JIMI HENDRIX ‘Live At The Forum’ (a WCF copy # (LPR-)28/29) plus an extensive copy round up

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”. ( http://infromthestorm.net/hendrix.html#boot )

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 Hendrix.com)


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.” (http://infromthestorm.net/hendrix.html#boot )

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.”



  1. Erik T said:

    Interesting post, as usual. I have the yellow label Rubber Dubber version, and it is indeed a very good audience tape for 1970, but I was surprised to learn it was in fact a WCF knock-off of Rubber Dubber. Wonder if the CBM release of the Stones’ “Goin Back to the Roots” inspired releasing pretend – Rubber Dubber product? Same with the European boot of the Who in Munich ’72.
    I thought TMOQ released a Dub Taylor recording of this show, not a copy of the Rubber Dubber tape. Do the track lists match up?
    The mediocre reviews were interesting as well- I thought Jimi’s live shows were consistently well attended? Also interesting to see he took Buddy Miles on the road again, despite the messy on-stage break up of the Band of Gypsies.

    • I’m always happy when I can surprise a reader. Obviously, the bootleggers wanted to ride Rubber Dubber’s coattails here but didn’t go as far as the CBM Stones hoax.

      About the TMOQ issue being a separate source:

      1. The Infromthestorm Hendrix website states that the TMOQ version is the same as all the others with the cut in “Ezy Rider”.

      2. The TMOQ wiki that used to be part of the Record Collectors Guild website states for this entry:
      72003 – Jimi Hendrix – Alive – June 1971 – JH – 1 / JH – 2, JH – 3, JH – 4 – copy of Rubber Dubber’s ‘Live At the Los Angeles Forum’ / ‘Enjoy Jimi Hendrix’

      3. I researched the four sources and it’s never mentioned that the “far” source came from a vinyl bootleg, let alone TMOQ’s. The third & fourth source were only found during the internet age in the previous decade and came from tapes (the 4th one with pt. 2 missing).

      4. For me the clear give away is that TMOQ did not release this until over a year later. If Dub had made a recording that April 1970, would he really have waited that long to release his version, especially after seeing Rubber Dubber’s (doing well)?

  2. Erik T said:

    Good points. Did TMOQ’s Good Karma from Berkeley on that tour (over a month later despite being so close to L.A.) come out around the same time? I also wanna say I host a weekly radio show and threw on Message of Love” from this record as part of a Jimi 75th birthday mini set I played last night. I warned listeners fair and square it would be a rough recording, but good for a 1970 audience tape! No complaints so far…

    • 71060 – Jimi Hendrix – Good Karma – ca. January 1973 – pig label, colored vinyl – matrix JH – 525

      The high quality performance at the LA Forum concert certainly made up for the lacking audio quality. Some recordings are almost like an ‘audio Rorschach’ that they can sound really poor to one person and just great to another.

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