This seems to have been the point where the infamous shipping problems started: “150 pressed from the original WRMB plates. Most were lost in shipping. Exm.”
“Roughly Half of the 200 run were lost in shipment.”
“Although 200 copies were pressed on blue vinyl, this is an extremely rare record as most of the copies were lost in shipment.”
“150 pressed on MCV & 150 pressed on black vinyl.”
Source: Dayto, OH – Hara Arena – 17 July 1971 [the bands 4th American Tour. And right after the release of their Every Picture Tells A Story album]
Side 1: Three Button Hand Me Down / Maybe I’m Amazed / Country Comforts / Love In Vain Side2: Had Me A Real Good Time-Every Picture Tells A Story / Around The Plynth-An Old Raincoat Won’t Ever Let You Down-Gasoline Alley-Around The Plynth
Quality: Decent, “Exm, vocals a bit weak”, according to Hot Wacks. The ROOTIE NEWTON ROLL PRESENTATIONS version is listed as “Exs”, probably incorrect.
This album had previously been released by TMOQ as and Dittolino/ROOTIE NEWTON ROLL PRESENTATIONS #5407 and I suspect it’s a reissue from the TMOQ plates.
Performance was the last and is the rarest of the four TMOQ Rod Stewart & The Faces titles, It was never assigned a 710XX number and is only known by its matrix # 1867. The other three are # 71016 Plynth, # 71052 Had Me A Real Good Time and # 1817 Dancing In The Street .
Date of release: 1974 based on the closest previous release, a reissue of Dylan’s Troubled Troubadour with four extra tracks not added to the newly created insert (showing images from his 1974 live dates) and with the matrix # 1865 B / D (see final image in this post).
In discussing the TMOQ catalogue dated July 1st 1973, the initiator of the 2006 thread “Homegenizing TMOQ” on recordcollectorsguild.org wrote: “add to the previous booklet the statement “Be sure it’s a genuine “Trade Mark of Quality disc” (Dub’s?). […] Should this booklet be Dubs, according to the “genuine disc” statement, the common believe[sic] that credits the four-figures matrixes 18XX, 28XX to Ken’s records only should be revised.”
Ken: “Until [Dub] went to printed jackets I had everything he had, plus everything I was making. There were a few where I couldn’t get stampers off his mothers, either because the mother was damaged or he’d skipped that part of the process or he didn’t leave the mother at Lewis. Winter Tour and Stones at the Hollywood Palladium come to mind. But I might be wrong about those. In those few cases, my records would have a different stamper number. But for the most part, Lewis pretty much made me whatever I wanted of his.
Dub and I did not do the Greatful Dead Mammery [sic] record or the Buffalo Springfield or that Double ELP. They were done by my college pal Malcolm.
I don’t ever remember scratching out a stamper number, but I do know that some of my records had numbers changed. I had a series of different partners and pressed records in six different plants and oftentimes the same record would be given a new title and perhaps that’s why some of my stamper numbers got changed.”
As can be seen in the detail above, the title “Performance”is quoted here, leading me to believe that the TMOQ version came out first. Also “Love In Vain” is correctly titled here, while it is listed as “It’s All Over Now” on the insert sheets for Performance.