Monthly Archives: September 2017

Are there really two versions of “Find The Cost Of Freedom” on this version?


This insert was used by WCF and Contraband. Both bootleggers used almost identical numbers. The Contraband release comes (at least) with pirate or blank labels (shown below):

** back to WCF:

USA: 1971

Source: Second show at the L.A. Forum, 26 June 1970. Part of this show was released on the official live album 4 Way Street

This material had appeared first on this 1970 Rubber Dubber release:

It took CSNY and Atlantic Records nine months to compile and finish a live album from the shows they had recorded in June and early July of 1970. I bet Rubber Dubber’s much faster to market release did cause some ripples. Rolling Stone specifically mentioned it in a October 14th 1971 article titled “Feds Are Leaning On Bootleggers”: “CSN&Y’s 4 Way Street followed on the heels of a highly successful bootleg, which many argue was of better quality than the company released product.”

HOTWACKS were a bit sloppy when listing the different versions. Rubber Dubber’s has no quality rating but the CBM copy is rated ‘Vgm’ without any reference to it being a copy of the former. WCF’s version was not listed. I do believe that WCF’s copy came before CBM’s.


Other versions:

  • LID Records, which may also have been a WCF product:

  • the ABSTRACT RECORDS version:

  • the Japan JL series copy JL 506 with a printed cover:

USA: 1971

Side 1 matrix:  ← RP 24-A →

It appears that for the Beatles side two different versions may exist: Copies with a “24 X X” matrix seem play the 1965 Ed Sullivan show as listed on the label while “RP-24-B” copies play songs from their 1965 Shea Stadium soundtrack instead: Twist And Shout / I Feel Fine / Dizzy Miss Lizzy / Ticket To Ride

It appears that a mistake was made and the RP-24-B version came first after the art work and label for the six Ed Sullivan tracks had already been printed, causing a discrepancy.

On the Rolling Stones side one, the track list contains many mistakes. Track 1 is “Looking Tired” from the 6 September 1965 RCA Studio Hollywood sessions an four tracks from their Chess Studio Chicago session, 11 June 1964: Tell Me Baby / Down In The Bottom / Stewed And Keefed / Hi-Heel Sneakers

The quality is excellent. Most collectors know this material from TMOQ’s Bright Lights Big City album, which was still years away at this time (released: July 1973).


discogs shows this alternate, though rather untypical for a WCF release, cover, which does not look home-made to me. The matrices are ← RP 24-A → and RP 24 B for side 2.

B RS Battle alt



This title was copied as part of Japan’s ‘JL’ series around 1976-7 as JL 512:

The font used for the numbers, side markers and running time give this away as a WCF copy.

The handwritten matrix

USA: 1971

The original version of GET BACK TO TORONTO were taken from an acetate compiled by Glyn Johns in late January 1969 (compilation 1) which was only meant to give everyone involved a chance to hear what some of the songs would sound on record; it was not meant to be mock up for a future release. This same source was used for the very first beatleg KUM BACK and Get Back (Lemon Records). These songs were broadcast on radio station WBCN in Boston on 22 September ’69.

“NOTE: it hasn’t been determined if all the early releases are sourced from the same original tape of the broadcast. Due to the amount of releases which featured this material in the early 1970s, it seems possible that other folks might have recorded the broadcast. It could even be possible that some of the early bootlegs might source from WBCN’s tape or the original tape of the acetate.” [source, see link below]

Track list, using info from the above link:

Side A:

“Peace message” – Likely recorded in Canada after December 15th, where John & Yoko unveiled their War Is Over If You Want It campaign plus plans for a big festival around the July 4th weekend in Mosport, Canada. John & Yoko proclaim 1970 as “year one” – quite a start for a Beatles bootleg.

Get Back
This is the only place to hear this performance and mix of this song and the snippets of “I’ve Got A Feeling” and “Help” which follow it.

Teddy Boy
This mix adds an additional 1:16 of performance between the breakdown at the beginning and the start of the song. which is not heard on compilations 2 and 3.

Two Of Us
This mix includes a snippet of another performance [24.48] (probably a remnant of an earlier, discarded mix) and a false start not heard on compilations 2, 3 or 4.

Dig A Pony
Strangely, although this is a different mix, it features the tape-start sound heard at the beginning which is heard on compilations 2 and 3 but not on compilation 4.

I’ve Got A Feeling
This mix includes an additional :10 extended ending after John’s comment “Not bad though” not heard on compilations 2, 3 or 4.


The Long And Winding Road (not included)

Let It Be
This begins with what is probably a remnant of an earlier, discarded mix. None of this performance or mix appear anywhere else.

Don’t Let Me Down
With the exception of John’s comment about “give me the courage to come screaming in” being a bit more clear, this mix features nothing not heard on compilations 2, 3 or 4.

For You Blue
This mix features a five second longer outro which includes guitar chop not heard on compilations 2, 3 or 4.

Get Back
This performance would form the basis of both the single and Let It Be album versions. The performance, itself, appears on all versions. The spoken intro is heard on compilation 2 and the Let It Be album. The post-song dialog is extended on compilation 2. The single version, which also appears on compilations 3 and 4, omits the spoken intro and adds a coda (taken from another performance) to the end, eliminating the post-song bits.

The Walk
This is the only place to hear this performance and mix of this song.

“Christmas Message” is a copy of the 1967 fan club flexi best known for the improvisation “Christmas Time Is here Again”. I guess this was included as out of all their Christmas recordings it comes closest to an actual (beginning of a) song or outtake.



Tracing the different versions of the GET BACK TO TORONTO album is not easy, as there are so many. Starting with the stamped covers, we have the following:

  • A HA HA / B HO HO
  • IPF .1 A / IPF. 1 B
  • IPF-1-A S-2142 / IPF-1-B S-2143
  • LOEB side 1 / LOEB side 2


First released early 1970.


Then there are the versions with the blue ‘peace sign’ cover:

Like the stamped cover version, they can be found with I.P.F. 1A / I.P.F. 1B and IPF-1-A ST S-2142 / IPF-1-B S-2143

I believe it’s this reissue of the original I.P.F. release that was copied by WCF (and Contraband – folded down to mono).


(I was not able to find a good quality image where CBM copied their round logo right onto the I.P.F. design.)

Matrix: 3519 A/B or WEC-3519 A/B


If you have any further details, please leave a comment.


Beatles LIB - LIVE

Beatles LIB - LIVE b&w



Matrix: LB11-a / LB11-b

The insert is usually found in black & white, green or red. It also exists with blank white labels.

To be distinguished from the later Japan copy JL 1006(LB-1) with matrix ‘LB 11’:


USA: ca. 1970

WCF’s version was listed in HOTWACKS all these years but the rare original beatlegs this material was copied from passed under HW’s radar.

According to the beatlesource website, the second ever ‘beatleg’ (after Kum Back! ) was a now extremely rare album called O.P.D.. It presented the 2nd Glyn Johns compilation culled from the dozens of multi-track tapes recorded during the part of the Get Back sessions held at Savile Row and a first real attempt to shape the material into a commercial release.

This 2nd Glyn Johns compilation ended up being played on US radio station WKBW in Buffalo, NY from a reel to reel tape on September 20th, 1969 (the details as researched by John Winn, can be found in a series of articles starting with this installment). However, it appears that the two bootlegs now described in detail were not the result of someone taping the WKBW broadcast.

More details can be found here:


O.P.D. 2

A: The 2nd Beatles bootleg containing the 2nd Get Back compilation; released January 1970 on the West Coast. Matrix: OW LIPSON A 12958 / OW LIPSON B



1. One After 909
2. Rocker-Save The Last Dance For Me-Don’t Let Me Down
3. Don’t Let Me Down
4. Dig A Pony
5. I’ve Got A Feeling
6. Get Back


1. For You Blue
2. Teddy Boy
3. Two Of Us-Maggie Mae
4. Dig It
5. Let It Be
6. Long and Winding Road
7. Get Back (Reprise)

This compilation contained two unique song differences that were preserved thanks to the bootlegs:

  • “Get Back” is the same take as the 45 version but without the coda and we can hear the song ending as it did in the studio plus we get to hear a few precious seconds of sounds and chat never included on any other source or version
  • “Dig It” is presented here in a unique edit lasting 4:57, a full minute more than on the more common third Glyn Johns compilation.


O.P.D. b



B: That same month on the East coast saw the release of the third beatleg: The “Silver Album”.

SAotWG 1

Matrix: JARRIS 0020 A/B

SAotWG matrix

C: Other/subsequent editions included first a full-size blank white label and then a printed label stating what appeared to be the album’s title.

SAotWG 1 pr lbl

The printed label version was likely already a copy produced by someone else. It replaced the official version of “Don’t Let Me Down” and “Two Of Us” with the versions from the first beatleg, Kum Back! – which was based on Glyn Johns 1st compilation, which used a unique version of the latter track not heard on compilations 2 to 4.

D: A final cover variation used blank white covers this time and the word “SILVER” stamped on:

SAotWG st

It appears that at this stage the insert appeared. The matrix for this version shown here was still JARRIS 0020 A/B

E: The insert combined with a silver or grey sleeve

Beatles LIB - LIVE grey 2

Beatles LIB - LIVE grey


While LET IT BE LIVE used the same source tape as O.P.D., there were significant differences:

  • a number of tracks included on O.P.D. were left off
  • a higher tape generation had been used
  • “Get Back” on side 1 had been replaced by the official 45 version (US stereo single, collapsed to mono)
  • “Across The Universe” from an airing of the Nothing’s Gonna Change Our World WWF album version (just released in the UK on 12 December 1969) was tacked on at the end of side 2


1. Don’t Let Me Down (3:31) – single B-side
2. Dig A Pony (3:51)
3. Get Back (3:09) – single A-side
4. For You Blue (2:30)                                                                                                                                5. Two Of Us (3:18) 


1. Dig It (5:02)
2. Let It Be (3:59)
3. The Long and Winding Road (3:43)
4. One After 909 (2:43)
5. Across The Universe (3:17) – from WWF LP



F: The WCF version with the printed labels shown at the start should be placed here. “Silver Greatest” then serves no other purpose than to point out that WCF had copied this album from someone else (since bootlegs were sold shrink-wrapped and the labels could not be used as a means of sales, pointing out to potential sellers that this was another version of the famous “Silver Album” they might have heard about). This also does not appear to be a reference that the band used be known as the Silver Beatles at one time.


G. Around 1974, WCF reissued this album with inserts printed in much brighter colors and in a (sometimes recycled) fold out sleeve using blank white labels:

Beatles LIB - LIVE RE gr

Beatles LIB - LIVE RE red

The matrix is now LB 11-A x  /  LB 11 B x    (these ‘added x’ matrices seem to have indicated a reprinted title)

I have found two auctions that state that the fold out sleeve was created by reversing a Berkeley 1974 Dylan printed cover of Dylan and the Band Return (# 2039/40). Here is a photo of what lurks behind the cover of the red insert copy shown above:

First stamp (I am not sure which came first at this point):

Band Live Band

Band Live Band stencil

Band Live Band S-937 d 1

Band Live Band S-937 d 2


2nd stamp:

Band Live Band v 3


3rd stamp:

Band Live Band red st 2


plus slip sheet:

Band Live B # One

I have only seen this with a red insert.

Plus with the WCF-typical title label:

Band Live Band # One ins



USA, California, ca. 1970

Matrix: LS-1 or: Microgroove / A Jeff Charles Production LS-1 or: Contraband LS1

I am not sure if this was the first release WCF ever did but it must have been one of the first. HOTWACKS alluded that this was from their famous Hollywood Bowl performance in July of 1970 by way of the CBM title/clone What’Cha want Mama! (see below) but this was recorded in Pasadena, CA, probably at the Civic Auditorium in July of 1969.

About the recording – notes by Doinker:

“The Band – Mega-rare restored vinyl “Live Band” Pasadena Civic Auditorium, Pasadena CA 1969

This is a great show! But hey…

Let’s get one thing straight here: The recording isn’t as bad as everyone makes it out to be. For one thing, the moment the tape starts you know you’re listening to a good recording rig. This wasn’t recorded with cheap equipment, and it shows. It isn’t distorted, just a bit distant. Also the pressing (in this case a first pressing) is almost immaculate and runs very quiet. Correcting the speed slightly has also helped quite a bit. Believe me, you’ve heard far worse.

The performance is simply great. And, that’s where it counts.”

Setlist (Runtime about 40 minutes 36 seconds):

This Wheel’s On Fire
Baby, Don’t You Do It
I Shall Be Released
King Harvest (Has Surely Come)
Don’t You Tell Henry
Rockin’ Chair
Organ Solo
Chest Fever
Jemima Surrender
Slippin’And Slidin’


CBM on the East Coast also released this recording under the following title:


Band What'cha Want Mama!

Band What'cha Want Mama! 2

Band What'cha Want Mama! 3

Also a very early Contraband title, one of only a handful of stamped titles they did.

I will stick my neck out and bet that this pressing sounds worse than the one done by WCF and that WCF’s came first.

Does the matrix “Contraband LS1” mentioned above, which I got from the really come from a WCF copy and it was just a coincidence? I have never found a matrix # for the CBM release).