Monthly Archives: March 2013

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!


1. “ticketro” spelling:

Jethro Tull ticketro 2

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:

Jethro Tull ticketron

3. Insert cover and with blank labels:

Jethro tull ticketron 3

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

Jethro tull ticketron disc A

Jethro tull ticketron disc B

Jethro Tull ticketron 4

Jethro Tull ticketron 2

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:

Jethro Tull US Tour

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.


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

Jethro Tull Ticketron 2

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].

Jethro Tull Ticketron

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

Beatles DPMB 3

Beatles DPMB Beatles DPMB stamp Beatles DPMB track list stamp Beatles DPMB stamp lbl

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

Beatles DPMB 2

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:

Beatles dpmb lbls AC

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

Beatles dpmb labels 2

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

Beatles DPMB 5

E. Green “small font” label:

Beatles DPMB lbl gr var

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:

Beatles #CBM2-C1 RI-3316C



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.

Beatles ASAYA

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.


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”.

Taylor J In Disneyland

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  “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,



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).

Taylor J Tailor Made

Taylor J Tailor Made b


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):

Taylor J Tailor Made Fire Rain

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]

Taylor J Tailor Made Fire Rain 2


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

“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


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.

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

Young N happy

Young N Ihtyacd b ss


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

Young N happy b Young N happy inner

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

Young N glad $3250 Young N glad 3 Young N glad lbl

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)

Young N In Concerto EP

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

Young N Los Angeles Music Center 2

Young N ATLAMCenter b
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

Young N Neil Young

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

Young N Glühend Morgendämmerung

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”

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)

Young N The Complete Neil Young ImConc 2

Young N The Complete Neil Young ImConc
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)

Young N Live On Sugar Mountain 2 Young N Live On Sugar Mountain

Young N Live On Sugar M red

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

Young N Niel 2

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

Young N LatLAMCenter blank lbl

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

Young N YMFancy blue

Young N YMFancylabel2 Young N YMFancy label1
Young Man’s Fancy – 1 LP – (CBM) – (missing DDD & IAAC) – (same as previous but subtitled ‘Los Angeles’

Young N YMFancy LA
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)

Young Neil Young Man's Fancy

Young N youngmansfancy

Young N YMF red

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

Young N YMFancy Zerocks 3Young N YMFancy Zerocks lbl

Young N YMFancy Zerocks b

Young N YMFancy Zerocks 4 Young N YMFancy Zerocks 5
Listing taken from Bruno Fisson & Alan Jenkins’  Neil Young Appreciation Society published book

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.

Hendrix Rainbow Bridge 2Hendrix Rainbow Bridge RStamp

Hendrix Rainbow Bridge 3

Hendrix Rainbow Bridge

Hendrix Rainbow Bridge red

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):

Hendrix Incident ARBridge

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

Hendrix Incident ARBridge 3

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

Hendrix Incident ARBridge 2

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 Incident Rainbow Bridge lbl

Hendrix Maui

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).


This album was later copied by other bootleggers:

Hendrix Live In Hawaii

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

Hendrix Maui, Hawaii

Hendrix Maui

On Dub’s TMoQ

Hendrix Maui, Hawaii

and Ken’s

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

From “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.”


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

King Crimson Live in Texas

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

King Crimson Live in Texas photo

“…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

King Crimson Texas Hall JL504

King Crimson Texas Hall JL504 2

King Crimson Texas Hall JL504 detail

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

King Crimson Texas Hall SH

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

King Krimson Texas Hall KK

  • 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

King Crimson Sympho Session 2

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

King Crimson Sympho Session 3

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


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”.

King Crimson 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 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.

King Crimson Senabular


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.

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 LP’s were 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. Dates indicate original recording date – for concert recordings) and/or approximate release year + month.

2810 David Bowie      In America     (copied from TMOQ)  rel. ca. late ’73 – early ’74

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                                                                            

**** there is a break here as we go back in time here to 1972 ****

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 / 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 Worldwide            July 1973
3795        Beatles             Holland/Sweden – Super Live Concert Series 1
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 Tull    Ian & Alice  (not ‘Alice & Ian’ as stated in HW)  (Jethro Tull in Denver side: 17 May or 9 July 1973)
3909/3645    Pink Floyd        International Transmission
3910        Allman Brothers    Statesboro Blues

3922        Beatles            Supertracks 1        1973
3922        Beatles            bacTrax sessions  KK    1975  reissue                                                   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!

WEC S-4450-A / 8420    Harrison / Clapton (Delaney and Bonnie)     Falkoner              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        The 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.