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Re: (TV) The man who recorded the original "Arrow" boot says:


Does he still have cassettes?  Or a first generation copy?  Would be nice to get copies!

-----Original Message-----
>From: Dennis D <dend@nyc.rr.com>
>Sent: Feb 23, 2014 9:33 PM
>To: tv@obbard.com
>Subject: Re: (TV) The man who recorded the original "Arrow" boot says:
>There was a taper back in the day that did a lot of mail order stuff under 
>the name of Charles R Ackers a/k/a Crackers.
>I always though he recorded that show. I had a copy of it well before it was 
>released as a bootleg. I can't remember Crackers real name though,
>I haven't seen him since like 1980.
>Subject: RE: (TV) The man who recorded the original "Arrow" boot says:
>Was his name Dan.  I believe I know who he is.
>But thanks, I had no idea the Arrow boot was the Roslyn show.
>Scott Simpson
>212 795 2846
>-----Original Message-----
>From: tv-owner@obbard.com [mailto:tv-owner@obbard.com] On Behalf Of Keith
>Sent: Sunday, February 23, 2014 4:21 PM
>To: tv@obbard.com
>Subject: (TV) The man who recorded the original "Arrow" boot says:
>I moved to New York in the spring of 1977, following a weekend jaunt which
>included a trip to CBGB for a first taste of live Television.
>Returning to Ohio, I spent a trial night in an apartment at The Plaza in
>Cleveland recently vacated by an aspiring Contortion. As I surveyed the
>frozen parking lot next morning to make sure my Studebaker was still there,
>I decided that if I was going to move someplace scary and bleak, I might as
>well think big. But by the time I got back to Manhattan, Richard Lloyd was
>in rehab in preparation for Television's European debut, so almost a year
>passed before I got the chance for a recharge.
>When show day finally came I hid my Nakamichi 550 in the bottom of a
>crumpled bag of thrift store shirts and set out for Long Island, where the
>expected fireworks ensued. A couple of years later a friend with a mail
>order record business (another big Television fan) suggested a bootleg of
>the big night. Most of them went to an exporter he worked with, but I would
>visit Bleecker Bob in the West Village a couple of times a week to sell to
>this notorious cheapskate, a pitiful few copies at a time. Although it was a
>steady seller in his shop, he refused to tie up his working capital. He
>always complained about the cover, too.
>At some point, Neil Cooper of ROIR decided to make a play for the cassette
>masters, advising my partner in crime that he intended to reissue with or
>without our cooperation. We eventually gave in, surprising Verlaine with a
>modest royalty payment the next time he came around to unload dispensables
>from his record collection - like the L'Intrepide Bavon Marie Marie LP I
>took home. Whenever our little project is mentioned, there's always a
>disclaimer that the original vinyl boot sounds better than the Blow Up
>reissue. Well, we tried. Disc mastering was done at an upper crust Hollywood
>establishment when Lindsey Buckingham had finally run out of coke and gone
>home for the day, the metal stampers came from Europadisk, the first
>high-end facility of its kind in the US. I also rejected test pressings from
>three boroughs plants before I found one in outer Jersey that could handle
>grooves narrowed by the twenty-five minutes per side running time. It was
>only as I was preparing this post that I discovered The Blow Up omits Poor
>Circulation, Arrow's rarest gem.
>arrow (bootleg)
>double exposure f-85 (1980)
>01 Fire Engine 4.19
>02 Poor Circulation 5.31
>03 Little Johnny Jewel 14.44
>04 Knockin' On Heaven's Door 8.07
>05 Prove It 5.20
>06 Friction 4.58
>07 (I Can't Get No) Satisfaction 7.11
>Mitali du Monde said...
>Being that "mail order" dealer
>referred to here, I can verify that the author (who was always an extremely
>tasteful gentleman,and though we're out of touch,one of the persons in my
>life I will always have a warm spot for) took exceptional effort to asure a
>quality release. We were proud when Tom Verlaine wanted to "legitimize" the
>recording, and it was mainly done for the love of the music. The "master"
>was sold for a very nominal fee to ROIR, and indeed,several royalty payments
>were made directly to the artist.(I embarassingly refused a 20% "tip" Tom
>offered me, and some of my mail order customers got a unique bonus when
>Verlaine defaced the covers of the Italian "Eno demos" LPs I had by writing
>legends such as "the info about these recordings is pure bull.." on each and
>every cover!) And I still listen to a Bavon Marie Marie LP I also got when
>purchasing one of Tom's collections!!
>found here:
>"The Wonder - Tom Verlaine, Television & Stuff"
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