Monthly Archives: November 2017

Joplin J Wicked Woman 3

Joplin J Wicked Woman lbl 1

Joplin J Wicked Woman lbl 2

Usually found with a green insert and only with olive green labels.

Joplin J Wicked Woman detail

Actual set list:

Tell Mama
Half Moon
Mercedes Benz
My Baby
Untitled Instrumental (Full Tilt?)

Joplin J Wicked Woman

Comment from the bootlegzone entry: “Judging by the reference number (713) and the titles, this LP was probably released in 1971, at least before the release of Pearl, since the tracks that were on that posthumous release have been given quite wildly guessed names here.”

Regarding equating the number with the release year, the method was incorrect but the conclusion was right. Now, PEARL was released January 11th, 1971 and that would contradict the previous statement, as without a doubt this was not released in the first 10 days of 1971. The real reason is, as always, that bootleggers were rarely fans of every single artist and recording they put out and so busy bootlegging they tended not to spend much time on research, even that as simple as checking song titles on an aquaintaince’ copy of the official album.

USA: 1971/2

This should have been WCF’s biggest coup but it seems they themselves didn’t even know what they had here – a partial recording of Janis’s last ever live performance at Harvard Stadium, Boston, MA on August 12th, 1970 as part of the Schaefer Music Festival that year.

Unfortunately, the audio quality – never rated in my copies of HOTWACKS – is rough. Was that the reason that this was never copied, not even by CBM? At least I have never come across a copy of this. Another reason was a likely limited pressing run and no reissue by WCF themselves.



The City of Boston’s “Summer thing” arts festival and the Shaeffer Brewing Company are jointly sponsoring a series of 18 concerts at the Stadium. Those appearing in concert include. The Grateful Dead, Janis Joplin, and the Supremes.
Though there have been occasional concerts in Harvard Stadium in past years, this is the first summer the University has lent the stadium for a full-fledged concert series.
While all went smoothly at the first concert last Monday, after Wednesday’s concert, some members of the crowd rushed into Harvard Square, snatching purses, and roughing up passers-by.
Wednesday’s post-concert action has stirred some criticism of the concerts among City officials. Those sponsoring the concerts had agreed to provide their own security; no police were stationed in the stadium during the concert.
Cambridge Police Chief James F. Regan and officials of “Summerthing” are now conferring to determine what stops should be taken to prevent a recurrence of Wednesday’s incidents. The Cambridge City Council may also take up the issue at its meeting tonight.
The Shaeffer Co. is underwriting the concerts to the amount of $360.000, “Summerthing”- established by the City of Boston two years ago to “cool off” the City during the summer- will receive a share of the proceeds. The share will probably be in excess of $30.000.
Though Harvard Stadium seats more than 35.000, tickets for the concerts are restricted to 10.000 seats, to allow all present a better sound. All tickets cost $2. The schedule of the remaining concerts is as follows:
June 29 – B. B. King. Butterfield Blues Band; James Cotton Blues Band.
July 01 – Ten Years After- Matt The Hoople.
July 06 – The Four Seasons.
July 08 – Miles Davis Buddy Miles, Big Band; Seatrain.
July 13 – The Grateful Dead. John Hammond.
July 15 – Ike and Tina Turner, Voices of East Harlem.
July 20 – John Sebastian. Delaney and Bonnie and Friends, Manhattan Transfer.
July 22 – Van Morrison, Great Speckled Bird with lan and Sylvia, Tom Paxton.
July 27 – Rahsaan Roland Kirk, Ramsey Lewis, Carla Thomas, Lean Thomas. Percy Mayfield.
July 29 – Jose Feliciano.
August 3 – The Johnny Mathis Show.
August 10 – The Supremes.
August 12 – Janis Joplin.
August 17 – Tom Rush, Melanie.

Joplin J Schaefer M F

Hendrix LatForum blu

Thanks to a trove of images I received from frequent forum contributor Karl, I can show the different font and label styles used by WCF in previously unseen detail, as well as three excellent quality slip sheet variations for this Hendrix title.



Hendrix LatForum purp



Hendrix LatForum red




USA: 1971

Matrix for all WCF versions:  LPR 28 A  /  LPR 28 B  /  LPR 29 A  /  LPR 29 B

Variations include the letters ‘tvc’ in a triangle and “SIDE 2” on sides 28 A / B and “SIDE 1” on 29 A / B

Source: A copy of this Rubber Dubber bootleg:

Hendrix J EEnjoy

Hendrix Enjoy b


2nd & 3rd pressing:

“- The front cover of these two albums are slightly different; One has a circular logo stamp in the lower right corner, while the other has a stamp that says “Yours truly, Rubber Dubber”. ( )

Above: Stamp from the back of the album. This version came with four light-blue labels, same font as shown below.


Matrix: 70-001-01 A  /  70-001-04 D  /  70-001-02 B  /  70-001-03 C 

Source: First date on Hendrix’ Cry Of Love tour, April 25th, 1970, as correctly stated on the WCF inserts. Eventually, four different audience recordings would surface from this date but in the 1970’s and among those pressed on vinyl all originated from the Rubber Dubber source, known as the “near” source with a 1 minute long cut in the middle of “Ezy Rider”.

discogs dot come lists no less than 23 different vinyl versions for this, so this was a very popular title in the 1970’s with many different bootleggers copying it. “The sonic quality here is not very impressive, but the performance is great” (Allmusic review).  The WCF version represents this recording in HOTWACKS and only achieves a very low “Poor to Gm” rating, owing some of it to it being a copy and a lot to the limitations of the Rubber Dubber source tape. The bass is inaudible and the drums are very low in the mix.

“This show has widely been regarded as one of The Experience’s top shows, but due to quality concerns it has never been released in official terms. (Jimi


Copies – an attempt at making sense of some of the copies found based on their most obvious differences: 

  1. (and 2.) TMOQ (+ WCF as shown above):

The record wiki on TMOQ states that they released their copy of the Rubber Dubber album around June of 1971 – ALIVE # 71003, shown here in a pre-sticker version. The colored pig stickers were introduced that year.

Matrix: JH-1 70-413  /  JH-2 70-414  /  JH-3 70-415  /  JH-4 70-416

I wish I could pinpoint in which month WCF released theirs but so far that is just not possible. My feeling tells me that if the date is correct for 72003, then it was likely TMOQ.


3. The rare Dittolino Discs version, also ca. 1971:

Hendrix LatLAForum

Matrix: JH 1-4 70413/4/5/6 F

Hendrix LatLAForum 2 bl


4. The by now obligatory CBM copy of WCF’s copy:


Live at The Forum – Los Angeles April 25, 1970 (Contraband [Munia] LPR 28/29 / – / 2LP) (LP1: Red labels / LP2: Black labels) ftbfs: B044c
(Los Angeles Forum, Los Angeles, CA 25.04.70 [Almost Complete*; 1st Source (Near source)])

– Matrix: Record 1: Side 1: LPR-28-A and SIDE 2 b/w Side 2: LPR-28-B and SIDE 2 / Record 2: Side 3: LPR-29-A and SIDE 1 b/w Side 4: LPR-29-B and SIDE 2.
– Generally the same front covers as used for Munia 1622, but with the bottom part of the picture cut and replaced with the tracklist. Loose inserts. The first has brown print, while the second is slightly different, with purple print, in poorer quality (seems to be a Xerox copy of the first), and also has a small drawing of a vinyl LP in the bottom right corner.” ( )

Year: 1972


5.  Abstract Records / M1622 Matrix copies


Matrix: Record 1: Side 1: M-1622-A and S-2325-A b/w Side 4: M-1622 D and S-2332 8 / Record 2: Side 2: M-1622-B and S-2326 b/w Side 3: M-1622-C and S-2327


6. WCF insert design without a track list & MUNIA Records “Re-Channeled For Super-Stereo” versions:

I have so far only found this insert with ‘Dragon’ labels:


Hendrix LA Forum Munia

I have combined them here since both versions seem to have the same LPR 28 A  /  LPR 28 B  /  LPR 29 A  /  LPR 29 B matrices.


Versions re-titled ‘Scuse Me While I kiss The Sky‘:

7. Fake Rubber Dubber and HEN Records version:

Label version one:


And two:


Matrix:  9002-1 S-2334  /  9002-4 S-2337  /  9002-2 S-2335  /  9002-3 S-2336

It is probably safe to say that Rubber Dubber – by this time out of business – had nothing to do with this release. The matrix endings point to a reissue of the Abstract Records / M1622 version.


8. The Mushroom Records, K&S and Ruthless Rhymes, POD label and BOX TOP reissues, ca. 1975-early ’80’s, re-pressed from the TMOQ plates of 72003 ALIVE:



Hendrix LATLAF K&S 013 det


Hendrix LA Forum K&S 13 discs

Hendrix LATLAF K&S 013

 POD lbl 2

Ken’s POD label reissue on black vinyl not shown but existence is confirmed. Below, the BOX TOP reissue from the early 1980’s:

Hendrix Alive


8. Miscellaneous 12″ Reissues

Hendrix LATLAForum bl lbl

I have a feeling the matrix of this black label reissue is one already listed in this post.



9. Live In LA April 1970 7″ 2 x EP, made in the UK

Hendrix LiLAApril 1970 4b

Hendrix Live L.A. Forum April 1970

Hendrix LiLAApril 1970


As always, if you have further information, please leave a comment.


“The “far” source is exactly that, but sounds less so in the merge. The near source is lifted from the Rubber Dubber bootleg of the show…somehow the two compliment each other. Hats off to the original fan who merged these!” What you hear in the YT clip below is a combination of both sources and sounds better than any of the vinyl bootlegs.



Hendrix LA Forum '70

Los Angeles Times (27 April) ‘Jimi Hendrix at the Forum’ – review by Robert Hilburn:

“In his first major Los Angeles appearance in more than a year, Jimi Hendrix showed a near capacity audience Saturday night at the Forum that he has lost none of his box office appeal and raw excitement. About a year ago Hendrix went into a period of inactivity. He talked about various regrouping plans, finally appearing with drummer Buddy Miles and bassist Billy Cox under the title ‘Band Of Gypsys’. But Miles was soon back as head of his own group. Thus Mitchell rejoined Hendrix for the current tour. Redding who was asked to do the tour had other commitments.
Opening Response
Wearing a multi-coloured head band and tight black leather pants, Hendrix drew an enormous opening response from the audience as he went through such early hits as “Foxy Lady.” The newer material generated less enthusiasm. As always, Hendrix was more a personality than a musician. Though his voice and lyrics have few distinguishing characteristics, he generates a charge of electricity that virtually ignites the huge arena. Hendrix is a powerhouse of sex and sound. Hendrix does with his guitar what Joe Cocker does with his voice: reaches new levels of communication and emotion, levels far beyond that which most guitarists and vocalists once felt were possible. On Saturday, he seemed freer of gimmicks, more serious of purpose generally, than last spring at the Devonshire Downs Pop Festival in Northridge. Because of this, perhaps, the audience Saturday was less enthusiastic at times than at Devonshire Downs. But his bombing raid version of the ‘Star Spangled Banner’ (as featured in the ‘Woodstock’ movie) and ‘Purple Haze’ brought the audience to its feet for an ovation that lasted several minutes.”

Entertainment World (08 May), ‘The Jimi Hendrix Experience’ review by Jim Bickhart:

“Jimi Hendrix returned to L.A. and a raucous full house last week, but Hendrix, charismatic second-stage demigod of the Cream Generation, who was surprisingly enthusiastic on stage, did not have the audience wrapped constantly around his little finger pick.
The Hendrix Experience, presently a mixture of the original group and last winter’s short-lived Band of Gypsys, is an unbalanced power trio with Jimi a top-heavy leader. Bassist Billy Cox (from the Gypsys) and drummer Mitch Mitchell were next to inaudible behind the – guitarist’s deafening amplification. They did not fill the huge musical gaps left by Hendrix’s noisy, undisciplined guitar style. While the crowd was most enthusiastic for the material from the group’s old albums, it was these songs which made this concert deadly dull. Jimi’s attempt to update too-familiar guitar solos became pure cacophony, and Cox was half asleep as he played bass runs first created by Noel Redding.
New material was a lone bright spot, with Hendrix apparently trying to inject some music into his ‘music.’ ‘Message of Love,’ ‘Easy Rider [sic] ‘, and ‘May I Come Along [sic, Hey Baby} all featured guitar breaks that bordered on being tasteful. The audience seemed bored by them though, waking up for a familiar medley of the national anthem and ‘Purple Haze.’
With Hendrix were the Buddy Miles Express, who played a very good but short set of soul and blues numbers, with leader Miles doubling on vocals and drums, and Ballin Jack, from Washington, playing mediocre Family Stone-like music but eliciting good crowd response.”


Above: The inner panels of the Tarantura CD release

Disc (09 May) ‘U.S. Fans are better rehearsed than groups!’ review by Judy Sims:

“I survived the Jimi Hendrix concert. I was lucky – just a few bruises and a small cut on my left hand, plus an hour’s worth of tremblies in the legs. I’m beginning to wonder about the whole concert jive trip, where thousands of young people, most of them sane, pay a great deal of money to watch a performer be mobbed by the lunatic fringe. Sure, it’s healthy spontaneous emotion, the fans love Jimi and Jimmy Page and Eric Clapton and Ian Anderson. The fans love them to death, almost. Concerts in this country (and, I suspect, elsewhere) are rehearsals for riots, mini-bloodbaths disguised as good times. I’m sick of all those writhing, shouting masses of people who won’t stay in their seats, who don’t care if the rest of the audience can see, who only want to satisfy their own personal ego urges by getting near the stage and the so called ‘magic’ of the performer. Ian Anderson told a reporter here that American audiences are better rehearsed than the groups, and it’s true; a certain segment of each crowd knows just when and how to elude the guards or ushers, knows exactly the shouts and whistles and hand waving required (and when) and has an uncanny awareness of the performer’s attitude and the ushers’ impotence – or strength. At the huge Forum last Saturday, about 20,000 people crammed in to see Jimi Hendrix in his first appearance here in almost a year. He was preceded by Buddy Miles and his new group, a jive act if ever there was one (and there was) and a new group called Ballin’ Jack. The ‘swinging groovies,’ the spaced-out worshippers, leaped from their seats for Buddy, but they weren’t inspired to rush the stage. Yet. For one thing, the ushers were efficiently keeping the aisles clear and the front of the stage area vacant; for another thing, the crowd wasn’t going to waste its energies for Buddy, they wanted Jimi. For a while I thought Jimi was going to thwart them. He was relaxed, cool as ever, and did an almost casual set. He teased us with a few erotic movements during ‘Foxy Lady,’ but after that he just stood there and played that guitar – mostly new songs from his Band of Gypsys album. I was in the second row, directly in front of him, the best concert seat I’ve ever had. Also the worst.., at the end of the set Jimi broke into our National Anthem and ordered us to stand up, stand up, which we did. The aisles filled, but still the space down front remained miraculously clear. Kids started leaping over the seats so they could stand on chairs in the first two or three rows, and people from the aisles crowded into the rows. The ushers massed in front of the stage. Then Jimi went right into ‘Purple Haze’ and all hell broke loose. It was as if that song were the pre-arranged signal. The aisles spilled forward, and in less than one minute the entire area was solid humanity – waving, shouting people, some sitting on their friends’ necks, some perched precariously on the backs of seats. I was jostled but unharmed. I couldn’t see. As ‘Purple Haze’ ended and the closing number, ‘Voodoo Child,’ began, there was an incomprehensible (and terrifying) backward thrust. Everyone up front was somehow invisibly thrown back with sledge-hammer force. Chairs went over, people went down. Like a fool, I’d been standing on my chair trying to see Jimi through the crowd, so I we over the back of the chair and stayed there, suspended like a trapeze artist.
I like Jimi Hendrix; I think he’s of very few real innovators and a most incredible performer. But it’ll be an icy day in hell before I’ll see him at the Forum again. I’m afraid of his audience.”



Rolling Stones Gimme Shelter 2

Here’s the surprise, a rather non-WCF looking label without a number:

Rolling Stones Gimme Shelter LP.jpg

Rolling Stones Gimme Shelter Lurch

Copies with white labels also exist.

Matrix: X14327/X-14328

Matrix of the original pre-TMOQ release: X 4172 4328 / IX 241 X 14237 

Label of the original release:

Rolling Stones LiveR Lurch lbl 1

Someone was clearly trying to get as close to the original as far as the disc and label was concerned.

The surprises do not end here:

Rolling Stones Gimme Shelter st

The cover is also stamped underneath the insert, only the third case found with WCF releases so far after The Band – Live Band # One (stamped “LIVE Band”) and The Beatles – Let It Be Live (stamped “SILVER”).

Rolling Stones Gimme Shelter


One of only a couple of WCF titles found with a slightly smaller ‘negative image’ insert.

Rolling Stones Gimme Shelter wh lbl

USA: 1971 Although places the WCF version right on top with the earliest releases of LiveR on their page analyzing the famous Oakland ’69 bootleg, I would place it significantly later.

Source: One of the many copies of LiveR Than You’ll Ever Be, only the fourth release by what would become the TMOQ label and the first ever bootleg containing a contemporary live recording. 1969-11-09, second show that night at the Oakland Coliseum.


WCF also reissued this in one of their folder style covers ca. 1974, showing a large image of the artist(s) on the back panel. I only found the back so far:

Rolling Stones LiveR RE

According to an eBay seller the matrix for this version is:

X-4172 X 14328 III I // IX 241 X 14327 I


Needless to say, Contraband again copied WCF’s cover design 1:1 and it’s this version that’s featured in HOTWACKS and on under the Gimme Shelter entry.

Rolling Stones Gimme Shelter CBM


Matrix: X-241-1 // X-241-2 

Rolling Stones Gimme Shelter CBM 2


Also issued with this distinct tan CBM label:


Looking through my image collection, both label times can be found with these CBM releases:

The Band – What’cha Want Mama; The Beatles – Live Concert Atlanta (# 3552) (both WCF copies), Beatles – the never released MARY JANE (# 3585, shown here);

Beatles TNR MJane lbl 2

Bob Dylan – GWW II (single disc version, # 616/7) & Help (# 3587, bobsboots lists this as a 1975 release but these are clearly much earlier labels), the CBM copy of Jethro Tull’s My God, the Moody Blues – October and Santana – Collectors Item (I’m sure there are likely more examples). All of these releases date from 1971 to 1972. This means that the WCF version of Gimme Shelter likely dates from 1971, in line with the year they produced the “Compatable For Stereo” insert designs) and the CBM copy from 1971/2.





Beatles Live C Wiskey Flats

I’m quite fond of the bottle + glass drawing WCF must have cut out somewhere.

Beatles LCaWFl bla

Beatles LCaWF lbl b

They could spell it correctly on the label but not on the inserts…

The cover inspiration taken from the US fan club LP release of the fan club flexi discs. The release date for this was December of 1970.

Beatles X-Mas album 2


USA: 1971

Source: Soundboard recording from Convention Hall, Philadelphia, PA, likely recorded by radio station WIBG-AM

Beatles Philly 64 III

Although the books Way Beyond Compare and Beatlegmania Volume One and Two claim this WCF version with ‘Whiskey’ labels came first in 1970, this is not the case. In fact, this was already the third version (and second copy) of this recording. What is undisputed is that this was the first beatleg to feature a concert recording from the height of Beatlemania, thankfully the audio quality lived up to the occasion.


Original version: ALIVE AT LAST, East Coast bootleg, released in the spring of 1970:

Matrix: 1001 A / B

Beatles AAL

Beatles AAL stamp

Beatles AAL lbl 1

Beatles AAL lbl 2


First copy: IN CONCERT AT WHISKEY FLAT, pre-TMOQ West Coast bootleg, released ca. July 1970.

This means either Dub or Ken came up with the fictional “Whiskey Flat” location, WCF turned it into “Flats” and CBM (see below) decided to do away with all that nonsense and that this was really from Atlanta (although the Beatles had not performed there on their 1964 US Tour).

Matrix: OPD 19 70 – 417F  /  OPD 67-2 70418F

Beatles ICaWFlat 3



Third copy: LIVE CONCERT ATLANTA by Contraband, offering a degraded insert with a failed guess regarding the source (on a later reissue) and the worst sound quality of the four versions. On the other hand, the only one with a personalized label (at least for the initial pressing run). Virginia, USA based bootleg label, first CBM release probably last quarter of 1972 or first of ’73.

Matrix: 3552

Beatles Live C Atlanta 3552 3


Beatles Live C Atlanta 3552 o lbl

Beatles Live C Atlanta 3552 detail

A later reissue on their King Kong sub-label, ca. 1975:

Beatles live - atlanta


Fourth copy: JL 521 Japan copy, ca. 1976:

Beatles Live Concert Atlanta JL 521

Beatles Live Concert Atlanta JL 521 lbl


Beatles Philly IV




Dylan Isle Of Wight 2


Dylan IoWight 509 lbl a.jpg

The sides seem to be reversed, i.e., the concert started with the tracks on side two but that is how the British original had it as well. This is not the complete performance., which consists of 17 songs. “I’ll be your baby tonight” is found here between “Like A Rolling Stone” and “Mighty Quinn” but was missed by all WCF and the  CBM version pirating this insert. The different vinyl bootleg versions all suffered from challenging audio. The concert was also recorded on multi-track tapes, and after a few tracks appeared on an EP in the early 70’s, the whole concert was officially released in 2013.

USA: 1971

There also appears to be a later WCF reissue in their trade mark folder style covers.

Copied from one of the following choices:

  • The original 1970 UK release; 1st edition: Blank black label, with or without stamp. 2nd edition: With island sticker – C-7 A/B matrix on all copies:

  • Any of the three different Holland 1971 Peace / Piece versions:

1st issue: Title stamp plus peace sign in red or blue with this label; 2nd issue: Slightly larger stamp in purple:

3rd issue with a different red stamp and a pink “Piece” label:

The matrix for all three  versions was ’31 W-A/B HM-PART – 1/2 ‘



CBM Copies with matrix ‘ (C-7-A) MOTION BEAVER REC. 104701 / (C-7-B) MOTION BEAVER REC. 104702 ‘

  1. Using WCF’s art work again and with their early ‘large letter’ label style:

To me, this proves again that WCF’s version had come first.


2.  This rare insert variation, I have only found once:

3.  And finally the last version, ca. 1974 in their ‘minimalist insert’ style:


TMOQ’s popular and more complete version did not appear until around September of 1972


Dylan was a late addition at the Isle of Wight Festival, this was his first performance in over two years.


John, George and Ringo watching Dylan. While for George it was the start of a life-long friendship and appreciation, John would 10 years later record himself calling Dylan (along with Paul McCartney) a “company man” and “… Gotta Save Somebody … I guess he wants to be a waiter now …”.



Dylan Kindest Cut 2


Dylan Kindest Cut

The insert is also found in b&w, green or red.



USA: 1971/2

Matrix: 507 A / B

It appears that this was reissued in the folder-style cover as well and exists with a different insert or a wrap around insert or even a printed cover, which moved the track list to the back:

Dylan Kindest Cut alt ins

Dylan Kindest Cut alt insert b



A copy of this 1971 original:

Dylan Kindest Cut BBG

The sticker found on the back was copied by WCF and integrated as part of their art work:

Dylan Kindest Cut sticker 2

The one on the front was not:

Dylan Kindest Cut sticker

Dylan Kindest Cut lbl 1

Dylan Kindest Cut lbl 2

Matrix: RI 3145 / FIWN

Sources: The majority of these recordings comes from the “Minnesota Hotel tape”, recorded 22 December 1961. More info here: 

Exceptions are “Ballad of Donald White” from a March 1963 WBAI FM radio broadcast and “Only a hobo/talkin’ devil” and “John Brown” from the 1963 Broadside recordings.


CSNY Ohio 3



CSNY Ohio lbl A


If you have better quality images for the insert and one for the label B-side, please leave a comment.

USA: 1971/2

Source: Big Sur, CA music festival staged by the Esalen institute the weekend of September 13 & 14, 1969 (plus one pirated track), as detailed in this extensive previous post found by clicking here

A straight copy of the Snoopy Records release with the same name, easily recognizable by the track list WCF added. The WCF version is not that common.


CSNY Ohio lbl


John E Gulliver's Gone 3

John E Gulliver's Gone detail

John E Gulliver's Gone lbl

USA: 1971

As we’ve already seen with their The Who Unreleased LP, WCF weren’t above copying officially released material. This is a straight copy of Elton John’s first album Empty Sky from 1969, which was not released in the US until early 1975.



WCF weren’t the only bootleggers who decided to fuel the surge in interest for EJ material by pirating this album, there were at least two other different versions



Dylan Villager.JPG

Dylan Villager inner

The blank inner gatefold covers, as used for all double albums WCF produced between 1070 and 1972.

Dylan Villager Kathy

Labels came in any combination of ‘WCF blue’, red or white with the names “STEVE” or “KATHY”.

USA: 1971

Matrix: 503-A/B X and 504-A/B V

The title comes from the location of the Gaslight Cafe in Manhattan’s Greenwich Village area.

Gaslight cafe

Source: Side 1 & 2: “The Famous ‘Gaslight’ tapes have traded among collectors since the 60’s, and individual songs have been available on various bootleg recordings since the early 70’s.” [] 06 September 1961 known as the first Gaslight (cafe) tape. This is the first recording capturing Dylan performing one of his own compositions.

Man On The Street
He Was A Friend Of Mine
Talkin’ Bear Mountain Picnic Massacre Blues
Song To Woody
Pretty Polly
Car Car

The last song on 503-B “California” is a ‘Times They Are A-Changin’ sessions outtake from the second half of 1963. Two more close the second disc (marked with * below).

The second disc has the Gleason home tape, recorded 01 February 1961 in East Orange, NJ ( ):

Jesus met the woman at the well
Gypsy Davy
Bull session I
Pastures of plenty

Jesse James
Bull session II
Remember me
Lay down your weary tune *
Moonshine blues *


Most interesting are the comments found at “As far as quality goes, the Villager is one of the worst records ever made. Paradoxically, as far as collectibility goes; it was a highly sought after piece for collectors of this type of material.
The rarity of the album stems from a few facts. First of all, there was a very small run produced. The title itself evoked all kinds of speculation and rumors in the early 70’s. A lot of people talked of the existence of this record, but few had seen it.
This LP set a record in Europe in 1976 as the highest price ever paid for a bootleg album. The album changed hands for an incredible $400! One of the reasons for this high price was not only the speculation of the early 70’s, and the fact that it was an import in Europe … but an incredible looking full printed cover. As it turns out, the cover had been a one or two of a kind silk-screen … not done by the manufacturer, but by a printer who wanted to create a wonderful looking cover for his album. Putting a value on this cover is a very subjective thing and better left to the discretion of the buyer/seller.”

These days, the title achieves from < $30 – $70 at auction.


This double set was also reissued in a folder-style cover ca. 1973/4 with the usual blank white labels:

Dylan GWW inner


Byrds LaBiE

Byrds LaBiE b&amp;w

Byrds LaBiE lbl 1

Byrds LaBiE lbl 2

Byrds LaBiE pur 2

The track list on side A is incorrect, as this owner corrected insert shows; the first track is “You Ain’t Going Nowhere” and not “Eight Miles High”:

Side A: You Ain’t Going Nowhere 3:30 / Lover Of The Bayou 4:30 / Old Blue 4:15 / Well Come Back Home 4:15 / My Back Pages 3:10                                                                    Side B: Baby, what do you want me to do 4:00 / He Was A Friend Of Mine 3:28 / Willin’ 4:09 / Fiddle Song 3:02 / Take A Whiff On Me 3:45

USA: 1971

I believe this was the first ever Byrds bootleg. While an East Coast bootlegger made up the venue ‘Atlanta Whiskey Flat’ for a Beatles performance, here WCF invented ‘Buddy’s in England’ for this tape which most likely was passed to them without any identifying information.

Source: Incomplete radio broadcast by Dutch station VPRO, as broadcast on a US radio station some time after the event: The Byrds at the tail end of their European tour, recorded here in Amsterdam at the Concertgebouw on 1970-07-07. Concertvault claims this is the  10:30PM second show (there was also a 7PM early show, which can be found on their website).

It appears, the complete set list looked like this:

Amsterdam, 1970-07-07

You ain’t going nowhere
Lover of the bayou
Old blue
Welcome back home
My back pages
Baby, what do you want me to do
He was a friend of mine
Fiddle tune
Take a whiff on me
This wheels on fire
It’s alright, Ma (I’m only bleeding)
Watching the river flow
Jesus is just alright
All things
Country jig
Medley: Turn turn turn/ Mr. Tambourine man/
8 miles high
So you want to be a Rock ‘n’ Roll star
Positively 4th street
Mr. Spaceman
You don’t miss your water
Chestnut mare
Chimes of freedom
Amazing grace