Dittolino Discs


Jethro Tull RFW 3Jethro Tull RFW

Jethro Tull RFW 5

A copy of TMOQ’s MY GOD! – first released in May of 1970 with square Athapascan labels and 20 1/2 matrix markings. Later known as 71005.

The seller wrote about the album shown below: “Writing on the back cover leads me to believe this lp was purchased on 9/25/1970″. So this one came from one of the first pressing runs. Vinyl looks black but was described as purple. This was only the second ever Dub Taylor/TMOQ release to be issued on colored vinyl (after Donovan’s Reedy River).


Jethro Tull My God 9 70

Ken:While I was away Dub had mastered My God, by Jethro Tull which was mostly B sides added to a couple live songs he record in Long Beach with his shotgun mic.

Tull Long Beach 1970

April 19, 1970
Long Beach, CA. Long Beach Arena


A half-pirate release. Dub selected only two segments from his audience recording and filled  side two with UK singles and B-sides that had not been released in the U.S.:

Love Story / A Christmas Song    November 1968  WIP 6048  (reached # 29 in UK)  – 2nd ever Jethro Tull 45

Sweet Dream / 17    October 1969  WIP 6070  (# 9 in UK)    – 4th JT 45

The Witch’s Promise / The Teacher  January 1970    WIP 6077  (# 4 in UK)   – 5th JT 45


Jethro Tull Flute Cake st

For the famous FLUTE CAKE title, we are looking at four options, with the first two assuming that TMOQ’s 71044 release from July 1972 was the original and Dittolino copied it:

1. Dub bought a ticket to Tull’s next swing through So. Cal. at the Anaheim Convention Center on 19 October 1970 and recorded the show himself but did not ready it for a release it until 21 months later.

2. Someone else had recorded the performance and Dub received the tape only in 1972.

3. Dittolini were the first to release this album.

4. Another bootlegger was first, which would explain the time gap and the unusual matrix numbers of KW – 215344 A / B (also found on the Freebooter label).

Jethro Tull FC Freebooter

Jethro Tull Flute Cake FB lbl

Or perhaps, this was just a disguise used by Dub … or that sticker never belonged there:

Jethro Tull Flute Cake FB


Jethro Tull Flute Cake 1’s TMOQ wiki says the first version had this label type.


Jethro Tull
Anaheim Convention Center, Anaheim, California
19 October 1970

01.  Nothing is Easy 7:40
02.  My God 11:41
03.  We Used to Know 3:20
04.  With You There to Help Me / By Kind Permission Of 13:06
05.  Song for Jeffrey 5:13
06.  Sossity, You’re a Woman 5:33

Total time: 46:37


Grateful Dead Live DeadGrateful Dead Live Dead 2

The Dead played two sets at the ‘Closing of the Fillmore West’ five day concert series. Their performance took place on July 2nd, lasting into the early hours of the 3rd.Same source as Dittolino’s Creedence Clearwater Revival release featured on this blog recently.

“This was an FM broadcast. I heard it live on KMET FM in Los Angeles. I was a lifeguard in Newport Beach at the time. My friends and I were all pumped up to hear this show since KMET was building it up all week long. We gathered around the stereo and listened, and I remember the NRPS show too. It was also broadcast. I remember wishing I had a recorder, but it was 1971, I was a poor just graduated high school kid and, oh well, hey, I just found the show again when I was 53. Not bad! This show was also available a few months later on a bootleg vinyl that I bought and wore out on the old phonograph device.”
“This is from the KSFX-FM broadcast the night of the show.KSAN in SF and KMET in LA also aired the live broadcast.”

Read more:

Set 1:

1 Bill Graham Introduction 00:53
    2 Bertha 06:01
    3 Me And Bobby McGee 08:01
4 Next Time You See Me 05:13
    5 China Cat Sunflower 07:25
    6 I Know You Rider 06:01
7 Playing In The Band 09:00
    8 Loser 10:12
    9 Ain’t It Crazy (The Rub) 05:36
    10 Me and My Uncle 04:16
    11 Big Railroad Blues 03:49
    12 Hard To Handle 08:03
    13 Deal 07:20
    14 Promised Land 03:20
    15 Good Lovin’ 18:25

Set 2:

1 Sugar Magnolia 07:12
    2 Sing Me Back Home 10:42
    3 Mama Tried 04:01
    4 Dedication to Owsley 00:54
    5 Cryptical Envelopment 02:06
    6 Drums 05:16
    7 The Other One 16:18
    8 Big Boss Man 06:14
    9 Casey Jones 06:39
    10 Not Fade Away 04:11
    11 Goin’ Down The Road Feelin’ Bad 08:39
    12 Not Fade Away 09:26
    13 Johnny B. Goode 03:57

It seems that many of these performances made it onto the double set but I am not enough of an expert to confirm what is missing.


Grateful Dead Mystery of the

This auction from February of 2013 called the album mystery of the dead but this was most likely a made up title but this is obviously a copy of LIVE DEAD, visually enhanced by a former owner with the added photos.

“this is a mysterious looking album [...] on dittolino label, the cover has a picture of garcia on the front and the band on the back, i hav’nt seen the garcia picture before the back one looks like it may have come off historic dead? i do not know,  the songlist side 1. 1. bertha 2. bobby mcgee 3. lied, cheated 4. china cat 5. i know you rider side 2. 1. playing in the band 2. loser 3. aint it crazy 4. me and my uncle 5. railroad blues 6. sunshine daydream side 3. 1. sing me back home 2. mama tried . casey jones 5. johnny b. goode side 4. 1. sugar magnolia 2.uncles john’s band 3 the other one, dedicated to owsley “in jail”, this is an album i have not seen before, i believe it to be very rare, this is a soundboard recording, live from somewhere, bill graham does an intro,”


This was a popular bootleg due to its excellent sound quality and was issued by many bootleggers. Who was first? I actually do not know in this case.

Grateful Dead live Dittolini b

Referred to as a Dittolino release at auction, this version looks like an early Berkely release to me, presented by “Record Revolution”. Hopefully, nobody happened upon this cover art while under the influence of a bad LSD trip – I’d hate to have this crowd come to life and jump off the cover.

Grateful Dead Live Ditto Inner

Grateful Dead live Dittolini


Grateful Dead F West HH 2


Grateful Dead F West HH

Matrix: HH Dead Fillmore


Grateful Dead Fillmore West cv

Garteful Dead Fillmore West mcv

Strange labels on these colored releases with the smoking pig logo.


Grateful Dead Fillmore W 2805

TMOQ 71014 – one of Ken’s releases and mentioned in the TMOQ – 2 wiki but without a release date.          I would pinpoint the year to 1973 as ‘smoking pig’ 72012 – Alice Cooper – You’re All Crazier Than I Am  [to be distinguished from Dub's # 71012: The Beatles Vancouver 1964 ] was released in that year. 


The TMOQ / mammary presentations MM 4 release recorded LIVE in concert – matrix: MEL (later editions with the printed Kama Sutra cover had DEAD-2/1), seems to derive from a radio broadcast from the Winterland in 1970 (October 4th?) and not from the last night at the Fillmore West as listed in HOTWACKS.


Fillmore West Closing

Two tracks – “Casey Jones” and “Johnny B. Goode” were officially released in 1972 on the 3 LP set Fillmore – The Last Days

John E Live

HOTWACKS states: Made from the same plates as ‘Live E.Jay’ (Dittolino Discs).

John E KEDAlive 2

John E KEDAlive 3

John E KED Alive lbl

WABC-FM New York radio broadcast – 17 November ’70, officially released on 9 April 1971, possibly after several bootleg titles had already been spotted. This created a unique situation, where for the first time in the history a commercial release had to compete with bootlegs containing identical material, available in sufficient quantities to cause concern.

However, as I have written here before, I am somewhat doubtful of the claim found on wikipedia, taken from Heylin’s book, stating ” It has been said that the release by an eastern bootlegger of the whole 60-minute aircast rather than the 40 minutes selected by Dick James Music significantly cut into the US sales of the live album.”

None of the single LP releases, like radiocord or Keylo’s VERY ALIVE [really a TMOQ release] contained the complete broadcast. The double album shown here would be the only one that fits that description but it is quite hard to find, which is not what you’d expect from a significant seller, even 40+ years after the fact. I don’t doubt that all of these bootlegs combined put a modest dent into sales of the official album (I would be surprised if it was more than 25,000 although whether this was before or after the official release date would have to be looked at in detail), especially VERY ALIVE in its imitation brown leather cover is still easy to locate these days but that is the risk you take as a record company when you release a performance that was already broadcast to potentially hundreds of thousands of listeners several months earlier.

The original broadcast had consisted of:

I Need You To Turn To
Your Song
Country Comfort
Border Song
Indian Sunset
Bad Side Of The Moon
Take Me To The Pilot
Sixty Years On
Honky Tonk Women
Can I Put You On
Burn Down The Mission (including My Baby Left Me & Get Back)
My Father’s Gun (encore)


KNOCKINEM DEAD – ALIVE / LIVE (E JAY) is the only bootleg that contains the whole show (but not in the original running order):

Side 1: I Need You To Turn To / Your Song / Bad Side Of The Moon / Country Comfort
Side 2: Can I Put You On / Border Song / Sixty Years On
Side 3: Indian Sunset / Honky Tonk Women / Amoreena / Take Me To The Pilot
Side 4: Burn Down The Mission (including My Baby Left Me & Get Back) / My Father’s Gun



A similar situation to Deep Purple’s H Bomb, which was available with the same type of stamped cover, either with Dittolino or ‘title’ Kustom labels:

Deep Purple HB stamp KustDeep Purple HB Dittolini

This points to a rather close working relationship between Kustom and Dittolino Records. Both were mainly copy labels, with Kustom focusing on European releases, and both operated at the same time, from 1971 onwards, when this Elton John title taken from his radio broadcast was released. I do not think however, that Kustom was a side label run by the same people who did Dittolino Records.


Kustom Records Discography [Deep Purple, Beatles & Elton John titles also produced by Dittolino]:


- DEEP PURPLE H-Bomb   ASC-001, Matrix numbers on vinyl: side1: 2001-A; side 2: 2001-B

DeepPurple H Bomb K

Live in Aachen, Germany – 11 July 1970. Probably a copy of this 1970 Italian bootleg – possibly the first to be produced in Italy:

Deep Purple Space vol 1

- THE BEATLES – Live At SheaThe Only Live Recording  ASC-002,  Matrix: SHEA – 1/2 

Beatles LaShea Kustom

- THE BEATLES – Judy  ASC-003, Matrix : A/1 2002 – A / B/2 2002 – B [all pirated officially released tracks, with every song title changed by the bootleggers.]

Beatles JudyBeatles Judy b

- ASC-004 ?


- JIMI HENDRIX – Goodbye Jimi   Kustom 005

Hendrix Goodbye Jimi 4

A quality degenerated copy of the UK White Cover Folks bootleg # 723:

Hendrix Goodbye Jimi WCF 2

“[WCF's] most successful title was a superb Hendrix collection, Goodbye Jimi, drawn from BBC Top Gear radio sessions, which apparently sold some 9,000 copies.” [Heylin, p. 148]

 Dittolino also issued this title as LIVE EXPERIENCE(S)

Hendrix Live Experiences

Hendrix Live Experiences insert

as did TMOQ did under this title in June of 1971 as JH-107 / 1841 / 71019:

Hendrix Broadcasts purple disc I

- ELTON JOHN – Goodbye Knockin’ Em Dead – Alive  006

1. Talkin’ Bear Picnic

Dylan Talking Bear Picnic

A very rare item. It is not in HOTWACKS, not in the 1980 book The Great White Answers


Dylan GW Answers

And has not been added to the variations on

The title has been changed from Talkin’ Bear Mountain Massacre Picnic Blues (probably to allow Dittolino to use a smaller and cheaper stamp for the front cover) –  the “great quality” 1971 TMOQ release containing Freewheelin’ session outtakes and one Witmark demo:


Dylan Talkin'Bear Mt. Massacre Picnic Blues

“Early inserts included the text ” Cover Design Made For “Trade Mark of Quality” by PoPo Productions”
and were mainly exclusive to Dylan issues. PoPo Productions started as a small time bootlegger and in short order became aligned with TMQ. Dub probably recruited Mr. PoPo to design Dylan inserts much like he later recruited William Stout for TMQ’s cover art designs. Unlike Stout though Mr. PoPo was also involved in the bootlegging vinyl side of the business. His contribution to the TMQ Dylan catalogue included two titles “Let Me Die In My Footsteps” and “Blind Boy Grunt”. PoPo Productions is often referred to as TMQ’s sister label.
bob-dylan- Freewheelin
2. Looking Back
Dylan B Looking Back 2
Dylan B Looking Back
# 0008 
Issued in 1971 by Dittolino, when they would still number their releases in their early days. Copied from the 1970 Zerocks double LP of the same name, that premiered the “Royal Albert Hall 1966″ (in reality, Manchester Free Trade Hall) material in the U.S. This material would subsequently be issued in different formats/compilations and by several different bootleg labels as it remained very popular.
Dylan Looking Back Zerocks
Dylan Looking Back b Zerocks
3. Blind Boy Grunt
Dylan BB Grunt
Dylan B BB Grunt 1
“This LP was repackaged with various combinations of blank white, 1&2 , Dittolino Discs, and full printed labels.” []
Released by Dittolino ca. 1972/3, either copied from the BBG original or the TMOQ – PoPo title shown below. 
More info on the contents found here:
‘Linealogy’ for this release:
1971:  BBG LP Kindest Cut , matrix: RI 3145
Most of the time when this LP is described or pictured, there is only a title sticker on the front and a track list sticker for the back:
Dylan Kindest Cut sticker
Dylan Kindest Cut tlist
Dylan Kindest Cut lbl 2
However, I have since come across this image and it seems that the LP may have been subtitled Blind Boy Grunt from the start but either: a. this insert was only available for a limited time, b. most people lost it over time or c. this is a fake (however, as BBG is an abbreviation for the title in question we can probably rule that out):
Dylan Kindest Cut BBG
Dylan recorded under the pseudonym “Blind Boy Grunt” in sessions for Broadside magazine in 1962/3.
September 1972: TMOQ + PoPo Productions issued this as Blind Boy Grunt – copied from the BBG release; Matrix: Blind Boy g    A / B [the lowercase 'g' easily mistaken for a '9']
Dylan BB Grunt
Dittolini’s copy was just one of many, including this one by Berkeley, also ca. 1973:
Dylan Kindest Cut
Dylan Kindest Cut lbl
Above: Alternate printed label of the Berkely LP


Deep Purple HB DittoliniDeep Purple HB Dittolini 2

This rare version of the much copied Aachen 1970 soundboard tape was previously featured in this blog in this post* and likely taken from the Kustom Records title with the same name:

DeepPurple H Bomb K


Other stamped Dittolino covers I found are:


Beatles 14 Unreleased BC


Dylan Talking Bear Picnic

Talkin’ Bear Picnic – more about this rare Bob Dylan title in the next post.


Hendrix Live Experiences

Jimi Hendrix – Live Experiences


Jethro Tull Flute Cake st

It’s Jethro Tull


Led Zep LoBH stamped


Pink Floyd Live stamp 3

I am pretty sure these were never meant to come with an insert. The majority of these can also be found with insert (and then without a stamp). Were they early runs for each title? Were they made to copy TMOQ or late ones after the inserts had run out? It’s hard to say.

Led Zeppelin Gone TCLed Zeppelin Gone TC detail

Source: L.A. Forum September 4 1970

Side 1: What Is And What Should Never Be/ Moby Dick/ Medley: Communication Breakdown; Good Times Bad Times; For What It’s Worth (26:53)
Side 2: Since I’ve Been Loving You/ Organ Improv/ Thank You/ Out On The Tiles/ Blueberry Hill (27:00)

Matrix markings: ZEP-2/3 (S-2551-2)

Hotwacks just states this derives from sides 2 & 3 of a bootleg called Blueberry Hill, probably referring to TMOQ’s classic release Live On Blueberry Hill, shown below in a second pressing.

Led Zep Blueberry Hill 2nd pr Blimp

The internal Dittolini Records numbering would place this into the middle of 1971, which makes it one of the earlier copies of this title.

The most remarkable detail here is the chosen title. If this was released before November 8, 1971, which I think we can make a good argument for, it would predate the release of Led Zeppelin iV and the album track “Going To California”.

Would you rather have this or the Dittolino ‘half’? Still, the copy single LP shown at the start managed to sell at auction in June of 2014 for $60.



The Titanic Records 9001 2 LP release by the same name mentioned on had a color cover and was issued around 1980. I doubt either one was derived from the other.

Led Zep BH Titanic R 2


Following their appearance at Woodstock, a week long residency at the Greek Theater in L.A. and before four nights at the Fillmore East in New York, the band played another festival, the annual Big Sur, CA music festival staged by the Esalen institute the weekend of September 13 & 14, 1969. This year, the proceedings were filmed for a documentary, which had its premiere on April 9th 1971 in New York.


CSNY performed on both days:

September 13:  Suite: Judy Blue Eyes / Blackbird / Helplessly Hoping / Guinnevere / Lady Of The Island / Birds / 4 + 20 / You Don’t Have To Cry / Pre-Road Downs / Long Time Gone / Bluebird Revisited / Sea Of Madness / Wooden Ships / Down By The River

CSNY Big Sur 69

September 14:  Suite: Judy Blue Eyes / Pre-Road Downs / Long Time Gone / Bluebird Revisited / Sea Of Madness / Wooden Ships / Down By The River

The movie soundtrack contained the following CSNY selections:

“Sea of Madness”
“4 + 20″ – Stills solo performance
“Down By the River” [incomplete]


As the bootlegs have significantly more, and in the case of “Down By The River”, complete performances and the audio quality is pretty good, the source was likely a pre-production soundboard tape for the documentary; although also mentions a tape “possibly from a radio broadcast”.

Looking at the vinyl bootlegs that appeared ca. 1971, we can find two distinct versions – those that include the officially released version of “Ohio” – TMOQ’s 71013 Ohio Wooden Nickel [which also adds a live version of "Find The Cost Of Freedom" from an unknown source] and Ohio on Snoopy Records [which also added the studio version of "Teach Your Children"]  – and those that do not: Bluebird Live on Dittolino, Wooden Nickel on Canyon Records and the CBM copy. states that out of these, TMOQ’s Ohio Wooden Nickel was the first release.


CSNY Ohio Wooden Nickel brown

CSNY Ohio Wooden Nickel insert

This is the best image I could find of the insert, which, unless I’m mistaken, came only  with later re-issues. Anyone have a better and complete one?

TMOQ track list: Side 1:  Ohio (Studio) / Guinevere (September 13) / Birds (Sept. 13) / 4 & 20 (Sept 13) / You Don’t Have To Cry (Sept. 13) / Suite To Judy Blue Eyes (Sept. 14)     
Side 2:   Find The Cost Of Freedom (?) / Listen Once Again To My Bluebird [Bluebird Revisited] (Sept. 14) /  Sea Of Madness (Sept. 14) / Down By The River… (not studio, Sept .13)



CSNY Bluebird

The album was listed as “0003” in Hot Wacks. While not shown on this insert more numbers following the same format exist (I do have a close up of ‘0004’ for the next release) and I have decided to use it. I just wish I knew the other numbers as well.

CSNY Bluebird lbl

Dittolini Discs track list:  Side 1: Guinevere (September 13; 4:33) / Birds (Sept. 13; 2:54) / 4 & 20 (Sept 13; 1:58) / You Don’t Have To Cry (Sept. 13; 3:13) / Suite To Judy Blue Eyes (Sept. 14; 7:44)                                                                                                                         Side 2:   Listen Once Again To My Bluebird [Bluebird Revisited] (Sept. 14; 3:11) /  Sea Of Madness (Sept. 14; 3:28) / Down By The River… (not studio, Sept .13; 13:50)

Rare praise for the Dittolino version comes from this collector comment:

“A PA soundboard tape from the gig became an early classic bootleg under the clever moniker “Wooden Nickel” pressed up by Canyon Records (and a later better re-master by So Cal’s Dittolino Discs). Side 1 was a very nice acoustic set featuring Guinnevere and and Birds. Side 2 featured Sea Of Madness and Down By The River. The problem was, being a PA mix, the mix featured only vocals (and screechy harmonies), drums, bass, and organ; the only guitar sound (amped separately), only bled into the mix via the vocal mics. The album gave them some “street cred”, but was also quite flawed (the opening track Side 2 lurched to a start well into the first verse). For a while the only CSNY live tracks available were either this album, or the few paltry tracks available on albums Woodstock and Woodstock 2 (and Sea Of Madness is allegedly NOT from the Woodstock gig!).

I believe Dallas Taylor and Greg Reeves were let go at the end of touring in 1969 as they “were asking equal billing” or pay(?), and a 1970 CSNY tour was launched with replacements Johnny Barbata and Calvin Samuels. Dates were taped on multi-track specifically for a live album. “Wooden Nickel” was clearly weighing on their minds. On one of the multi-track tapes for “4 Way Street” (Chicago?), Crosby is either prompted or simply starts a rap to the audience about “Wooden Nickel” on “Bogus Records”,…”steal your money”. He clearly tries to downplay the audience cheers for the bootleg, and seems particularly embarrassed by the electric side. Neil also lets the audience know that Bill Halverson is downstairs recording the gig for a live album, and bumps mics and chairs for comic effect.
The impact of the official “4 Way Street” was almost lost by the release by heavy-hitter Rubber-Dubber Records’ “Live At The L.A. Forum” with red, white and blue American flag cover, as several of the tracks were to be included on “4 Way Street”. Rubber Dubber’s tape was a very inferior audience tape, however, so THAT bootleg quickly died on the vine. In later years, some of Bill Halverson’s tapes started circulating, but Atlantic was cluey enough to include some of these “outtakes”, particularly a Neil Young acoustic medley, as bonus tracks on their extended cd re-release of “4 Way Street”. ”  [from ]



CSNY Wooden Nickel D




CSNY Ohio lbl

As noted, “Teach Your Children”, closing side 1 here, was pirated from the official LP.

Side 2:  Guinevere (September 13) / Birds (Sept. 13) / 4 & 20 (Sept 13) / You Don’t Have To Cry (Sept. 13) / Suite To Judy Blue Eyes (Sept. 14)


Below, the Canyon Records version.

CSNY Wooden Nickel Can or lbl

Track list is identical to Dittolini Discs release. I have previously included this release with a green label.


Contraband copy: I was not able to find an image for this.


csny.1969 G Reeves

Jamming in their drive way with Greg Reeves, ca. 1969.

Great interview here:


I see images like these and I want to get a time machine and transport myself there.

Dittolino D logo

In alphabetical order:


Beatles – LAST LIVE SHOW    # 0009

Creedence Clearwater Revival – REVIVED    # 0005

Crosby, Stills & Nash – BLUEBIRD LIVE    # 0003

Deep Purple – H BOMB


Bob Dylan – LOOKING BACK  2 LP  # 0008


Elton John – LIVE  2 LP

Grateful Dead – LIVE DEAD  2 LP



Jethro Tull – FLUTE CAKE

Janis Joplin – GET IT WHILE YOU CAN  2 LP

Led Zeppelin – GONE TO CALIFORNIA  1 LP   # 0004

Pink Floyd – LIVE  2 LP

Rolling Stones – STONE LIVE

Rolling Stones – IN CONCERT  2 LP

Leon Russell – SESSION

James Taylor – FIRE & RAIN

Neil Young – NIEL  2 LP


Comments and additions welcome, as always.

It seems that the early versions of Dittolino titles were stamped and never had slip sheets to start with.

Beatles 14 Unreleased BC

In late 1971, Dittolini released this album, better known as As Sweet As You Are / Yellow Matter Custard

Matrix: D1 A/B

Beatles 14 US ASAYA

Second version and first version of the insert.

Beatles ASAYA

Third version.

I am not sure if this was sourced was from TMOQ BBL-513 or the slightly better sounding WCF YMC-101 version. Does anyone know?



Matrix: X-10069 (S-2131)


Beatles Get Back Session

Was the red insert color a ‘Dittolino special’?


Beatles Get Back Session Lemon

Original on Lemon Records with matrix number X-10069. This title is most often found with the 30 January 1969 rooftop image insert.

“Most of the earliest Beatlegs stemmed from the same sources: tapes of two acetates prepared by Glyn Johns, containing rough mixes of material from the “Get Back” sessions at Apple. Copies of the tapes were circulating during the last few months of 1969, particularly after broadcasts on several US “underground FM” radio stations in September. … A couple of months later, Lemon Records came out with Get Back, an LP combining material from both acetates.” []




Beatles Hollywood Bowl 64 signBeatles Hollywood Bowl 64 IVBeatles Hollywood Bowl 64 B Day

Beatles Hollywood Bowl 64 III

The American Federation of Musician granted Capitol Records permission to record the Beatles at the Hollywood Bowl for their first appearance there in August of 1964 after having denied this at the beginning of the year when Capitol had intended to tape the Carnegie Hall concerts in New York.  John, Paul, George and Ringo rose to the occasion, especially when compared to the previous day’s shaky performance in Vancouver – preserved for us thanks to the radio broadcast released first on TMOQ.  From a technical point of view, the result was a disaster due to guitar leakage onto the vocal track because the stage set up of the Vox amps was not altered for this live recording session and they fed right into the vocal mics.

Four days after the concert, Capitol mixed the recording into stereo and by that time the press and the Beatles themselves had already given the result the thumbs down wit the press stating that a release was “considered unlikely” as the tapes were found to be “ruined” (by the screaming) and the Beatles calling it “a souvenir… not for general release”.  At least one mono acetate was produced in September of 1964 and sent to Brian Epstein.

Beatles Hollywood Bowl m acetateBeatles Hollywood Bowl m ace lbl

Clearly visible: Capitol’s assigned project number 4877
From the auction text: “This is IT! The full length ORIGINAL live recording of the Beatles At The Hollywood Bowl on 23 August 1964. This is a two sided, 33rpm original Capitol Mono B acetate, that was originally owned by no other than Beatles manager Brian Epstein! It came to the collector world via the legendary Beatles expert and author (“How they became the Beatles“) Gareth Pawlowski, who bought the acetate collection of the late Brian Epstein from Brian’s mother Queenie Epstein.

Most of these acetates featured released versions, but there were two exceptions: The acetates of the legendary Hollywood Bowl 1964 concert, one the original mono mix from September 1964, the other a stereo remix from 1966. When Gareth Pawlowski died in 1994, the most important pieces of his collection where auctioned off by LA specialist store Rockaway Records.”  The acetate sold for $6,500.00 in December of 2003. The stereo remix mentioned above was produced on 30 September 1966.


Beatles Hollywood Bowl  64 master

The master tape – seen here – was then sent to E.M.I.’s storage facility in the summer of 1969, as evidenced by the assigned reel number, E 94024 (to compare E 94246 was recorded on 30 July 1969 and contained “Polythene Pam/She Came In Through The Bathroom Window (8T-8T TK39) (TK40) and You Never Give Me Your Money (8T-8T TK30) (TK37-TK42) (TK40) B)” as described in the John Barrett notes.

“Note the notation “AR1453″. This would appear to reference another reel of tape. John Barrett logs reel AR1454 as the original 27 August 1964 stereo mix and it is commonly believed that the available mono copies are simply the stereo mix folded to mono.” []  In 1970,  taken from an acetate of the ‘folded into mono’ stereo mix mentioned here, first appeared. I would love to be able to pinpoint when this leaked to bootleggers but that is hard to tell as more acetates exist(ed):


Beatles Hollywood Bowl Apple acetate

Label type used until mid-1969. It is unclear if this is the 1964 or 1965 date.


The first bootleg release has been pinpointed to Shea The Good Old Days in 1970 (although a Japanese bootleg blog claims that Kustom Records ASC-002 was the first ever release of the acetate).

A common link to many of the bootlegs is a skip at the start of “Can’t Buy me Love” that occurred when the acetate was transferred. This released was reissued and probably copied many times in the 1970’s.

I currently do not know which of the following was the genuine first issue:


A. Pine Tree Records version – Matrix SHEA-1/S-2531  and SHEA-2/S-2532:

Beatles Shea TGOD Pine TreeBeatles Shea TGOD Pine Tree lbl

B. Big & small number labels – Matrix side 1: None, damage to inner groove; Side 2: SHEA 2 A * S-2532

First cover:

Beatles Shea TGOD yel bluBeatles Shea TGOD yel blu 1

Second cover – obviously inspired by the Kustom Records labels:

Beatles Shea TGOD


B.1 Japan copy with ‘J 4′ machine stamped matrix:

Beatles Shea TGOD track L

Beatles Shea The Good Old Days J lbl


C. A Contraband copy pasted on J. Fish designed generic card stock [WEC-2315].

Beatles Shea TGOD CBM

Beatles Shea TGOD CBM b


D. An unknown version/reissue with unique labels:

Beatles Shea TGOD red 1


E. Finally on Dittolino, (# 0009):



Beatles SheaTGOD matrix

Vinylegs lists it with a S-2532 matrix.

And re-titled after adding the logo and given # 0009:

Beatles Last Live Show S-2532 II

F. The album was also issued by Wizardo as part of his KO series as KO-406, sometimes found with an ‘Old Glory’ label (ca 1976).


On Kustom Records ASC-002, sometimes referred to as a UK produced title [is this correct?] – Matrix side 1: SHEA-1
side 2: SHEA-2/S-2532

Version 1:

Beatles Only Live Rec Kustom

Beatles Only Live Rec Kustom CC

Beatles Only Live Rec Kustom lbl 1Beatles Shea TGOD Kustom label

Version 2:


Beatles LaShea Kustom

Beatles LaShea Kustom b


Why was this album called “SHEA The Good Old Days” when it contained the Hollywood Bowl recording?

I have the following two theories at this time:

1. Upon hearing whatever source tape the bootlegger had been given, they misremembered this as being the televised Shea stadium concert.

2. Someone thought they were reissuing/copying the following album, which had also been released in 1970, which did contain the 1965 Shea stadium recording:

Beatles Shea TGOD contra b

Please note that although the cover says “contra band”, this was not a release by that famous East Coast bootlegger. Matrix: Side 1: 1234-A * S-2315; Side 2: 1234-B * S-2316

If the matrix looks familiar to some of those quoted for the ‘Hollywood Bowl’ Shea The Good Old Days albums, your hunch is correct: “In fact, the matrix indicates that this was pressed at the same Los Angeles plant, if not by the same people, as the other Shea The Good Old Days, as well as Get Back To Toronto. ” [Beatlegmania - Volume Two, p. 6, Winn]


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