3508: THE ROLLING STONES ‘ ‘GOIN’ BACK TO THE ROOTS’ AMERICAN TOUR – JULY 1972′ :(fake) Rubber Dubber 08131

Rolling Stones Goin BTtRoots shrink

Rolling Stones GBttRoots farbig

Rolling Stones Goin Back To The Roots AT 1972. II

Note the difference in the slip sheet image quality for this later pressing (yellow CBM label version also exists).

More label variations:

Rolling Stones Goin Back To The Roots AT 1972 alt label 1

Rolling Stones Goin Back To The Roots AT 1972 alt label 2

Source: The Scope, Norfolk, VA, July 5, 1972

Side 1:  Sweet Virginia / Brown Sugar  / Rocks Off  / Gimme Shelter  / Happy  / Tumbling Dice         
Side 2:  You Can’t Always Get What You Want / Band Introductions / Bye Bye Johnny / Rip This Joint / Jumping Jack Flash / Street Fighting Man                  

Matrix on original issue: (Scratched out)  08A1 BADAV   /  (Scratched out)  08B1 KYOTO plus “CATCH ME IF YOU CAN”
Matrix on later issues:  RI3508A1  /  08B1 KYOTO BADAV

This is usually credited to Rubber Dubber but that can’t be, since they were raided and closed down in September of 1971:

Ann Arbor Sun 1971

Ann Arbor Sun, 1971

Rolling Stones Goin Back To The Roots AT - July 1972

Can be found with different stamper colors: red & blue and double stamps.

Rolling Stones GBttR AT July lbl 72

Rolling Stones GBttR AT lbl 3

Rolling Stones GBttR AT CBM logo

Rolling Stones GBttR AT CBM logo large

So, who did this album? I would suggest that it was CBM themselves, pretending to be RD – raised out of the Ashes:

  • Concert recorded at CBM’s home turf, the Scope in Norfolk, VA
  • Rubber Dubber, with one exception (Rolling Stones  – EUROPEAN TOUR 1970), only released albums recorded in the L.A. area:

70-001 JIMI HENDRIX – LIVE AT THE LOS ANGELES FORUM 4-25-70     
70-004 CROSBY STILLS NASH AND YOUNG – AT THE LOS ANGELES FORUM 6-26-70    
70-006 THE BAND  – LIVE AT THE HOLLYWOOD BOWL 7-10-70
70-007 LED ZEPPELIN  – LIVE AT THE LOS ANGLES FORUM 9-4-70   
70-010 ELTON JOHN and LEON RUSSELL – LIVE AT THE ANAHEIM CONVENTION CENTER    
70-011 NEIL YOUNG  – “I’m Glad/Happy Ya’ll Came Down”  (The Los Angeles Music Center)
71-014 JAMES TAYLOR – Isn’t It Nice To Be Home Again      (Anaheim Convention Center)

  • same image used for the picture labels
  • matrix numbers are identical
  • Rubber Dubber stamp with the simpler design possibly copied from the Elton John & Leon Russell back cover:

John E Russel L Anaheim Convention Center detail b

  • Some RD covers exist with the CBM record logo (as seen above)

Really, who were they kidding?

 

Here is a detailed analysis of the different versions sent to me by an avid reader and supporter of this blog. Thank you very much!

# Version Cover Matrix S. 1 Matrix S. 2 Labels S. 1 Label S. 2
1 Rubber Dubber/ stamped white cover with type #1 title stamp (blue) and Rubber Dubber stamp (blue) ######08 A1  BADAV ### ##08 B1 KYOTO CATCH ME IF YOU CAN purple: Mick and Keith purple: Mick (microphone on right)
2 Rubber Dubber/ stamped white cover with type #2 title stamp (blue) and Rubber Dubber stamp (red) ######08 A1  BADAV ### ##08 B1 KYOTO CATCH ME IF YOU CAN purple: Mick and Keith purple: Mick (microphone on right)
3 CBM/ stamped white cover with type #1 title stamp (red) and CBM stamp (red/blue) ######08 A1  BADAV ### ##08 B1 KYOTO CATCH ME IF YOU CAN purple: Mick and Keith purple: Mick (microphone on right)
4 CBM/ stamped white cover with type #1 title stamp (blue) and CBM stamp (blue) B (mirror written) ######08 A1 (scratching different)    BADAV (at other place, bottom of letters to the label side) ### ### 3508 B1 KYOTO    BADAV red/purple: group shot on stage purple: Mick (microphone on right)
5 CBM/ insert orange cover with black & white insert

(small printing error right from Mick´s ellbow)

B (mirror written) ######08 A1 (scratching different)    BADAV (at other place, bottom of letters to the label side) ### ### 3508 B1 KYOTO    BADAV purple: Mick and Keith purple: Mick (microphone on left)
6 CBM/ insert white cover with black & white insert

(small printing error right from Mick´s ellbow)

3508 A (mirror written)     B (mirror written) ######08 A1 (scratching different)    BADAV (at other place, bottom of letters to the label side) ### ### 3508 B1 KYOTO    BADAV yellow with black Contra Band logo / D yellow with black Contra Band logo / C
7 CBM/ insert white cover with black & white insert

(no small printing error right from Mick´s ellbow)

######08 A1  BADAV ### ##08 B1 KYOTO CATCH ME IF YOU CAN light blue: Mick (microphone on right) light pink: Mick (microphone on right)
             

title stamp type #1 = group name larger, title in hyphens (size: 16,5 cm x 5,3 cm)

title stamp type #2 = no hyphens, (size: 14,1 x 4,8 cm)

matrix: assumption ### ## = WEC 35

 

 

A nod of acknowledgement for this old bootleg in the digital age:

“This is generally considered to be the best audience recording of the Rolling Stones 1972 US Tour. It’s been on numerous bootlegs since shortly after the concert. This is supposedly from the master tape. Lineage given is Aiwa mics->Marantz Superscope cassette recorder->cassette master->CDR1->CDR2->CDR3.  I was not not satisfied with that CDR, so I pitch corrected it -1.5%, slightly boosted the bass, and edited and re-indexed it. That’s what you have here.

The guitars, horns, and vocals are recorded fantastically well. Bass and drums are distant, as usual for 1972. Performance is excellent too. This originally came from a well know taper and collector, JT, who is now deceased. Supposedly he recorded the show himself but I was able to determine he was about 12 years old at the time. I believe he acquired the master after the event.”

****

Title: Rolling Stones Norfolk, VA 7/5/72 two source mix

This is a recording of the Rolling Stones at The Scope, Norfolk, VA, July 5, 1972, from two different sources.

The better recording is incomplete and does not circulate except on vinyl, so it is transferred from an old bootleg LP on the Rubber Dubber label called “Goin’ Back to the Roots.” I rate it as VG+ for side 1 and VG for side 2. The vinyl is not as well pressed on side 2, or possibly the taper changed location. The original LP fades out between some but not all songs.


01. intro
02. Brown Sugar*
03. Bitch
04. Rocks Off*
05. Gimme Shelter*
06. Happy*
07. Tumbling Dice*
08. Love In Vain
09. Sweet Virginia*
10. You Can’t Always Get What You Want*
11. All Down The Line
12. Midnight Rambler
13. band introductions*
14. Bye Bye Johnny*
15. Rip This Joint*
16. Jumpin’ Jack Flash*
17. Street Fighting Man*
18. outro

*partly or completely from better recording

****

“As the sine curve of offstage life reaches its low point, the music on stage peaks. In Norfolk and Charlotte and Nashville, the set seems to fly from beginning to end, the musicians completely locked into one another and on time, like a championship team in its finest, most fluid moments. But only people who listen, like Ian Stewart, and the Stones themselves and their supporting musicians, are aware of the magic that’s going down.”

See: http://stoneslib5.homestead.com/files/Norfolk.html

RS Norfolk 72

The Stones onstage at the Scope

RS Norfolk 72 II

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5 comments
  1. Erik T said:

    I just bought this today, for ten bucks(!)- second pressing it seems, the labels and the red Rubber Dubber stamp seem to confirm this. It is a decent recording for 1972but nothing special, I have the full tape of this too and If I recall it sounds similar to this album. In fact the vinyl releases of Charlotte and the Hollywood Palladium shows are better sounding if memory serves. Vancouver, one of the Seattle shows and one of the Toronto shows are comparably well recorded, I think. I know few tapers were bootleggers but several bootleggers sourced their own tapes and I suspect Dub recorded this one himself which helps explain why I never did track down a complete recording of the Hollywood Bowl gig back when I was really into collecting tapes.
    I guess the Mick on the mic labels were reversed at some point, or done from a film negative to get the mic on the other side? Despite already having this show, the price was right, the record isn’t in great condition but it plays alright, and I really like this tour. Also, the notion of having never heard what has been called the best audience tape of this tour got to me so I’m glad to have the record even if the tape is only average-good.
    To digress again- I have read Hot Wacks sound quality descriptions/ grades that are inconsistent, for instance grading reissues better than the original, and I suspect there were different reviewers and wholesales/ manufacturers sending Hot Wacks information and opinions. I can understand how normal people would say a recording is ‘good mono’ while someone who has heard lots of crunchy Who or Deep Purple or Zep audience tapes would rate a recording more generously. Also, I have taped bad sounding shows from crappy seats/ standing room, and those boomy tapes actually do sound a lot like how the show sounded from where I was, so the recording is arguably good or better than good, but of a poor sounding event. I have played recordings of shows with people I was with right after the show, and they often sound great- at first- because that’s what we heard. To someone who was not standing there with us though, it MIGHT be just another boomy tape with buried vocals…

    • Thanks for the feedback on the sound. Certainly can’t argue with a price of $10. I have finally found the double LP that’s been keeping the top spot of my boot want list. It usually is offered for $99 and often sells for $100+ but I got it for $17.75 (shipping for more than this, extra though – item was offered from Dubai of all places). I’m very happy.

  2. Erik T said:

    Hey! What album is that?

  3. Luke said:

    Hey I just found a SEALED copy of this record, and I’m trying to identify what exactly it is, without opening it (obviously). there is no rubber stamp of any kind, no markings or writing on the jacket at all. If anyone can help me tell what “version” this is, and what it’s possibly worth, I would much appreciate it. Thanks!

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