Bootleg History

This is the second of three Contraband master lists. Part three will include all releases with a non-10XX and non-3XXX – 50XX number.

Relevant concert performance dates where they can help determine the release date are given in brackets behind some of the titles. Approximate year of release appears without brackets.  I did not separate these by sub label. 

What we can see is that CBM was active into the second half of 1976 but they were at their peak from 1972 – 75. Double LPs were and are rare on CBM.    If I am missing any releases falling into this number range, do let me know. I will present and review every single one of these titles in the coming days and weeks.

3010/4240    King Crimson        Texas Hall 2LP / Arlington, Texas / Crimson Rose Of Texas / A Sympho Session 2LP  (6 October 1973)

WEC-3030  Beatles   20 Never Published Songs                                                                                       

3213        Jimi Hendrix         Rainbow Bridge    1972

3245         Neil Young        Live On Sugar Mountain    (1971-02-01)

3272/3     James Taylor    In Disneyland  2 LP  (March 12 ’71) – copied from Rubber Dubber   1972

3316        Beatles            As Sweet As You Are         1972
3316        Beatles            Don’t Pass Me By                1972
3316C/D        Beatles     Yellow Matter Custard        1972

3403        Bob Dylan       Seventy Dollar Robbery

3426        John Lennon/Rolling Stones        British Blue Jam       1972

3436        Jethro Tull        Ticketron      (22 April 1972)

3508        Rolling Stones     Goin’Back To The Roots: American Tour/July 72   (5 July 1972)                          3512        Bob Dylan            Seventy Dollar Robbery

3519        Beatles            Get Back To Toronto

3552        Beatles            Live Concert Atlanta
3553        Santana           Collectors Item
?             Santana           Collectors Item Vol. 2  [I have found no trace that this exists under this title]

3571        Beatles            Live In Europe & US TV Casts     1972
3571/3795    Beatles        Live In Washington DC        

3585        Beatles            Mary Jane or What’s The New Mary Jane        1972
3586/3436    Jethro Tull        Baltimore And Around (listed in Hot Wacks as “November”)   (12 November 1972 & 22 April 72)
3587        Bob Dylan        Help    bobsboots states 1975(?)

3601/02        Allman Brothers        Nassau Coliseum Vol 1 (30 April or 1 May 1973] 
3603/04        Allman Brothers        Nassau Coliseum Vol 2

3609        Beatles            the BEATLES! Gamma Alpha Records 2LP

3624        Beatles              Have You Heard The Word
3625        Neil Young        Coming Home    (1973-01-29, Norfolk, VA)    Feb 73
3626        Beatles              L.S. Bumble Bee        1973

3640        Beatles              Studio Sessions Volume One    1973
3640        Beatles              Studio Sessions 2        
3640/3641    Beatles          Decca Audition Outtakes – Super Studio Series 2 2LP

3643        Deep Purple       Sonic Zoom   1973
3644        Neil Young          A Bit More  (MSG, NY & 1973-01-29, Norfolk, VA)
3645        Pink Floyd          Floyds of London
3646        Led Zeppelin      BBC Zep

3649        Simon & Garfunkel    McGovern Benefit, MSG  (14 June 1972)

3665/3949        John Lennon         Lennon/McCartney / One To One Concert

3669        The Who            Collector’s Item    (1971-08-13)   
3670        Beatles               Peace Of Mind        late spring 1973

3687        Beatles            Sunday Night At The London Palladium / London Palladium
3687        Beatles            London
3688        Beatles            Paris Again or Sports Palais France – Second Show
3688        Beatles            Live At The Paris Olympia
3689        Rolling Stones            Hyde Park July 1969
3690        Rolling Stones            Rehearsal Sessions ’72 Tour     1973

3711        John Lennon              Telecasts                                                                                                            3712 WEC    Rolling Stones       “We Never Really Got It On Until Detroit”
3713        Led Zeppelin                Going To California
3795        Beatles             Sweden 1963  or Wordwide            July 1973
3795        Beatles             Holland/Sweden – Super Live Concert Series 1
3795        Beatles             Worldwide
3795/8430    Beatles       Super Live Concert Series                                                                                       3796        Jethro Tull        Live May 1973  (17 May 1973)                                                                             3796/3436 Jethro Tull     Retroroc  2 LP

3812        Bob Dylan        Alias
3813        Beatles            Some Other Guy        1973
3814        Bob Dylan        Gas Light Tapes    (Visions Through A Window)    1973
3815        Yes                    …Indeed 1973    (21 April ’73)

3903        Pink Floyd        Fillmore West

3906        Beatles            Cavern Club                    1973
3906        Beatles            Cavern Days – Super Studio Series 5
3907        Beatles            Abbey Road Revisited    1973
3908        Alice Cooper/Jethro T    Ian & Alice  (not Alice & Ian as stated in Hot Wacks)  (Jethro Tull in Denver LP side: 17 May 1973 or 9 July)
3909/3645    Pink Floyd        International Transmission
3910        Allman Brothers    Statesboro Blues

3922        Beatles            Supertracks 1        1973
3922        Beatles            bacTrax sessions  KK    1975                                                                              3923       Beatles             Supertracks 2

3940        Neil Young & Crazy Horse

3947        Rolling Stones            Old Gray Whistle Test: The Guv’nors of R&B
3948 WEC    Rolling Stones      Lord Have Mercy

4010        Bob Dylan        Bob Dylan / The Band

4020        Beatles            Cinelogue 1
TB-4020        Beatles      Cinelogue Let It Be

4022A-C/3665A    Beatles       Cinelogue 6
4022        Paul McCartney        James Paul McCartney

4030       Pink Floyd         Nordestar

4040        C,S,N&Y            Reunion Concert July 25, 1974

4162        Beatles             Live In Melbourne                                                                                                  4163        Pink Floyd        Live At Pompeii
4164        Beatles             Live In Vancouver

4178        Beatles             Live In Italy / Italy
4178/3688A    Beatles    Italy/Paris
4178        Beatles             Back in ’64 At The Hollywood Bowl
4179        Beatles             Stockholm                December 1974
4181        Beatles             Sweet Apple Trax Vol. 2
4182        Beatles             Sweet Apple Trax Vol. 1
4183/2044    George Harrison        Excerpts From Three Major Concerts 2LP  (November 1974)
4184        George Harrison              More From The Tour   (22 November 1974)

4216/7     Beatles            Hot As Sun

4228        Beatles             Forest Hills Tennis Stadium

4240        King Crimson      Crimson Rose Of Texas

4242        Lennon / Hendrix    Day Tripper Jam

4438        Beatles             Hi Ho Silver!

4451        Pink Floyd         Live At Pompeii (reissue)

4463 SH/CBM8440    Pink Floyd        Copenhagen
4464/GT8450    Bob Dylan                  Bloodtakes

4598        Paul McCartney        First American Concert
4599        Paul McCartney        Ft. Worth / Seattle      (May & June 1976)

4749        Beatles              Before Their Time

5030        Beatles              Happy Birthday or Rare Beatles        March 1974
5040        John Lennon    Hounddog
5050        Band                   Down South    (1974-01-17)

Last night, these original rubber stamps used to stamp bootleg covers (in 1996 though for the “Bootleg Archive Series” – not the 1970s, as you can see from the ones included that never had a rubber stamped cover) were auctioned off on eBay. I would have been interested in a couple of them but eBay has started to exclude bidders from other countries if the seller has not listed those regions of the world in the “ships to” section (dumb move if you ask me, some of us have mailing addresses in the US too, or friends…).

rs Last Live Show

rs Spicy Beatles Songs

rs 20 x 4

rs Decca Tapes

rs File Underrs Broadcasts

The seller linked to the following story:

Vesta and I spent six months in New Zealand in a small town called Onarahi outside of Wangarai in the north. We lived next to a cemetery and on Sundays we could see the funerals outside our kitchen window. We called the people at rest there, our quiet neighbors. Being Americans we had to drive to Auckland once a month to go to the mall, because as everybody knows if an American doesn’t breathe mall air at least once a year, they die. When in Auckland we’d go to Dominion Road, one of my favorite places on Earth, and eat at one of the restaurants there. There are so many fine ones and we love to eat, so Dominion Road was made for us. And it was in one of the finer restaurants on Dominion Road that one of my ex bootleg partners—who wants to be left out of the story, so I’ll call him Smith—first brought up the idea of what would later be dubbed the “Archive Series.”

Smith was visiting and we were wining and dining him when he brought up the idea, because he had about a thousand records left over in his garage, records without covers, records doomed to sit boxed up and alone forever. But since I was never planning on returning to the States, I wasn’t interested. Besides, that part of my life was behind me. However, I told him, he could do it himself, to which he replied that it wouldn’t be the same.

When our six months were nearing an end, we went to the immigration people and tried to get an extension, something very hard to do. I told them I was a writer doing a story on the Maoris and I needed more time. They gave us three more months and not a second longer. We had to be on the plane, no excuses. It was the flight out or jail.

Two months later we gave up our house, sold our car and got a rental. We decided to drive around the country, spend some time in the wine country, fly to the top of the glaciers, jet boat on the Shotover river, parasail off a mountain, the usual touristy stuff before we had to leave. We’d planned on going to Surfer’s Paradise in Queensland and return in six months. We figured if we kept trying the Kiwis would eventually take a liking to us and let us stay.

With two days left, we left the car we’d rented for our tour of the south island, took the ferry across, rented another car we could drop at the airport in Auckland, drove out of the Hertz parking lot and three minutes later had a head on collision with sixteen-year-old drunk driver. We spent over a month in hospital and another two recuperating at in a hotel in Wellington.

Then it was back to the States, where we spent a week during Mardi Gras in New Orleans. I could barely walk. Getting around by myself was difficult to say the least. I’d been using a wheelchair, then crutches and had graduated to a cane, but I couldn’t go very far. So, when we left the Big Easy, we decided to rent an Executive apartment in Seal Beach, one of those places that has a gym and a Jacuzzi, so I could work on getting my leg working again.

Smith came by to visit quite often and we’d drink wine in the evening and we’d talk about the old days when we sold boots at swap meets, dodged the law and ferried records around in the middle of the night. Ah, the old days, they always seem better than the present and the new days yet to come.

He still had those records left over from when we did the boots and I did too. He still wanted to put them in white jackets, like the original boots, but at first I still didn’t want to be bothered.

But I kept thinking back to what I did just before Vesta and I went away to Spain, after we quit the biz. I sold my collection to John Tsurgee, better known as Wizardo, for a buck fifty a record. It was a lot of records, quite a chunk of change, but not a fraction of what they’d be worth today. So, I had no records left, not one, save for those mismatched records that had been in storage along with the stuff Vesta and I didn’t want to part with.

Smith is not an avid bootleg collector, but he has the best collection going of the stuff we’d made and of the stuff Dub and I did together. If it came out in colored vinyl, he had to have all the colors. He loved those records. And he hated the fact that he had all those orphans sitting in his garage, over a thousand of them. I didn’t have that many, maybe five hundred, maybe a little less, but some of mine were ones Smith didn’t have, because I’d made them after he’d retired from the bootleg biz and had gone on to bigger and better things.

These days anybody could make these Archive records, because there’s the internet. How hard could it be to find white jackets and rubber stamps? But back then it wasn’t so easy. Smith dragged me to the library in Lakewood and we let our fingers do the walking through the L.A. Yellow Pages, looking for a place that would sell us some plain white jackets. The rubber stamps Smith had made through a friend who owned a Sir Speedy printers in Huntington Beach.

In the end, we spent a lot of money on those rubber stamps, hundreds of dollars for way over a hundred of them. And why would we do this for a product we were never going to sell? For Smith it was a no brainer, because as I said, he loved those records. For me, I didn’t love them so much, but I’d held on to them for a very long time and besides, it was something for me to do.

So we gathered our records together in that Seal Beach Executive Suites apartment and made a list. Some of the records had labels with song titles on them and Smith wanted to make plain white labels and glue them over the song titles to make them look more like the first boots, but that was way way too much trouble, so I put the kaibash on that idea.

As for the pig labels. Smith couldn’t find the labels Dub and I had used, so he bought day glow label paper and printed them out on his Apple laser printer, which used to be mine, but I gave it to him when Vesta and I went away. However, they had to be cut out. At first I tried using a scissors, but the labels looked like shit. Then Smith bought, from a craft store, a circular cutting device, which worked sort of like a compass. After about twenty or thirty tries, I was able to cut out a round label that looked pretty much like the original ones did.

The rubber stamps and the pig labels taken care of, now all we needed was the white jackets and Smith set out to get them. But that turned out to be the hard part, because it seemed they didn’t make them anymore, not like the ones like Dub and I used to use. Now they were glossy and when you stamped ink on them, it rubbed right off. After his third attempt at trying to buy jackets that would take ink and getting no joy, he decided to go back to the first place and have them made up. They cost more then the glossy stock jackets, but heck, back then we had too much money and it was aching to get spent.

So now we had all the pieces. The records, the jackets, the rubber stamps, the pig labels. And for the next couple weeks it was just like the old days, we stamped covers, we stuff jackets and we boxed records.

The first day I circled out a couple hundred of those pig labels while I watched daytime TV. I went to bed early, got up around 5:00 and started cutting out more labels when the room started to shake.

“Earthquake,” Vesta shouted from the bedroom. Then, seeing I wasn’t in bed, she started shouting my name. I guess she’d thought I’d been swallowed up.

“Out here,” I said, “in the living room.”

“We gotta get outta here! We gotta get outta here! We gotta get outta here!” She wasn’t panicking, but she was getting there. Then with a strength I didn’t know she possessed, she pulled me to my feet. I was barefoot and it hurt like hell as I’d broken most of the bones in my right foot during that accident and usually I’d been wearing an oversized Ugg on my right foot with the front of the boot cut away.

But she didn’t care about my pain and I guess I didn’t either, because she was so excited that I didn’t even think about my foot. Not till we were outside and safe on the grass. We’d’ve been safe in the apartment, too, because it didn’t fall down.

Earthquake over, she went inside to get my Ugg and left footed running shoe, muttering as she went, “I hate California.”

Inside, there were little piggies all over the floor. She went to the kitchen, got a bowl, put them in it and I started peeling and sticking and a week later we had our records. No more orphans.

Beatles Get Back Masters
Mine sat until 2006, boxed up in our storage unit and would still be sitting there, but when Vesta and I came back to America, we got involved in a custody battle and lawyers aren’t cheap. My son sold some of his collection on eBay and then we decided to sell the so called Archive records. We did okay with them and they paid the attorney’s fees.

So, mine are all gone. But Smith, he’s still got his. He watched with amusement as mine sold on eBay, some bringing a pretty penny, but he’s never been tempted. Of course, he invested wisely.

I’ve asked Smith in the past what he’s going to do with his collection.

His answer, “Since I can’t take them with me, my kids will probably donate them to the Salvation Army or the Goodwill.” So if you’re a collector, you might want to start checking out the thrifts, because Smith, like me, is getting up there in years.

We Were Young and We Were Greedy

After I got the boot from the bootleg biz by Big Dub, Dub became known as Little Dub. I missed working with him, because he was good at putting the material together and I was not. I did the ‘RAH’ record, sure, but an idiot could have done that.

I bought a 650 Kawasaki BSA rip of. British bikes were cool, but you had to always be working on ’em. The Kawasaki made the real deal seem golden, it was always apart, so I bought a new Triumph Bonneville, had the fork extended, got tall handle bars, I don’t remember what they were called back then, sort of like the Ape Hanger Bars you see on Harleys today. I was cool and I liked to ride.

And one day I rode out to Riverside, about an hour from Long Beach on the new extension to the 91 Freeway. They had kind of an old town, walking type street and since I liked being a tourist, I touristed off and I found Betty’s Records. A stupid name, to be sure, but what a great store and they sold bootlegs.

I asked for the manager, who’s name I don’t remember, but the guy who ran the place was named Harry. He wanted to buy boots, but I only had the one, plus about 5,000 Donovan records in a friend’s garage. I wanted to sell these guys records and I reasoned that the Dubs would be glad to sell them to me if I paid the going rate, which was a buck fifty a record. They were more than generous and sold them to me for a buck which allowed them to double their money and I could sell them for a buck and half and do alright.

Vesta and I were back in school, because we weren’t working and being uneducated is just stupid. Every weekend I’d drive out to Riverside and I found a couple other stores to sell to out there where nobody knew me. I was still paranoid.

But I wasn’t going to be paranoid for long, because the money was running out. We needed money, because we had two babies and we’d learned that we didn’t like going to work. So tried out a swap meat, sold the records retail in front of God and everybody for three dollars each or two for five, doubles five dollars. We made a couple hundred bucks our first time out and for the next year or so that’s what we did. I bought from the Dubs and Vesta and I worked the La Marada swap meet at the La Marada drive in in La Marada, California (that’s a lotta La Maradas). We’d leave at 9:00 and wait in line till dawn, when they let us in. In those days those at the head of the line got the best spots.

Eventually I was working several swap meets. All at drive ins. I had two brothers, both also in school and a couple friends I was supplying with the records I was getting from the Dubs, but I knew it couldn’t last.

Now I have to back up here, In a previous post I talked about how Kay at Lewis Record MFG copied Dub’s stampers (which were really half mine) for me, but this, what I said above, was happening concurrently. I hadn’t gotten around to pressing any of his records yet, because I didn’t have any accounts. I suppose I could’ve taken over Dub’s and eventually I would, but at that point in time I was too dumb and stupid to think about it.

Besides, I was kind of doing okay, selling Dub’s records to my few stores and at the swap meets. But Dub was getting new stereo equipment all the time, Big Dub quit the Post Office and was stylin’, while Vesta and I were going to school and working our buns off. Sure we had new cars. Sure I had a great bike. Sure we had new furniture. Sure we had stuff. But we weren’t stylin’. We weren’t leaving twenty dollar tips for ten dollar meals. We weren’t taking long vacations. We weren’t dripping in money, rolling around in it. We wanted that.

Back to Betty’s. One day after I dropped the records off, they’d only ordered fifty or so, so I strapped them on the back of my Bonneville and drove ’em on out. Gary, that’s the name of the owner. Gary Sparger, I’m surprised I remembered that. He asked me if I’d like to stop by a friend’s house for a few drinks. That was back when drinking and driving was okay if you didn’t get caught and if you did you just got a slap on the wrist unless you killed someone, so I said sure.

No girls there, just Gary, Harry and a couple guys I didn’t know. They were making Sangria. Years later, when I was living in Spain, I’d often look back when I was drinking it at an outdoor restaurant and remember their Sangria recipe. Here it is: You take a bottle of Spinata — a cheap wine you could get back then, maybe you still can. You squeeze a lime in it. Add lots of fruit bits, heavy on orange slices and canned grapefruit with a little canned pineapple stirred in. Then you add two two hits of mescaline and two hits of acid. Then you stir briskly and smoke a joint while you’re waiting for the flavors to blend.

After a glass and twenty minutes or so we were all doing alright. Somebody found a twenty-two rifle and several boxes of bullets, so we set up cards in a towel cabinet at one end of a hallway and started target practice. We did this till someone realized we’d drilled a hole through the back of the cabinet, through the wall into a bedroom and through the wall opposite. We’d been shooting out into the street. It’s a miracle we weren’t caught and taken away. But we weren’t.

And Harry and I got to know each other a bit. Turns out he and a friend wanted to open a poster business and they thought they needed a third partner and they thought I’d fill the bill nicely. I never dreamed they could’ve wanted me because my dad, whose record business went bust, now had a poster one stop and was selling to all the hippy stores. Being young, dumb and maybe a bit stoned, I said okay.

A month later, after we’d printed up our first batch and sold ’em to, you guess it, my dad. Harry and partner dropped by my house unexpectedly one evening. Since Riverside was an hour away, I didn’t think they’d just happened to be in the neighborhood. I knew right away they were gonna give me the old heave ho. I’d been there before and could see it coming from clear across the room. But what they didn’t know was that I’d met the printer and had a plan to take bootlegs to a whole ’nother level and I’d planned on including them, we were partners, after all.

But I was out now and Vesta and I were on our own again. We were young, we were greedy and we had a couple Beatles tapes.

To recap, in late summer 1969 and throughout the fall, tape copies of one of producer Glyn John’s early acetate collection of the Get Back sessions were aired by a number of American radio stations. One of them was WBCN in Boston, who had obtained a reel-to-reel tape of an acetate and broadcast the tape on 22 September 1969. The broadcast was preserved on another high-quality reel by a listener and by the end of 1969, the recordings turned up on The Beatles’ first bootleg release titled Kum Back, released in January of 1970.

In early 1970, the next Get Back era bootlegs were the Silver Album released the same month and shortly after that Get Back To Toronto on I.P.F. Records .

A1         John & Yoko Peace Message (5:31)    VG
A2        Get Back (3:07)    RS1, 28 January, 1969    Ex
A3         Teddy Boy (5:56)            EX        
A3         Two Of Us (0:09)            EX
A4        Two Of Us (3:43)            EX         
A5         Dig A Pony (4:05)            EX
Stereo mixes, recorded in Apple’s basement studio, 22-24 January, 1969
B1         I Got A Feeling (2:56)            EX        
B2         Let It Be (4:00)            EX        
B3         Don’t Let Me Down (3:53)        EX        
B4         For You Blue (2:56)            EX         
B5         Get Back (2:52)                EX        
B6         The Walk (0:55)                EX
Stereo mixes, recorded in Apple’s basement studio, 22-27 January, 1969                                              B7         Christmas Time (Is Here Again) (6:06)   EX

Beatles GBtToronto

Beatles GBtToronto lbl

Matrix – A: HA HA / B: HO HO

Further matrix variations are IPF-1-A S-2142 / IPF-1-B S-2143, LOEB side 1/ LOEB side 2 and RP-23A / RP-23B, which was also used for this block letter design shown here:

Beatles GBtToronto lbl 2

Beatles GBtToronto 2

The label commonly found with the Peace Sign cover and original I.P.F. Records release looks like the first one shown. The cover exists at least in grey as well.

In 1972, CBM copied this title and changed the matrix to 3519 A/B and degraded the tracks to mono.
Beatles GBtToronto

If the insert is still present, it usually does not have the CBM typical record icon seen above and the CBM version can be immediately identified by its generic cartoon back cover.

CBM also added two stickers to the shrink wrap. One saying “THE BEATLES – THEIR UNRELEASED REHEARSAL CUTS – 1970″ (to make sure everyone had no doubt who the performers were) and

“Notices Of Intention To Use Copyrighted Material, Filed Where Necessary. All Statutory Royalties Paid. CBM Music. Norfolk, Virginia”.

The same notice, this time printed on the cover insert, can also be seen in the lower left corner of the CBM title British Blue Jam.

Beatles GBtToronto 2

It seems that the CBM version came with two stickers:

CBM sticker 1

CBM copyright

CBM IA KK SH generic back

Beatles GBtToronto lbl

In the summer and fall of 1963 a Beatles fan in the UK taped several episodes of the BBC “Pop Go The Beatles” radio series and held on to the tapes. By 1971 a copy of these recordings has made its way to California where Dub and his dad acquired and pressed it into what became known as Yellow Matter Custard. What made it most desirable was that 13 out of these 14 songs would never be recorded again in a studio setting and never become commercially available. Subsequently, when John Lennon was presented with a copy of Yellow Matter Custard on December 7th 1971 – likely the first non-Get Back acetate derived Beatles bootleg he ever heard and became genuinely excited about. After not believing that it was the Beatles, he misidentified it as the tape of their Decca test performance from January 1st, 1962, seemingly having forgotten all about the many BBC radio shows he had recorded.

The trade. That:

Beatles YMCustard

For this:

signed Butcher front

Signed Butcher cover slick

It made a nice Christmas gift for Paul and Linda as well:

John bootleg

[From Hunter Davies’ book The John Lennon Letters]

01. I Got A Woman*  (Charles/Richards)  2:32        Recorded July 16. 1963 – Broadcast on August 13 1963

02. Glad All Over*  (Schroeder/Tepper/Bennett)  1:51    Recorded July 16. 1963 – Broadcast August 20 1963

03. I Just Don’t Understand*  (Wilkin/Westberry)  2:48     Recorded July 16, 1963 – Broadcast August 20 1963

04. Slow Down*  (Williams)  2:34     Recorded July 16, 1963 – Broadcast August 20 1963

05. Don’t Ever Change*  (Goffin/King) 2:06     Recorded August 1. 1963 – Broadcast August 27 1963

06. A Shot Of Rhythm And Blues*  (Thompson)  2:18      Recorded August 1, 1963 – Broadcast August 27, 1963

07. Sure To Fall (In Love With You) (Perkins/Claunch/Cantrell)  2:21    Recorded September 3, 1963 – Broadcast September 24, 1963

08. Nothin’ Shakin’ (But The Leaves On The Trees)* (Colacrai/Fontaine/Lampert/Cleveland)  2:57  Recorded July 10, 1963 – Broadcast July 23, 1963

09. Lonesome Tears In My Eyes*   (Burnette/Burnette/Burlison/Mortimer)  2:33   Recorded July 10, 1963 – Broadcast July 10, 1963

10. So How Come (No One Loves Me)*   (Bryant/Bryant) 1:52        Recorded July 10, 1963 – Broadcast July 23rd 1963

11. I’m Gonna Sit Right Down And Cry (Over You)*    (Thomas/Biggs)  1:59    Recorded July 16, 1963 – Broadcast August 6, 1963

12. Crying, Waiting, Hoping*  (Holly)  2:08     Recorded July 16, 1963 – Broadcast August 6, 1963 

13. To Know Her Is To Love Her*   (Spector)  2:46     Recorded July 16, 1963 – Broadcast August 6, 1963

14. The Honeymoon Song*   (Theodorakis/Sansom)  1:39    Recorded July 16, 1963 – Broadcast on August 6 1963

* officially released on Live at the BBC

It would be easy to amass 25 different versions of YMC, here are three different CBM version:

Beatles YMC

On Instant Analysis:

Beatles YMC IA

And on King Kong:

Beatles YMC KK


Beatles YMC J 11 12

Beatles YMC J 11 12 detail

The Japan copy as part of the JL series (# 11/12) used a unique textured cover.


Contraband Music got its start in 1970, most probably by copying Dub & Ken’s early titles (GWW, Live On Blueberry Hill, etc.). We know for sure that the person responsible for the operation was based in Virginia. They may or may not have been a law student at the time and the same applies to an alleged specialization in copyright law (oh, the irony!).

The book “Black Market Beatles” by Berkenstadt and Belmo has an interview with someone who states they supplied CBM with source tapes, among them one of CBM’s best and most releases, The Beatles’ Sweet Apple Trax Vols. 1 &  2, which came out in late 1974.

Contraband had quite a healthy output during its time, which claims lasted until 1978; I counted 154 titles (some are just re-releases under a different title though) and I am probably still missing a few.Their numbering system across these four labels is quite challenging for the reseracher. Apart from their main 1000, 3000 and 4000 series, there  are numbers based on the artist, such as “NY/B1″ and “BD 1011″, other letter & number combinations (“Z999″), and confusing matrix numbers “3909/3645″ is for Pink Floyd International Transmission, for example.

King Kong Records

“Always turns up with bad pressing vinyl (typical CBM/Contra Band..)” – an eBay seller in his ad.

Generally, their releases have acquired a bad reputation for being a mostly copy label releasing inferior quality releases with primitive cover design but this is not true as they released some really good stuff – which today can be quite hard to find. I find CBM and its sister labels quite fascinating.

One (bootleg) label that I have never read anything about was LA based Death Records, a Wizardo sub-label slotting in nicely into WRMB’s 500 series and sharing its cover design. Despite the morbid name, this was one cutting edge label in its time, up there with TAKRL, although with about 5% of the output. They certainly took some chances, produced a couple of legendary titles and worked very economically by sometimes recording both the opening and the main act and releasing both. They also made the most out of their ‘field trip’ to Seattle in April of 1977. Audio quality was not one of its stronger points though but that is balanced out by providing us with the only source for these recordings in almost all cases. At least these were not copied from other labels or common nationwide radio broadcasts.

Doing research on this label is tough, as the name was, of course, irresistible to many punk and death metal publishers. If you enter “Death Records” into popsike, you get 25000 hits! It’s like searching for a couple of needles in a really big haystack.If there are any missing releases, please let me know and I will add them.

352 Paul Simon & George Harrison “Live From New York…”

507 Jefferson Starship live ‘L.A. Forum Sept 30 1976′ [alson on WRMB 507, titled ‘Live’]

520 Heart ‘Frostbacks Live, L.A. Forum’ – September 30 ’76 [Heart opened for Jefferson Starship]

521 Peter Frampton ‘In London’

525 Runaways ‘No Olds Allowed’ – Santa Monica Civic, April 1, ’77
526 Cheap Trick ‘In Concert’ – Santa Monica Civic, April 1, ’77 [supporting The Runaways]


529 George Harrison & Bob Dylan ‘When Everybody Comes To Town’                                                      530 Dolly Parton ‘Live In Hollywood’ – The Roxy, April 15 ’77
531 Procol Harum ‘Snails and Pentagrams’ – Seattle Arena, April 20 ’77 [supporting Supertramp]
532 Supertramp ‘Live’ – Seattle Arena, April 20 ’77
533 Tangerine Dream ‘Fotzenslecker / Netz-Lautstärke’ – Seattle Paramount Theater, April 21 ’77
534 Nils Lofgren ‘Old Grey Whistle’

536 Jefferson Airplane ‘Flight Log’ [death / Canyon release]

I did not find any cover images for the D. Parton and Procol Harum releases and for N.Lofgren just for the limited K&S re-issue “In London” but I will cover all the others in detail, I have the Cheap Trick LP documented quite well as I used to own and recorded it some 30 years ago.


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