the Old Masters Box I(perhaps also thesecond).
Do-it-yourself CD-R label guilty of aBig Mother Is Watching Youre-issue.
One or two separate labels. The first seemed to release these bootlegs starting in the very late 1990s:
Swiss Cheese at the Festivalhalle Basel in 1974(FZ BA 01/02)
The Best Band on Broadway the Hard Way US Tour(FZ BI 05/06)
Ship Arriving Too Late for Stevies Spanking in Berlin(FZ BE 07)
First two letters for artist, third and fourth letters for concert location.
The second released two double CDs in 2001,Zappa in New York 81(FZ17111981-1/2) andThe Mothers Down Under(FZ24061972-1/2). This is also a system, of course; its the concert date, although its the wrong date on FZ24061972.
HEAD is responsible for the originalAn Evening with … Frank Zappa & Captain Beefheart; Head (and they may be the same) have put outTime Sandwichand a Captain Beefheart bootleg (Out Here, Over There).
was a Canadian copycat label operational in the mid-70s, making cheap copies of glossy product from quality-conscious labels such asTradeMark of Quality:
Provocative Squats(K&S 020- a re-issue ofTMOQs double-LP re-issue of200 Motels Live with Zubin Mehta & the LA PhilharmonicandFrank Zappa & Hot Rats at the Olympic)
sounds like a Zappa-only label. The additional labels
appeared on some of the Mud Shark boots.
Necessity Is…Rustic Protrusion(MZ 3601-D, circa 1979)
Could This Be… Joes Garage Acts IV & V Live?(MZ 3605)
Fred Zappelin(MZ 3606, with Raw Sound)
A Token of His Extreme(MZ 3607- Nocturnal Records listed on label)
20 Years of Frank Zappa(12-LP box, containingThe Basic Primer: Z-AThe SoundtracksThe Cucamonga EraGas MaskHotel DixieThe Grand Wazoo OrchestraShow & TellThe Night of the Iron SausageWarts & All IWarts & All IISoup & Old ClothesandAdvanced Study: World Pop Domination- MZ4801-4812)
NTB Recordswas one of many labels set up by a very major bootlegger, identified in the bookBOOTLEGby Clinton Heylin as Richard, and Next to the Beatles, his great love was the cantankerous Frank Zappa. Richard in his time was to be responsible for one ten-album set, one four-album set and ten single [Zappa] albums, including the legendaryTis the Season to be Jelly. (The ten-album set is theMystery Box, but the other albums are never identified.) He is quoted (on page 195) as saying:
Im a big Zappa fan. In fact myMystery Boxgot Zappa as upset as Columbia got overTen of Swords[a Bob Dylan bootleg]. Zappa in America has a hotline for his fans to call and he went so far as to have the woman who does the hotline ask for help in tracking down the perpetrators of this heinous boxed-set, and Zappa called the FBI and the FBI didnt want to be bothered… I guess the problem was that Zappa was doing hisYou Cant Do That on Stage Anymore, his ongoing series that has just ended, andMystery Boxwas a giantYou Cant Do That on Stage Anymore. A lot of reviews were saying thatMystery Boxwas better because it was chronological and didnt jump all over the place and didnt have all these stupid edits in it. That kind of thing can annoy you if youre an artist putting out your own thing… Zappas reasoning behind that was that he was losing tons of money and in fact he wasnt losing any money. Most people who do Zappa bootlegs do so because they like Zappa. They dont do it for the money. I can imagine people making money off a lot of other bootlegs but not Zappa.
Two more Richard quotes- from page 185:
I figured that rather than do bootlegs in the style of bootlegs Id rather do real records that you cant really [get], something closer to what youd consider a real record in the way it looks [and] in the way it sounds.
Luckily, through connections I [was able to] work at the second-best studio in South California, a real place that had real quality control standards with real mastering engineers. At first I did it in conjunction with an engineer, I would say how he wanted it to be and he would twiddle the knobs and do it. But after a couple of albums he would take a nap or leave. After I knew how to run the board I would clean everything myself.
So, Zappa bootlegs by Richard:
Mystery Box(10-LP box containingPigs & RepugnantSon of Pigs & RepugnantBeyond the Fringe of Audience ComprehensionZut AlorsThe Rondo Hatton BandA Token of His ExtremeChalk PieCrush All BoxesReturn of the Son of Serious MusicandRandomonium)
9 unknown single albums (three of which are probably theTrick or TreatThe ArkandWe Are the Mothers & This Is What We Sound Like!LPs, which are on a Bizarre label, just likeTis the Season to be Jelly, which is a confirmed Richard creation)
Tis the Season to be JellyTrick or Treat, andThe ArkwereALLmade by the same person. I have all three and they have identical custom labels and similar run-out groove etchings. They also all have superb and similar-quality artwork. The labels have theOFFICIALBizarre logo on them.
NOTE: The double LPsDweezil Has Messed My Mind UpandSnake Hips Etceteraare also on Bizarre labels, but according to Heylin, those are not not by Richard.
Other bootlegs that Richard made includeThe Beatles vs the Third ReichandElvis Presleys Greatest Shit. He left the business when CDs took over.
CD pirates that put out a counterfeit of theFillmore East, June 1971CD, calledLittle House I Used to Live in(CD 12026, 1992). From JWB:
TheON STAGE/SARABANDASseries was anENTIRE SERIESof pirated albums. I also remember seeing pirated copies of live albums by Cream, Jimi Hendrix, The Doors, Bob Dylan, and many others.
They were very common in American record stores in the early 90s, but it has been quite a while since Ive seen one. What sets them apart from regular pirates and bootlegs, is that they were inexpensive (around $8 per disc). They were pressed in large quantities in some European country, and imported into America ridiculously cheap (or maybe traded for planeloads of e). It is very rare to find pirated CDs in America, but this series was very popular due to these cheap prices. They only cost half as much as the original CDs that they were pirated from. Plus the artwork was very professional, and probably intended to fool as many people as possible.
This might make it easier to understand whyLittle House I Used to Live inis a copy of the original CD and not the vinyl. It is hard to understand why someone would pirate original CDs, change the title and artwork, and sell them cheaply as an exclusive series. Once again, my e explanation comes to mind.
FromBOOTLEGby Clinton Heylin, page 133:
A whole series of American bootlegs were now[1977/1978- Ed.]being released with Ruthless Rhymes labels on the records (the logo consisting of a gun pointed at the HMV dogs head). Seemingly unconnected companies were attributed to each Ruthless Rhymes release. One Ruthless Rhymes label, Audifon, was responsible for one of the most deluxe packages in bootleg history[Life Sentence, a Bob Dylan bootleg- Ed.].
are a very active, overt and public high-profile bootleg label in Italy, started in the 1990s, run by a huge Zappa fan, who for some reason hasnt been busted by the police yet. They seem to be on the one hand re-issuing classic bootlegs and on the other hand making new lavish boxes and basic, one-show titles:
The History & Collected Improvisations of Frank Zappa & The Mothers of Invention(10-CD box re-issue, RXZ 301-310)
Norwegian Rhapsody(2-CD box re-issue, RXZ 311-312/A)
20 Years of Frank Zappa(12-CD box re-issue, RXZ 313A-324A)
The Untouchables(2-CD set re-issue, RXZ 325A-326A)
The Godfather in Full Metal Jacket(2-CD set re-issue, RXZ CD 327A-328A)
An Evening with Frank Zappa & Captain Beefheart(re-issue)
Mothermania(it says (a)RF Records on it, but RXZ Records have advertised it, and may have copied it, or even made it under the name of (a)RF Records to begin with)
The Godfather Meets the Untouchables(3-CD set re-issue)
Broadway the Hard Way in USA(6-CD box, RXZ CD 332A-337A)
Broadway the Hard Way in Europe(6-CD box, RXZ CD 338A-343A)
Bongo Fury El Paso TX(RXZ CD 344A/355A)
Uptown in Chicago Part 1(RXZ CD 346A)
Milwaukee State Fair 8-Oct-1984 Part 1(RXZ CD 347A)
In August 1999, they promised to release the following new bootlegs in September:
El Paso 25-May-1975 (2 CD) [listed now, asBongo Fury El Paso TX]
Chicago 27-Oct-1981 (2-CD box) [first disc listed now, asUptown in Chicago Part 1]
Milwaukee State Fair 8-Oct-1984 Part 1 [listed in May 2000]
Philadelphia 12-13-14-Feb-1988 (6-CD box)
They obviously seem to concentrate on the 1988 tour, and quite a bit of their material overlaps, since they issue the same shows both as separate CDs and as parts of boxes. Their motto: RXZ Records is going to give you whatUNFORTUNATELYwe cant find from the official lines! This does not stop them, however, from bootlegging stuff a few months before its supposed to be officially released (theTrance-Fusionguitar-solo album was scheduled for release in fall 1999, but postponed, for mysterious reasons), or from re-issuing bootlegs that have officially released material on them (even if everything on a bootleg has been officially released).
All RXZ records are CD-R. The label is mostly based with the picture of FZ on Fred Zappelin … its a papersticker.
An American label of the mid- to late 1980s.
The Godfather Meets the Untouchables(4-LP box)
Frankies Greatest Hits- Live 1988(005)
Europe, Backstage & the Mystery Side(ST 006)
The Godfather in Full Metal Jacket(FZ-FMJ)
The Best Band You Never Heard in Your Life… CAN Do That on Stage(10-LP box containingEurope, Backstage & the Mystery SideFrankies Greatest Hits- Live 1988andThe Godfather Meets the Untouchables
TAKRL- The Amazing Kornyphone Record Label
TradeMark of Qualitywas one of the legendary bootleg labels in the very beginning of the 70s, established in 1970 or 1971 by two bootleggers known asDubandKen. They were quality-conscious perfectionists who pressed all their albums on coloured, virgin vinyl, and perhaps the first bootleggers to start doing real, printed picture covers, and later colour picture covers (printed- not inserts in the shrink-wrap!). Their original logo stamp was a realistic-looking pig with the words TRADE MARK OF QUALITY around it.
FromBOOTLEGby Clinton Heylin, page 85:
With TMQs foundation, all pre-TMQ releases were assigned numbers in the 71000 series in approximately chronological order. Though the first real TMQ release was Frank Zappas200 Motels [Live with Zubin Mehta & the LA Philharmonic], 71001 was DylansStealin…
After a while,Dubs dadmoved into the business and fired Ken from TMOQ. Ken set up a rival company, which he also called TMOQ, using a logo with a cartoon pig smoking a cigar, still surrounded by the words TRADE MARK OF QUALITY. Ken started making his own stamper plates from Dubs original mother plates, working in cahoots with the lady who owned and ran the pressing plant, and every time there was a new release from Dubs original TMOQ label, Kens TMOQ would have an exact copy out on black vinyl and with a cheaper cover. Dub then modified his logo to say Accept No Substitutes.
Ken shut down his TMOQ in late 1973, and set up another label calledTAKRL- The Amazing Kornyphone Record Labelwith another bootlegger, Dr Telly Phone. Dub shut down his TMOQ in 1974, after some unnerving investigation from the FBI, and took a short break from bootlegging. Kens TAKRL became a major operator, flanked by many new labels invented by Ken, such asTKRWM- The Kornyphone Records for the Working Man,SODD- Singers Original Double Disks,ZAP- Ze Anonym Plattenspieler, andHHCER- Highway Hi-Fi Collectors Edition Records,Spindizzle/Flat, and probably others upon others. These were finally shut down in 1976/1977, at about the same time as Dub resurrected his old TMOQ for a few albums and then took it back down. Ken stayed in bootlegging with some new labels,IMP/IRW- Impossible RecordworksandExcitable Recordworks, using black & white printed covers, andPhoenixandSaturatedRecords, who repressed old TMQ and TAKRL boots in deluxe colour. At this time, Ken was living in Spain, but his labels were all based in California.
Finally, in the mid-1980s, Ken chaotically resurrected his plethora of labels, along with new aquaintances (Shogun Recordsbeing one) and kept them going for a few years, mostly doing re-issues in conjunction with a new main label calledToasted Recordsthat he had set up with Eric Bristow (another legendary bootlegger), in a last prolific burst of vinyl. Toasted stayed in business well into the 90s, doing bootleg CDs (which they first started pressed in Korea).
This is what I found in a german price guide for bootlegs:
TAKRL (The amazing Kornyphone record label)
USA 1974-1977: US-company with the most bootleg releases beneath TMOQ. All records have inserts and are rare now. Matrix number here is always TAKRL 1xxx (single LPs) or TAKRL 2xxx (2LP sets). Rather expensive.
USA 1978: These versions are nearly always re-releases (partly from own publications in black/white covers. Matrix numbers are always TAKRL 9xx). Not expensive.
USA ca 1986/87: Late US-items of TAKRL with generetic one-colour cover all limited to 500 copies. Matrix number is always TAKRL 14xx (single LPs) or TAKRL 24xx (2LP sets). Not very rare.
Germany 1988: All records are re-releases of earlier bootlegs with a simple insert like the original insert. The back is rubber stamped with Limited edition of 100 copies only, which definitely isnt true in most cases. Matrix number is always the number of the original record. Number on insert is always TAKRL xxxx (2LP sets have TAKRL xxxx/xxxx and so on). Some records in coloured vinyl. Not rare and not very expensive (Rebirth Label).
Note from me: The price guide is from 1991. And there was a homepage of TAKRL not too long ago with trader section and sound samples, pictures of artists and so on… maybe it still exists.
200 Motels Live with Zubin Mehta & the LA Philharmonic(TMOQ 71010, 1970)
Frank Zappa & Hot Rats at the Olympic(TMOQ 71059, 1970)
Double-LP re-issue of200 Motels Live with Zubin Mehta & the LA PhilharmonicandFrank Zappa & Hot Rats at the Olympic(TMOQ 7506, black/coloured vinyl- this may well have been after Dub & Ken split up)
Additional informants:Craig Pinkerton
JohnWizardowas a very serious rock bootleg collector of the very first generation, who hunted down copies ofeverybootleg releasedanywherein the world up to the early 1970s- when he decided to start making his own instead. And did he ever! He quickly became one of the major players, and for parts of the 70s, no other label, except maybeTAKRL, put out more bootlegs than Wizardo. He kept finding new artist to bootleg, and was responsible for the first ever (or some of the very first) bootlegs of artists as disparate as Captain Beefheart, Kiss, Roxy Music, Curved Air, Alice Cooper and Lou Reed. But he was first and foremost a Beatles fan, and he stayed in the business long enough to make some of the first ever CD bootlegs of the Beatle boys.
His logo was a wizard with a pointed hat, a long robe and a staff above the letters WIZARDO. He was to put this logo on at least one Zappa bootleg,Metal Man Has Hornets Wings(Wizardo 365), and in 1984 a European bootlegger using Wizardos logo put outScandinavian Nights Part 1andScandinavian Nights Part 2on the fake-Wizardo label Faboulous Wizardo Records (FWRMB ZX 50-1/2).
Little is known about theZXlabel, other than that it made the famous 10-LP boxThe History & Collected Improvisations of Frank Zappa & the Mothers of Invention(not to be confused with themany-LP boxby the same name that Zappa himself planned but never released), a 10-LP box ofUltra-Modern StringbeanNiftyEin Monster in der MusikhalleIf You Get a HeadacheFrank Zappa vs. the Tooth FairyA Token of My ExtremeI Was a Teenage MaltshopPetrouskaZurkon MusicandBack on the Straight and Narrow(ZX 3651-3660).
These are labels that emerged in Europe (in this case Germany) in the late 80s and early 90s, when the advent of CDs co-incided with new possibilities to exploit gaps in the copyright laws of several European countries, which often were only protecting recordings of foreign artists that were less than 20 years old. By that time, more and more classic rock recordings were becoming 20 years old or more. These companies were actually working within the limits of the law, or at least in a grey area of it, and they hurried to make some quick money before the laws were to be changed later in the 90s. In the meantime, however, they discovered new and revolutionary legal loopholes…
This legitimate Italian label exploited the early 90s protection gap to release some Zappa records:
Armando Curcio is one of the bigger low-budget CD publishers in Italy (especially for classical music), this kind of CDs are always sold in newspaper and book shops.
German/Luxembourg-based protection-gap re-issue companies of the early 90s boom, perhaps with earlier underground roots. Flashback seems to have had a picture/shape-vinyl profile in its day:
The Strong Willie Shape(
Pigs & Repugnance(LP/CD, Flash 04.89.0101-33 (CD number omits the -33))
The String Quartetsunburst vinyl(L-2914) and CD)
For Sharleena(LP (FL 03.90.0113)/ CD)
Jungle Folksongs with Zappa & Kong(
And Tuff Bites made at least one Zappa re-issue:
From somewhere in Nordrhein-Westfalen:
Flashback and Tuff Bites are based in my hometown. I know two of them, one of them was in jail in the US by this famous party police catch some years ago. They first had Flashback, and then split from some of the other guys involved. One part of them formed Tuff Bites then.
Theyve retired now. One of them is a video collector, and he sold all his private stock of the bootlegs for low prices to friends (I bought some of them). He now has a regular job. The other one has a little record distribution, still bootlegs though. They had their stock here in Germany, but the record companies were registered in Luxembourg, for legal reasons.
I was introduced to one of them (the video collector) by a friend, who knows him for many years. That was around two years ago. I knew him from seeing him sometimes at my preferred pub, but wasnt aware about his job. I was told that he wanted to get rid off his private bootleg stock, and so I made a date with him at his home. I entered his home, and he had a lot of shelves on his walls. But all empty… so I asked him whats this all about.
He was an employee of that company (I think Flashback at that time), who was something like a driver, responsible for the transportation jobs. He drove a small van, which was registered in Luxembourg, for tax purposes and because their company was registered there. At one day he had the van full of empty CD trays, bringing them from Luxembourg to their stock here in Germany. Right after he passed the border he ran into a police control. Sure the police wondered about his load, but they let him go. So he drove to his stock, unloaded the van and drove home. What he wasnt aware of was that the police followed him secretly, and so knew where the stock was! A few days later (or maybe even the next day) our customs search officers and police paid a visit to his home in the early morning hours…
He [was put in] prison for two months, his entire video collection and his stereo equipement got confiscated. His record collection remained untouched. Maybe they had no desire to carry away such a heavy-weight collection, it was still there when I visited him. After two months he got free from prison, and got his stereo back, but all damaged. Must be their personal revenge, or something… He was still waiting for his videos. (You see, I met him shortly after he got out of prision).
And now their stock: They confiscated their stock, too, and probably destroyed it (steam-roller?). They unloaded the house the stock were in completely… but havent found the second one in the house next to it!
Now, the problem was that they probably still were under observation from the police or customs, so they werent able to get their hands on their remaining stock. I dont know if they [ever did].
I cant remember the cicumstances why I met the other one, but somehow managed to get a date at a local pub here. We talked about this and that, and sure I asked him about his bootleg buisness. He never told me precisely what his job was really all about, but have the feeling hes one of the main bootleggers, if notthebootlegger of Flashback and Tuff Bites. I felt his responses to my questions were really careful. But he told me about him getting busted in that faked bootlegger party in the US, which seems to be known asthecounterblow against bootlegging in the USA. But he wasnt running into details too much. The only thing I remember is he was in US jail for about half a year, and that US justice wasnt be able to get their hands on him for a longer period since his buisness was outside the US and officially legal over here (as long as such a buisness is based in Luxembourg). Too much exaggeration is made out of this in the media! was his comment, They really had nothing much on their hands to bust the European bootleggers.
Legendary bootleggers of the 1990s and late 1980s who put out the deluxe Zappa boxApocrypha, perhaps the worlds most popular bootleg among Zappa fans. From Clinton HeylinsBOOTLEG, page 310:
Rinaldo Tagliabue:Great Dane consists of a group of collectors. We select artists using our heart, [and] we select our production considering three things: popularity of the artist, quality of available tapes and the sales potential. Theres nothing original in this, except that we consider Europe as our market.
Great Dane, powered by Tagliabue and the Lawyer, were the first label that realised that it was legal in Italy to release live recordings that werelessthan 20 years old- you didnt need permission, you just had to pay the performer fair compensation. In reality, though, far from everything Great Dane released was legal even in Italy- just look atApocryphawith its various forms of material.
Imtratwas the distribution company for Living Legend Records/ Live & Alive, based in Landshut, Bavaria. A major protection-gap company, who were exploiting loopholes in European copyright law in the late 1980s and early 1990s, dumping their usually fully legal but unauthorised CDs on the market in mass quantites at throwaway prices, and making enemies of every conventional record company (and bootlegger!). Live & Alive re-issuedThe ArkasLive USA, with bonus tracks, on LP and CD; in fact, their very first CD. FromBOOTLEGby Clinton Heylin (pages 320-321):
A German gentleman by the name of Wolfgang was the most mercenary, and undiscriminating, of this new breed of underground merchant… Live & Alive was the most shamfeul Wolfgang incarnation. By 1990 there was no need to copy vinyl bootlegs. There were so many CD bootlegs that could be cut up and edited, in short disguised. The quality of the items he appropriated was usually excellent. Wolfgang, though, was not interested in competing with his fellow labels. Live & Alive was strictly designed for supermarket shelves, in huge numbers by bootleg standards… of course, he might as well have been selling baked beans or fake Levis to the Russians.
Mr Toad [a bootlegger]:[Live & Alive] is crap, real bottom of the foodchain stuff…
The most erratic of the vinyl copyists, though, was Torsten Hartmann, whose Living Legend was by 1989 providing cut-price competition for Bulldog and Early Years. Hartmann lacked the necesarry source material to put out good product most of the time, but when the right tapes came his way the results could be impressive…
Torsten Hartmann: [The MCM] tried to put pressure on dealers to stop them selling our reportoire. But we have good lawyers and we offered legal advice to the dealers who were threatened by the major companies.
Required to fight legal battles to stay in business, and unwilling to go back underground, companies like Living Legend and Live & Alives parent company,Imtrat(who between them were responsible for the cut-price crap polluting the European market in 1991-2), were now merely biding their time before a chink in copyright law was closed, and they were forced to burrow back from whence they came.
Tis Is the Season to Be JellyCD re-issue (LLR-CD002)
From the Vaults to the Biggest Halls Volume 1- a sampler (LLPR 901)
The Greatest Flops!!!(LLRCD 223, 1993)
As European copyright law was straightened out through the 90s, this kind of protection-gap labels, who were not illegal underground operators but exploited loopholes in the law, faced harder and harder times. Living Legend probably closed shop before the end of the decade.
The Nota Blu label made a series of protection-gap albums calledThe Easy Rider Generation in Concert, for example one volume calledFrank Zappa & Mothers of Invention, and a compilation volume calledThe Flower Power Hippy Yearswhere they lumped Zappa together with flower-power hippies.
was an Italian protection-gap re-issue CD label from the early 1990s, with reported ties to the Italian Mafia:
Paralipomeni della Batracomiomachia(TB 48)
FromBOOTLEGby Clinton Heylin, page 226:
In Europe, the Germans and Italians had really hit overdrive between 1984 and 1987, churning out hundreds of bootleg titles. The German labels, particularly those run by one Dieter Schubert, had developed a reputation for deluxe, coloured-vinyl releases from quality source tapes. Best of the bunch were the Royal Sound double-albums and a handful of titles on a label that revived the logo, if not the name, ofTMQ- The Swingin Pig. As a vinyl label, The Swingin Pig issued a mere fifteen titles. But Mr Schubert was just gearing up for the next bootleg revolution.
One of those 15 vinyl releases from Swingin Pig was the Zappa bootlegFreaks & Motherfuckers. Page 278:
Dieter Schubert [managing director, Swingin Pig]:The basic philosophy of Swingin Pig is to make available historically important, previously unreleased recordings which would otherwise never see the light of day. Take, for example,Ultra Rare Traxby The Beatles… The Beatles themselves say they dont want them out because they feel the outtakes are not up to normal standards. The public obviosuly has a totally different opinion… The tapes are over twenty years old now, some nearly thirty. Twenty more years in the archives would possibly destroy the tapes, like many outtakes from the fifties, and theyll be lost forever. So even if the quality is sometimes not up to todays digital standard, this is not the point. Casual listeners should, by all means, avoid buying Swingin Pig releases; they will only be disappointed.
The swingin pig in the logo snapped his fingers and wore a fedora. The lable soon became infamous for using the NoNoise noise-reduction system, which caused most of their CDs to sound not so good in my peoples ears [this was a typo; meant to read many people- but when I discovered it, my people looked so good that I kept it in]. They were also among the first tolegallyrelease unauthorised contemporary recordings, exploiting a loophole in the Rome convention that made it technically legal, in countries thathadsigned the Rome convention, to issue recordings, without permission, from countries thathadntsigned it, and the USA hadnt signed it. Their first such release wasAtlantic City 89, a triple-CD box of the Rolling Stones, put out in 1990.
The Sheiks Rehearsals(2 CD, The Swingin Pig TSP-CD-260-1)
Labels of Which Very Little Is Known
My Name is Fritz(7 45-RPM single)
The Mothers of Invention Appleton Album
No Bacon for Breakfast Part 1(NBB 2006)
No Bacon for Breakfast Part 2(ATR 20071-A/B)
was a real record company that Zappa himself set up, but several bootlegs have been issued on one or more fake Barking Pumpkin labels, some in conjuction with
A EuropeanRubber Slicesre-issue (Barking Pumpkin/PAX Records ZAPPA 14)
Scherade Part 1(Barking Pumpkin/PAX-Records Zappa 13 LP20789-6)
Scherade Part 2(Barking Pumpkin LP 20789-7)
Norwegian Rhapsody Volume 1(Todeskuss / Ultraschall/ Barking Pumpkin/PAX Records LP 20789-8, MC 120789-8, CD 220789-8) (the entire production run of
is said to have been confiscated by the law)
NOTE: TheMystery Discsfrom theOld Mastersboxes1and2were counterfeited on vinyl before they were officially re-issued on theMystery DiscCD. The originalMystery Discswere on the real Barking Pumpkin label, and the counterfeitMystery Discswere on a fake Barking Pumpkin label, which has nothing to do with the fake Barking Pumpkin albums above. A bo