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Rolling Stones Stoned MSG corr.jpg

Insert with corrected track list. Whoever was behind the WCF releases, they certainly weren’t  informed Rolling Stones fans.

The correct track list for the A side is: Jumpin’ Jack Flash / Carol / Sympathy for the Devil / Under My Thumb – I’mFree (medley)

Rolling Stones Stoned MSG lbl A

and for the B-side: Midnight Rambler / Love In Vain / Satisfaction / Honky Tonk Women

Rolling Stones Stoned MSG lbl B

Also found with blank white labels:

Rolling Stones Stoned MSG bl lbl

Matrix: 102 A / B

USA: 1971

Source: Audience recording from Madison Square Garden, NYC on 27 November 1969. Two songs from this evening’s performance, the first and the last song on the bootleg, made it onto the official Get Yer-Ya Ya’s Out! live album (several more are on the 40th anniversary deluxe box set) and so “Stoned-M.S.G. provided the earliest look at the level of overdubbing that took place on Ya-Ya’s.

Rolling Stones 1969-11-27

Stoned-M.S.G. is a very good recording for the time, and I would go as far as to say that it is the work of the infamous Trade Mark of Quality (TMoQ), under one their many aliases [ my comment: This is not correct based what we know today: TMOQ and WCF were run by different people]. There is virtually no audience noise which leads me to believe that it was recorded with the same “shotgun” microphone that was used by TMoQ for the West Coast shows [ “They recorded the Los Angeles, San Diego, Oakland and Phoenix shows.” Source: Ken’s blog, episode: “It Coulda Happened this Way — LiveR Than You’ll Ever Be” It has never been reported that Dub traveled to the East Coast to record further shows.]. ” (rollingstonesnet.info)  The fact that some of these tracks appeared years later on a couple of  Ken’s ‘smoking pig’ Stones releases as filler – Mick’s Birthday Party 2LP (72017), Gimme Shelter 2LP (73009) and Play With Fire (HHCER 108) does not provide further proof (to complete this list, four tracks can also be found on the LP THE BEST OF THE ROLLING STONES LIVE IN CONCERT (BRS 775)).

Regarding the sound quality, while HOTWACKS grades the album only as “Gm”, it does appear to sound significantly better than this. Stones bootleg specialist site dbboots even assigned an excellent stereo rating.

Further cover and insert variations:

Rolling Stones Stoned MSG gree

Rolling Stones Stoned MSG

Rolling Stones Stoned MSG red

I was not able to find a reissued ‘folder-cover’ version for this title.

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Rolling Stones NYC MSG '69

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Beatles YMC wcf 2

A 1967 photo to go with tracks that almost everyone would have guessed were recorded years earlier? Perhaps the folks at WCF weren’t Beatles fans either.

Beatles YMC wcf lbl 1

Beatles YMC wcf lbl 2

Matrix: YML – 102 – A / – B

Why it says “YML” is probably anyone’s guess. This was changed for the reissue (see last entry in this post).

USA: 1971

Was it copied from TMOQ’s original by the same name (matrix BBL – 513)? I am pretty confident that WCF’s version along with the other records in their 100 series was produced in 1971 but the TMOQ record wiki originally stated that TMOQ did not release it until January of 1972.

We know that John Lennon himself was presented with a copy of Yellow Matter Custard and in exchange gave a signed album cover with the date “Dec. 7th 71.”. I had always assumed that this had been a copy of the TMOQ version but maybe that is not correct anymore?

On the other hand, the fact that WCF got all the song titles correct (misspellings on the insert aside: “I Got A Women“, “Trying, Waiting, Hoping“, see below ) tells me that they copied all of this from someone else, that this ‘someone’ could only have been TMOQ and the original version must have been released at least a couple of months earlier than January 1972, likely in September of 1971.

 

In anyway, WCF (and TMOQ) churned this album out by the hundreds, if not thousands – a lot more copies than the Stoned – M.S.G. album – as the Beatles title turned out to be a good seller and they were joined in this by another label, which (again) ripped off WCF’s insert design:

CBM/Shalom/King Kong # 3316, adding the subtitle “AS SWEET AS YOU ARE”, the CBM logo and the statement “with two bonus tracks”, which, if they meant as opposed to the versions by WCF and TMOQ, are nowhere to be found:

Beatles YMC CBM

Matrix: CBM2 C1 RI 3316 C  /  CBM2 D1 RI 3316 D

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Yellow Matter Custard was reissued in WCF’s folder-cover series ca. ’73/’74 and the matrix had now changed to YMC – 102 A/B

Beatles YMC folder

 

Beatles YMC folder 2 det

The job of putting Beatles names after each track was supposed to indicate who sang on it, plus in some cases who sang lead; it looks like John singing lead on Ray Charles’ “I Got A Woman” stymied them. At least someone at WCF listened to the songs – A for effort.

The folder version’s back cover design, they were going to stick with 1967 photos and nothing could persuade them otherwise, it seems:

Beatles YMC folder b.jpg

 

 

 

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When- and wherever the BBC TV production The Beatles At Shea was broadcast, Beatles fans readied their home recording devices and and rigged them so they would pick up the best possible sound from the likely tinny sounding TV speakers, overwhelmed by the recorded screams of the 50,000+.

Beatles Live

 

USA: early 1971, the absence of any “STEREO/ Compatable for  STEREO” phrase on the insert of this LP and those of # 102-04 makes me think that these may have been released before the WCF # 23 – 41 titles.

Matrix number variations: 101 A/B; 101 A / 7001 B; 7001 A/B

The only early WCF title to list a release number on the slip sheet, too bad it doesn’t match the matrix and confuses things. As ‘101’ appears in the matrix, we don’t have another contender for a # 101 WCF release but we do for # 501 (Elton John – SUPER STAR – LIVE), I will assign it # 101.

The TMOQ record wiki that used to be up at the record collectors guild UK website claims that the TMOQ bootleg by the same name copied this album and I won’t disagree:

Beatles Last Live Show red

“71012 – Beatles – Last Live Show – May 1971 – 1 / 2 labels, colored vinyl, LLS – 101 A / LLS 101 B matrix – copy of an East Coast bootleg of the same title. Note: the 100 matrix titles seem to indicate that these issues are copies or pirates of other label’s earlier releases, not always using the same title “

[Keep in mind that the Dittolino title of the same name contains the 1964 Hollywood Bowl recording.]

beatles Last Live Show red B

Back to the WCF release:

Beatles Last Live Show 2

 

There is plenty wrong with the execution here: The recording contained here was of course not their last live show, the cover picture shows them at Shea Stadium but in the wrong year, 1966, and the labels have the sides reversed.

Apart from WCF & TMOQ pressing up run after run despite its mediocre quality, making them easy to find to this day, especially for the WCF pressing, the following versions copies:

 

  • Different label with added “(Aug. – 1966)” below title, likely not a WCF product due to the missing 10″ label groove (matrix number needed):

Beatles Last Live S red lbl

  • Covers with a number “10” stamped top left and a distinctive purple label, these also exist without the stamp (matrix number needed):

Beatles LLShow purp 1

Beatles LLShow 10

Beatles LLShow 10 lbl

  • WCF’s own folder cover reissue ca. 1974 (matrix number needed):

Beatles Last Live Show f

Beatles Last Live Show fold

Beatles Last Live Show f b

If this back cover image looks familiar to you, then you are a true Beatles bootleg vinyl expert; it was created by enlarging the center part of Contraband/Shalom’s first pressing for LIVE Paris Olympia (# 3688), originally released around July of 1973. Finally, WCF was able to pay them back for CBM’s repeated rip off’s of WCF’s releases.

Beatles Paris Olympia Jan 1964

  • and finally the JL Japan copy # 516 from around 1976:

Beatles LLShow JL 516

WCF # 39 should be their first copy of Ken & Dub’s Bob Dylan STEALIN’ release based on the matrix number but someone goofed and the number ’37’ was re-used in error on the label.

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Dylan GWW WCF 4

Dylan GWW WCF 5

 

 

USA: 1971/2

This WCF copy is not mentioned in HOTWACKS or bobsboots (and based on that in Roques’ book Great White Answers?) with the Contraband copy being singled out instead. In addition, the timeline in bobsboots is incorrect. There, just as in HW, they place Contraband’s version first and date it 1970:

http://bobsboots.com/boots/bt-g0091Ad.html

Dylan GWW CBM

  • I believe the blog has already shown convincingly that Contraband tended to copy WCF and its cover designs and not the other way around and that the catch phrase “compatable (sic) for STEREO” was WCF’s. The matrix numbering system originated with WCF as well and not the other way around as described in bobsboots. Overlooking WCF’s first version has led to this error.
  • I believe the correct year for this CBM copy is around 1972

bobsboots then makes a connection between the CBM copy and the next GWW release by WCF in a folder-type cover:

Dylan GWW outer

 

Dylan GWW inner

The comment on bobsboots is (my corrections in [ ]: ” In 1971 [ca. 1973/4], the U.S. Label ‘ Berkeley ‘ released one of the first bootlegs to have a full-printed cover. (a cover that was actually printed on the cardboard stock rather than being simply an insert. [bootlegs have had printed covers, even using color since 1970, see The Beatles – Shea The Good Old Days, for example ) (gwa 1Ae). It is a wraparound folder type cover. The front is a photo from the Isle of Wight 1969 . The back has four pictures from 1966 . It was pressed on black vinyl with white or various colored labels. The song titles on the back were reproduced from the ‘Contraband’ cover [incorrect, this had always been WCF’s track list], and the album itself was copied from this previous version [CBM copied from WCF]. (Pressed from the same master plates; or is possibly, in fact, the same album [a reference to the identical matrices, as they had been copied by CBM as well. It is correct that this is a repressing using the same plates of the original WCF 40 A/B, 41 A/B release) The sound quality is the same. ”  http://bobsboots.com/boots/bt-g0091Ae.html

Dylan GWW b

Dylan GWW

 

 

Moody Blues Live On A Tuesday Afternoon 3

Moody Blues Live On A Tuesday Afternoon lbl A

Moody Blues Live On A Tuesday Afternoon lbl B

Seems to have been a very limited pressing for some reason as it’s fairly rare these days. Inserts are usually green or b&w.

USA: 1971/2

Until today, we still don’t know where and when this was recorded. HOTWACKS got it completely wrong when it claimed this was just a clone of Contraband’s october 1972 .

Recorded after the release their studio album A Question Of Balance (August 1970), the winter tour of 1970 seems like the most likely source. If anyone knows more, please leave a comment.

Moody Blues 1970 – ’71 set lists:

A NIGHT AT THE BOSTON GARDEN
BOSTON GARDEN, BOSTON, MA
MARCH 24, 1970

MOODY BLUES (51:36)
1-INTRO/TUNING
2-GYPSY
3-SUNSET
4-DR. LIVINGSTON I PRESUME
5-NEVER COMES THE DAY
6-PEAK HOUR
7-TUESDAY AFTERNOON
8-QUESTION
9-ARE YOU SITTING COMFORTABLY > THE DREAM > HAVE YOU HEARD

 

THE MOODY BLUES
LONG BEACH ARENA
APRIL 4, 1970

1. SUNSET
2. DR. LIVINGSTON, I PRESUME
3. NEVER COMES THE DAY
4. PEAK HOUR
5. TUESDAY AFTERNOON
6. QUESTION
7. ARE YOU SITTING COMFORTABLY >
8. HAVE YOU HEARD
9. NIGHTS IN WHITE SATIN
10. LEGEND OF A MIND
ENCORE:
11. RIDE MY SEE-SAW

 

Santa Clara Fairgrounds
Santa Clara, Ca.
April 5, 1970
1: gypsy 3:46
2: sunset 4:28
3: Dr. Livingston, I presume 3:44
4: never comes the day 6:03
5: peak hour 5:49
6: Tuesday afternoon 5:04
7: question 7:46
8: are you sitting comfortably > a dream >
have you heard > the voyage 14:11
9: nights in white satin 5:59
10: legend of a mind 7:09
11: ride my see saw (encore) 4:09

 

Winter 1970:

Moody Blues 1970-12-06 Will Rogers Auditorium Fort Worth TX

1. Gypsy
2. Tuesday Afternoon
3. Tortoise And The Hare
4. Question
5. Melancholy Man
6. Are You Sitting Comfortably
7. The Dream
8. Have You Heard part 1 / The Voyage
9. Have You Heard part 2
10. Nights In White Satin
11. Legend Of A Mind
12. (applause)
13. Ride My See-Saw

 

Moody Blues 1970-12-08 McFarlin Auditorium Dallas TX

1. Gypsy
2. Tuesday Afternoon
3. Tortoise And The Hare
4. Question
5. Melancholy Man
6. Are You Sitting Comfortably
7. The Dream
8. Have You Heard part 1 / The Voyage
9. Have You Heard part 2
10. Nights In White Satin (end cut)
11. Legend Of A Mind (beginning cut)
12. (applause)
13. Ride My See-Saw

 

1971 Fall Tour:

Cobo Arena
Detroit, Michigan
October 8, 1971
1: gypsy (fades in) 3:18
2: Tuesday afternoon 4:21
3: the tortoise and the hare 3:32
4: 3:53
5; after you came 4:50
6: melancholy man 6:32
7: 5:53
8: the story in your eyes 4:34
9: are you sitting comfortably > the dream 5:24
10: have you heard? > the voyage 9:53
11: nights in white satin 6:10
12: legend of a mind 9:37
13: question 7:04
14: ride my see saw (encore) 3:30

 

 

 

 

Dylan Stealin orig

Dylan Stealin orig b

Dylan Stealin'

Dylan Stealin' 2

Dylan Stealin' lbl 1

USA: 1971/2

Matrix: 39- A X  /  39- B X

’37’ on the labels vs ’39’ in the matrix, no wonder someone got confused.

This and the Hendrix insert are the first were WCF used the ” Compatable for   STEREO ” phrase.

STEALIN’, the 2nd rock bootleg ever produced, had originally been released by Ken & Dub in September of 1969.

WCF/Berkeley Records released this title two more times. First, ca. 1974 as part of their series of releasing albums in a wrap-around folder cover: “There was also a release that has an orange folder wrap-around cover with blank labels, & no matrix.” (bobsboots.com)

Dylan Stealin 2010 2

Where did the inner sleeve come from though?

Dylan Stealin 2010 3

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And in 1975, when they reissued many of their old stampers in b&w covers and branded as Berkeley Records (with a fake UK address):

Dylan Stealin 2010 b&w

Dylan Stealin 2010 b&w b

The matrix number was now ‘ 2010 A / B ‘ and bobsboots reports: “This Label had been been releasing titles by copying TMQ LPs and creating their own cover. The quality of the recordings was therefore less than the original TMQ. Since this LP has the same unique track order as the TMQ release, one would assume that this was a copy of it. However, the quality on this release is just as good as the TMQ version.”

 

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Hendrix Live In Hawaii 4

Hendrix Live In Hawaii lbl 37-A

Hendrix Live In Hawaii lbl B

The track names are all incorrect. When CBM released this album as Rainbow Bridge, they (re-)used the same track names.

USA: 1971/2 – TMOQ’s MAUI, HAWAI album (also a copy of INCIDENT…) was released in June of 1971, so WCF’s version likely came later.

If you know the matrix number, please leave a comment.

Just like STEALIN’ this was another title that was copied many times by different bootleggers. It goes back to this somewhat obscure US release on a label referred to as Dragon:

Hendrix Incident ARBridge cvr 2

Hendrix Incident ARBridge lbl A

Hendrix Incident ARBridge lbl B

 

Hendrix Incident ARBridge

The two inserts that came with the album were thankfully picked up by the copying labels and used for their own art work. WCF picked the left one and TMOQ the right one.

Hendrix Maui, Hawaii

Source: A fragmented audience recording from both free Hendrix and the Experience shows July 30th, 1970 , which became known as the “Rainbow Bridge Vibratory Colour-Sound Experiment”. 17 minutes of heavily edited live material appear towards the end of the film “Rainbow Bridge”. Hendrix’ performance was arranged to inject some much needed excitement into the floundering film project. The JHE had a show to play in Honolulu on August 1st anyway, so the timing fit. Less than 1,000 people saw the actual sets Hendrix played that day. The movie was released in the fall of 1971.

Disc two contains an audience source from this show but is far from complete. Its origin is unknown to me although it could be taken from Incident At Rainbow Bridge, Maui, Hawaii, a single LP on the Dragon label and contains only a few tracks from the show. It sounds like it is sourced from very clean vinyl and has commentary from someone during “Guitar Intro” which is really the intro to “Hey Baby” from the early set. The quality is fair to good and will appeal to serious Hendrix collectors. Jimi’s guitar is high in the mix with the drums almost nonexistent but it is still an interesting listen where Hendrix is in excellent shape and makes me wish I had the entire audience source. The third track is actually “Jam Back at the House/Straight Ahead” and not “Villanova Junction Blues” as listed. “Here My Baby Calling” is “Here My Train A Coming” from the early set and “Incident At Rainbow Bridge” is the proper “Villanova Junction Blues” which segues into a minute of “Ezy Rider” that has the drum intro edited with the tail end of the song. This audience source is very fragmented but still a nice inclusion in the set.” (from a review of the CD bootleg Maui Hawaii on the Scorpio label)

from an eBay ad: “The introductory minute of side one is an overview of what we are about to hear from who, I assume, is the person recording this concert. It’s an excellent tribute and introduction to a fabulous performance. The recording is very well done, and the playing is unlike anything you have ever heard. The track list is a little strange because, while there are only five tracks, you’ll hear pieces of “Red House” and “Hear My Train A’Comin”, as part of the noted tracks.
Rainbow Bridge Vibratory Colour-Sound Experiment, Haleakala, Kailua (Maui) (HI), United States. 30th July 1970, 1st show:
Side A 1. Intro / Hey Baby (New Rising Sun) (titled ‘Some Slow Thing’) 2:07 [“This track has a spoken introduction dubbed over by an unknown male voice. This was added later, not spoken at that time.” Geldeart/Rodham “From The Benjamin Franklin Studios Part 2]

Rainbow Bridge Vibratory Colour-Sound Experiment, Haleakala, Kailua (Maui) (HI), United States. 30th July 1970, 2nd show:
2. Red House (titled ‘Boogie It All Together’) 6:50
3. Beginnings / Instrumental Jam / Straight Ahead (titled ‘Guitar Improvisation’) 11:38

Rainbow Bridge Vibratory Colour-Sound Experiment, Haleakala, Kailua (Maui) (HI), United States. 30th July 1970, 1st show:
Side B 1. Hear My Train A Comin’ (titled ‘Get On Home Boogie’) 8:37

Rainbow Bridge Vibratory Colour-Sound Experiment, Haleakala, Kailua (Maui) (HI), United States. 30th July 1970, 2nd show:
2. Villanova Junction / Ezy Rider (titled ‘Stevie’s Walk’) 6:52
Total duration: 36:04

The Bootleg release history for this title, slightly amended from Geldeart & Rodham’s book:

B12a. INCIDENT AT RAINBOW BRIDGE MAUI, HAWAII (Dragon)
B12b. MAUI, HAWAII  (Trade Mark Of Quality JH 106) – released June, 1971
(Trade Mark Of Quality TMQ 71018) RE
B12c. LIVE IN HAWAII-1970 (WCF: Hen 37)
B12d. MAUI, HAWAII (no label listed, deluxe cover, see below)

Hendrix Maui, Hawaii orig

Hendrix Maui, Hawaii orig b

 

Sly & TFStone Greatest Hits Live

The label says “FAMILY”.

USA: 1971 – this seems to be one of the rarer WCF releases.

Source: Dutch VPRO radio recording of a live performance during their European tour recorded at Kasteel Groenevelt in Baarn, The Netherlands, broadcast in the last episode of a program called “Piknik”. The date is usually given as 1970-09-10.

The “Piknik” program shows were recorded in front of an audience and different parts of the shows were broadcasted on TV in mono and in FM stereo. As you can hear below, the audience sounds quiet and small.

 

“The current pride of VPRO-TV is Piknik, a bi-weekly show which broadcasts a live three-and-a-half hour pop concert from locations around Holland.

Piknik has to be the least structured television show on the air. About 400 Hollanders ranging from infants to senior citizens, but most of them between 15 and 24, are bussed to a secret location where stage and facilities are set up. The audience spreads itself across the terrain, talking, eating, sleeping, cooking on provided fires, making out and playing instruments. A certain amount of dope is smoked. At 7 PM, the cameras are turned on, and Piknik is on the air.

“Whatever happens, we film,” says Roelof Kiers, executive director and creator of Piknik. “The performers and the audience are equal parts of the show. We’re just here to communicate them to the viewers. No one is herded about or told what to do on Piknik. The five cameras just record without interfering. As on VPRO Friday, the Piknik microphones and cameras are open to individuals and groups who think they have something to say.

Piknik has attracted some of pop’s top talent. On the last show of the season (September 10), the first Piknik in color, Sly and the Family Stone, Canned Heat and Daddy Longlegs were featured. Frank Zappa made a big hit in June, and ended up playing overtime. With Piknik’s flexible structure, this was no problem, but when Traffic had to bow out after the show had started — their organ was broken — they had to ask another act to do a second set. The cameras keep grinding no matter what. In July, a freak cold front and rain storm hit the show, but audience, musicians and crew gritted their teeth and struggled through.

Some two million viewers, happy to escape from reruns, watch Piknik, and not all of them are young. The second biggest group of viewers are between 35 and 64 years old. Predictably, the biggest group are the teenagers.

And there are signs that Piknik viewers are fairly hip. On a recent show, a local topless dancer joined Doctor John in his act, but there was only one call of protest from a viewer. A couple of years ago there would have been a deluge.

One good aspect of Piknik is that performers mix with the audience before and after they perform. There are no dressing rooms. “Performers are not treated as stars,” says Kiers, “they’re treated as people.”

(Rolling Stone, October 15, 1970 issue in The Kabouters Are Coming! The Kabouters Are Coming!)

vpro_piknik_sm

Band Live in Cali # 2 c

Band Live In Cali # 2 detail

Band Live In Cali # 2 discs

WCF’s first version came with dark blue/purple labels with silver print and in a gatefold sleeve. Compare this with the reissue in the copied Rubber Dubber folder-style cover – last entry below).

Band Live in Cali inner

USA: 1971

The Band’s performance at Hollywood Bowl on July 10th, 1970, a VG to EX capture originally released by Rubber Dubber in two different versions under 70-006.

A deluxe one:

The Band Real Old Time 3

The Band Real Old Time b det

The Band Real Old Time b

And a simple b & w cover version:

The Band LatHollywood Bowl

Finally, around 1974, with Rubber Dubber long out of business, WCF reissued this title and copied their original deluxe cover design with the following differences:

  • While the front cover remained the same, the two circles on the back cover (“Rubber Dubber”and “$6”) were removed:

The Band Real Old Time b2

  • the label designed reversed back to the WCF original label design stating “Band” and “Rubber” but these were now turquoise:

Band Live in Cali # 2 RE lbl 34A

Band Live In Cali # 2 RE lbl 35A

  • Instead of a gatefold sleeve, the usual folder type outer sleeve construction was used:

Band ROTB RE folder.jpg

This much later version is the one listed in HOTWACKS, giving the impression of listing a Rubber Dubber title with a WCF matrix.

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The Band HB '70 ad