3436: JETHRO TULL ‘ticketro/n – U.S. Tour April 1972’ / ‘us tour’ / ‘TICKETRON’ :TMoQ 73015

Now, here’s an album that has been creeping out of the wood works lately. As I’m writing this, a reasonably good copy is available for the Buy It Now price of $11.99!

Variations:

1. “ticketro” spelling:

2. “ticketron” with what appears to be a large insert and picture labels – probably the original issue. Note how the cover image has much more depth and detail compared to the slip sheet versions – even in this mediocre quality image:

3. Insert cover and with blank labels:

4: Insert cover and with classic CBM labels… and variations of all of these:

Matrix:
Side A: JTA Scope 3436-A
Side B: JTB Scope (3426?) 3436B

Venue & date: Scope Norfolk, Virginia, April 22nd, 1972

01 Thick as a Brick (Part 1) (22:30)
02 Cross Eyed Mary (3:36)
03 A New Day Yesterday (11:00)
04 Aqualung (6:45)

Also reissued as us tour (79-038) with the same tracks:

Finally, tracks 2 – 4 were also released on the later CBM release Baltimore And Around (3586/3436) paired with three tracks from Tull’s US fall dates.

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TMOQ issued a slightly different part of the Norfolk, VA recording:

1. Thick as a Brick (Part 1) (22:30)
2. Wind Up (14:24)
3. Locomotive Breath (inc. The Hard-Headed English General) (9:04)
4. Wind Up (reprise) (2:09)

Total time: 48:07

MATRIX # 1845 A/B

Although, sporting a regular pig label, I am confident that Dub had nothing to do with this title and these were all made by Ken [read more about this in my next entry].

Combining both versions, which has been done, would lead to:

01 Thick as a Brick (Part 1) (22:30)
02 Cross Eyed Mary (3:36)
03 A New Day Yesterday (11:00)
04 Aqualung (6:45)
05 Wind Up (14:24)
06 Locomotive Breath (9:04)
07 Wind Up (reprise) (2:09)

Total time: 69:24

3316: the beatles ‘don’t pass me by’

No doubt, this was one of CBM’s earliest releases, note their listed location in the copyright notice. Year of release: 1972

Matrix: Side 1: CBM-2A  – 3316 A ; Side 2: CBM-2B  – 3316 B
            Side 3: CBM2-C1 – 3316 C ; Side 4: CBM2-D1 – 3316 D

Label variations:

A: Plain label in at least white/beige and green colors, as seen above

B: ‘Large letter’ label:

C: Classic CBM logo label (this probably exists in different colors as well):

D: Black on green label (different font) – I apologize for the bad quality, you get the idea:

E. Green “small font” label:

The same type of label was used for (presumably) a second pressing of the Dylan title Seventy Dollar Robbery, so my guess is that CBM used these around 1973. Black on orange labels exist as well.

 

F. Rare, with Comet labels:

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Contents:

Pirate copy of the Beatles’ 1965 – 1969 Christmas messages and one Get Back sessions track (“Dig it” stereo remix from 26 Jan. ’69) on disc 1 and the Yellow Matter Custard album on disc two, with the addition of a Tony Sheridan & The Beatles Hamburg 1961 track (“The Saints” and “My Bonnie”) at the start of each side.

Disc 1 was later re-released as “Best Of The Beatles And Jethro Tull” with the Tull song “Nothing Is Easy” added to the start of side one [what a rip off for Tull fans]. I have never been able to locate an image of this album and neither has anyone else it seems.

Fake CBM 3316: THE BEATLES ‘AS SWEET AS YOU ARE’

UPDATE: I have been informed that this is definitely *not* a Contraband release after all, so my first hunch was correct. The text below does not apply anymore.

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Previously, I did not believe this could be a 1972 CBM release – or even a CBM release, period – due to the cover design (for a label mostly associated with cheap looking inserts) but it is another example of their ‘1972 deluxe series’ of black & white laminated covers.

So far we have seen examples of this in Neil Young’s Young Man’s Fancy, another will follow soon with Jethro Tull’s ticketro/n.

The LP is identical with their copy of Yellow Matter Custard and I already discussed the contents of that disc in the post “John Lennon & YELLOW MATTER CUSTARD & another CBM obvious copy job 4”.

3272/3: JAMES TAYLOR ‘IN DISNEYLAND’ / “Isn’t it nice to be home again” : RD 71-014 / ‘TAILOR MADE’ / “Fire & Rain” : Dittolino

Side 1: Sweet Baby James (3:00)/ I Feel Fine (3:08) / Hey Mister, That’s Me Up On the Jukebox (3:30) / Sunny Skies (2:46) / Chili Dog (1:51) / Steamroller Blues (5:03)

Side 2: Riding On a Railroad (2:40) / Conversation (JT speaking to audience) (1:38) / Places
In My Past (2:09) / You Can Close Your Eyes (2:25) / Soldiers (1:12) / Carolina In My Mind (3:33) / Long Ago And Far Away (2:32)

Side 3: Country Road (4:51) / Fire and Rain (3:46) / Sixteen Candles (1:46) / Love Has Brought Me Around (2:59) / Oh, Don’t You Know (2:42)

Side 4: Come On Brother, Get On Up and Help Me Find the Screw (4:08) / The Promised Land (3:36) / Isn’t It Nice To Be Home Again (0:41) / ‘On Campus’ TV Special – 4 songs (9:30)                  HW rates this “Exs”

From an eBay seller not used to early 70s audience recordings: “1971 mediocre recording from the Anaheim Convention Center in Anaheim, CA on March 21, 1971. The band included Carole King (piano), Danny Kortchmar (guitar), Leland Sklar (bass), and Russel Kunkel (drums). This recording was re-released later (slightly reshuffled) as Live at the Anaheim Convention Center and Tailor Made.”

From allmusic.com:  “On February 17, 1971, Johnny Cash presented a special episode of his television program in which he traveled to Vanderbilt University to film a few scenes in which he talked with students, who also comprised the audience for him and other musicians in the performance scenes filmed in Nashville’s Ryman Auditorium. It’s sometimes forgotten that Cash featured a good number of rock acts on his show, and perhaps because of the “campus” theme,
his guests on this particular episode were from the folk-country-rock worlds rather than pure country circles. This bootleg DVD, On Campus, contains the episode, which features not only Cash but also James Taylor, Neil Young, Linda Ronstadt, Tony Joe White, and (doing comedy) a young Albert Brooks. […] it’s an interesting opportunity to see rarely screened footage of both Cash and the others. Neil Young is captured just at the time he was rising to solo superstardom, performing unaccompanied versions (on guitar) of “The Needle and the Damage Done” and (on piano) “Journey Through the Past.” Linda Ronstadt isn’t a big star yet, and is seen here doing a pretty good cover of Emitt Rhodes’ “You’re a Very Lovely Woman,” the lyrics changed to reflect a woman’s point of view. Cash also does a few numbers, including his first public airing of “Man in Black,” […].”

The Rubber Dubber issue had a different song line up (“Steamroller Blues” moved to side 2 and the ‘On Campus’ special is not mentioned).

Regarding the gatefold inside, a variant exists that has the text on the left and the photo on the right,

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Although Hot Wacks states that the 2LP set TAILOR MADE is a Rubber Dubber release, this is actually not true. TMI Records may also have also been behind Janis Joplin – Get It While You Can and Carole King’s Fit For A King (and others).

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Dittolino Records copy (right down to the label) of sides 1 and 2 of the double albums only (the insert track list is incorrect here as it lists the side three songs of the Rubber Dubber and TMI versions):

Matrix: TM-1-A / B

Side 1: Sweet Baby James (3:00)/ I Feel Fine (3:08)/ Hey Mister That’s Me Up On The Jukebox (3:30)/ Sunny Skies (2:46)/ Chili Dog (1:51)/ Conversation (1:38)
Side 2 (actual songs): Riding On A Railroad (2:40)/ Fire & Rain (3:46)/ Sixteen Places In My Past (2:09)/ You Can Close Your Eyes (2:25)/ Soldiers (1:12) / Going To Carolina In My Mind (3:33) / Long Ago And Far Away (2:32) [times probably copied from the HW listing for the CBM album – may not be accurate]

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I have revisited these releases in an updated post; click on this text to be taken there.

Neil Young – Los Angeles Music Center, February 1, 1971 ‘YOUNG MAN’S FANCY’ :CBM 3245 / “I’m happy/glad that y’all came down” :RD / ‘AT THE LOS ANGELES MUSIC CENTER’ :TMOQ 71022 / ‘Live On Sugar Mountain’ etc.

“It was the last night of his 1971 solo tour, and Neil Young walked onto the stage at the Dorothy Chandler Pavilion unaware that the mic of “Jerry Rigged” would capture the entirety of this sublime solo performance. As a result, bootleg LPs emerged en masse and were scooped up by thousands of hungry fans. The Harvest LP was still one year from release the new songs contained herein were (and still are) amazing, and the only bone Neil and the suits threw us that year was the 4-Way Street LP, as fine and LP as it was. If you were a Neil/CSNY fan in the early 70s, you owned this LP in one of its configurations. There was “I’m Happy Y’All Came Down” on Rubber Dubber with its black gatefold cover ready for rolling, a rare Rubber Dubber version with a rubber stamped cover, the TMOQ version upon which they squeeze the entire show on two sides of colored vinyl, the double Young Man’s Fancy on Zerocks and abridged versions like the Live on Sugar Mountain LP.

Besides the songs and wonderful performance, highlights include the unique snippet of “You and Me” that prefaces “I Am a Child,” and the response to the request for the song “Sea of Madness,” that prompts a Neil anti-bootlegging rap: “Wooden Nickel? Never heard of it. That’s a capitalist ripoff.”

Ramblin’ Jack Elliot opened this show, but no recordings of his set exist.

“Jerry Rigged” says that the original reel to reel master tape is long gone. All that remains are the LPs.”

01. On the Way Home
02. Tell Me Why
03. Old Man
04. Journey Through the Past
05. Cowgirl in the Sand
06. Heart of Gold
07. A Man Needs a Maid
08. Sugar Mountain
09. Don’t Let It Bring You Down
10. Love in Mind
11. The Needle and the Damage Done
12. Ohio
13. See the Sky About to Rain
14. I Am a Child
15. Dance, Dance, Dance

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From a former Rubber Dubber “employee”: “That is a legit copy and was the original cover. I believe it was the first one without a plain white cover. I can’t remember how many were printed, but the manufacturing was not done in a semi-truck at first; it was done by “The Record Plant” in Grand Prairie, Texas. The jackets were done in a separate facility. When The Record Plant was busted by Rubber Dubber for selling unauthorized copies (go figure-they were all unauthorized), the LPs were produced by another facility in L.A., and I never bothered to find out where as I did not want to know too much information.”

“I helped record that album, and if my memory serves me well (sometimes it doesn’t at my age) we put out your cover first. The white covers, which were standard operating procedure for all the albums, came first for almost all the albums. [It is believed that the black printed cover actually came first]  We tried to spruce it up with this one and it was the first to use photos. When that got expensive, we switched back to the whites which already had gained in popularity. I lost my whole collection somewhere along the trail over the subsequent years. I was only involved in the operation for about three years, and then I left in 1972 for other pursuits. There were a lot of chemicals and smoke flowing through my veins during those years, and that is the reason my memories can be a little foggy at times. However, I do recall a lot of it. I handled the shotgun mic for that show as well as the Leon Russell/Elton John show with the two of them on back to back grand pianos. I smuggled the microphone in down my right pant leg, walking in like Chester from the Gunsmoke TV show for both shows. Those were the only shows I was involved in the actual recording process even though I was heavily involved in other aspects such as marketing.”

What puzzles me, is that Rubber Dubber earns only a “Gs” in HW, while CBM 3245 earns an “Exm”, as does TMOQ 71022. Certainly the first edition from the master should sound best but perhaps HW reviewed a bad pressing of the Rubber Dubber title.

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I’m Happy That Y’All Came Down – 2 LP – (Rubber Dubber Records – b&W printed cover) – complete

 

Finest state of this album you will ever see. Usually, it looks more like this:

I’m Glad Y’All Came Down – 2 LP – (Rubber Dubber Records – white cover) – complete

White rubber stamped cover# 1, above, can be found listed as having sold for a staggering $3250 on eBay in September of 2010 – however, I have since been informed that this sale never actually went through.  Item # 2, which to me looks pretty much identical, sold for $15 a couple of years later…

I’m Happy That Y’All Came Down – 2 LP – (Smegma Records) – complete
I’m Happy That Y’All Came Down – 2 LP – (blank record label) – complete
In Concerto – 5 songs on an EP – (Gong Records)

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Neil Young At The Los Angeles Music Center – 1 LP – (Trademark of Quality 71022) – complete

Neil Young At The Los Angeles Music Center – 1 LP – (Trademark of Quality – Holland pressing) – complete                                                                                                                                                              Neil Young At The Los Angeles Music Center – 1 LP – (LXXXIV Series # 52, 100 numbered copies on green vinyl) – complete
Neil Young – 1 LP – (Trademark of Quality) – complete

Neil Young – 1 LP – (Great Live Concerts) – complete
Glühend Morgendämmerung 1 – 1 LP – (blank labels) – complete

Seller wrote: “this is the rarest issue on Zerocks Records of that gig from original tmoq # 71022 press ; vinyl matrix is tmoq 71022; foldout deluxe cover”

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Live At The Los Angeles Music Center February 1, 1971 – 1 LP – (blank label) (missing JTTP & CITS)
Live At The Los Angeles Music Center February 1, 1971 – 1 LP – (AER Records) (missing JTTP & CITS)
The Complete Neil Young – 1 LP – (Immaculate Conception Records) – complete
I.C. Records (Stereo)

Matrix#:CBMR-13

Live On Sugar Mountain – 1 LP – (Blank Record label) – ( missing CITS, OTWH, TMW, DLIBYD, IAAC)
Live On Sugar Mountain Vol 2 – 1 LP – (Smegma Records) – (missing all of above plus ANAM & HOG)
Live On Sugar Mountain – 1 LP – (Berkeley Records) – (missing CITS, OTWH, TMW, DLIBYD, IAAC)
Live On Sugar Mountain – 1 LP – (Berkeley Records) – (missing CITS, OTWH, TMW, DLIBYD, IAAC) – (lighter colored cover)
Live On Sugar Mountain – 1 LP – (blank labels) – (missing CITS, OTWH, TMW, DLIBYD, IAAC)
Live On Sugar Mountain – 1 LP – (Sugar Mountain Records) – (missing CITS, OTWH, TMW, DLIBYD, IAAC)

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Niel Live (sic) – 2 LP – (Dittolino Discs) – complete, with curious (intentional ?) misspelling of his first name.

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Live At The Los Angeles Music Center – 2 LP – (blank labels) – complete
Live At The Los Angeles Music Center – 2 LP – (Great Live Concerts)

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Young Man’s Fancy – 1 LP – (Contraband Records 3245) – (missing DDD & IAAC) – (originally on blue wax)

Young Man’s Fancy – 1 LP – (CBM) – (missing DDD & IAAC) – (same as previous but subtitled ‘Los Angeles’

Young Man’s Fancy – 1 LP – (CBM-labels usually blank) – (missing DDD & IAAC) – (insert is photocopied, logo added)
Young Man’s Fancy – 1 LP – (CBM-labels usually blank) –  (missing DDD & IAAC) – (insert is photocopied, no CBM logo)
Young Man’s Fancy – 1 LP – (CBM) –  (missing DDD & IAAC) – (insert is photocopy, different CBM logo)
Young Man’s Fancy – 1 LP – (CBM-labels usually blank) –  (missing DDD & IAAC) – (insert is red, blue or pink)

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Young Man’s Fancy – 2 LP – (Zerocks Records) – complete
Young Man’s Fancy – 2 LP – (Zerocks) – (different insert) – complete
Young Man’s Fancy – 2 LP – (Blank Record Label) – labels say “Special Disco Mixer” – complete

Listing taken from Bruno Fisson & Alan Jenkins’  Neil Young Appreciation Society published book
NEIL YOUNG: A COMPLETE ILLUSTRATED BOOTLEG DISCOGRAPHY (long out of print).

As the list focuses on labels and the image documentation for these is usually more difficult to find, it is much harder to match the images with the descriptions. This must be one the most widely copied bootlegs in 1971/2.

3213: JIMI HENDRIX ‘RAINBOW BRIDGE’ / ‘INCIDENT AT RAINBOW BRIDGE MAUI, HAWAII’ / ‘MAUI, HAWAII’ :71018 & 73011

Year of release: 1972 – the album obviously went through many re-pressings and cover variations.

Actual track list [the cover lists song titles that reflect an absolute non-familiarity with the artist’s work]:

A1 Guitar Improvisation
A2 Red House
A3 Villanova Junction Blues
A4 Straight Ahead
B1 Hear My Baby Callin’
B2 Incident At Rainbow Bridge

This is an audience recording.

Reviewer feedback: “One of the greatest records ever, the sonic quality makes Hendrix sound like he’s time-travelled to the Delta to cast spells with Robert Johnson.”

“The quality is fair to good and will appeal to serious Hendrix collectors.”

This is likely a copy of the following classic Hendrix bootleg that is barely mentioned in Hot Wacks (without track 1, Side 1):

Matrix: Side A: UDP. 1310701-1 ST – Side B: UDP. 1310701-2 ST

First pressing came with two 9×12 concert photos and is commonly found on yellow wax:

Side 1:

01 Hey Baby (New Rising Sun) (w.spoken intro)
02 Red House
03 Beginning
04 Straight Ahead
  
Side 2: 

05 Hear My Train A-Comin’
06 Villanova Junction
07 Ezy Rider
 
Total time: 35:54

Tracks 1, 5: Rainbow Bridge Vibratory Color / Sound Experiment, Haleakala Crater, Maui 30, July 1970 [1st Show]

Tracks 2 – 4, 6, 7: Rainbow Bridge Vibratory Color / Sound Experiment, Haleakala Crater, Maui, 30 July 1970 [2nd Show]

Hendrix and Mitch Mitchell at the Maui concert; the images the bootleg provided were not from the actual show (of course not, one is almost obliged to say).

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This album was later copied by other bootleggers:

HEN Records 37-WCF [Hot Wacks states that the Shalom version sounds better]

On Dub’s TMoQ

and Ken’s

3010 / 4240: KING CRIMSON ‘Arlington Texas’ / ‘Live In Texas’ / ‘Texas Hall’ / ‘SYMPHO SESSION’ vs. ‘Groon’ :WRMB 338 vs ‘SENABULAR’ :Flat 8221 8

We remember the following from the description of the Flat LP Senabular:

From collectorsmusicreviews.com: “This one from the University Of Texas is among the very best Crimson audience tapes in existence. The producer of the tape was sitting very close to the stage and used an ECM-19B Sony external microphone with a Realistic-7 recorder. The atmosphere and detail present is simply astonishing.”

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Contraband released this material in the following versions:

• Arlington Texas – single LP on CBM, first pressing with best audio quality

Side 1: Intro: Lark’s Tongues in Aspic Pt.1 / Easy Money
Side 2: Book of Saturday / Lament / Improvisation / Exiles

• Re-pressings of Arlington Texas with King Kong and Instant Analysis labels
• A single LP containing the same tracks and disc titled Live In Texas

Also supposedly with the following cover, although this does not look like a CBM release to me:

“…wrapped-around insert, a collage of photos taken from official tour program. The record is the same as above, with the CBM Red Dragon label”

• A 2 LP release called Texas Hall on Instant Analysis and Shalom labels.

Side 1: Intro: Lark’s tongues in Aspic Pt.1 / Easy Money
Side 2: Book of Saturday / Lament / Improvisation / Exiles
Side 3: The Night Watch / Fracture
Side 4: The Talking Drum / Lark’s Tongues in Aspic Pt.2 / 21st Century Schizoid Man

INSTANT ANALYSYS 3010/4240 – as a Japanese copy (JL-5XX series)

SHALOM 3010/4240

Generic white cover, with an insert printed in a variety of colors. Sometimes found with the generic “classic of jazz radio” back. Disc one has song separation. Matrixes are on disc one: SH 3010-4240 A/B, on disc two: SH 4240 A1/B1

• An extremely rare single LP release called Sympho Session – same song line up as Arlington Texas – CBM 4240, King Kong logo on cover & red dragon labels

• An equally rare 2 LP version – same songs as Texas Hall – CBM 3010/4240

Generic “classic of jazz radio” CBM cover back and red dragon labels.

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Wizardo issued this material as the single LP Groon with the title track added from the B-side of the official 45 “cat food / groon”.

Side 1: Intro:Lark’s tongues in Aspic Pt.1 / Easy Money
Side 2: Book of Saturday / Lament / Improvisation / Exiles / Groon (studio)

The detailed King Crimson bootleg comparison website http://www.paolomagaletta.eu states that the Wizardo LP rates a notch below the CBM versions in terms of audio fidelity and that the Flat LP sounds the best.

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The official release material of this recording on the dgmlive website in March of 2006 has really put more than just a dent into the value of these hard to find vinyl bootlegs. It is nice to see that the material can be enjoyed by all now for a modest price, with the money going to the artists.

http://www.dgmlive.com/archive.htm?show=343