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Exists in at least two different printings for the folder-style cover. A bright red one and the lighter one seen below, which seems to be more common.

 

The release date is usually given as 1972.

This is an inferior copy of  (pre)-TMOQ/PoPo Productions’ GWW “SEEMS LIKE A FREEZE OUT”, which was first released around January of 1971. Matrix: 501 71 – 154 / BD – 501 71 – 155

Dylan SLAFO wh red MIH

Dylan SLaFO gree

TMOQ re-pressed this title several times. The following versions can be found based on label and PVC color differences (list may not be complete).

Quote from a person that claims to be the PoPo Productions Dylan titles:

All done at Lewis’s Pressing Plant. They had a bunch of colored 45’s on the wall. Pick any color you want. I think the base color was Clear Vinyl with the color you asked for added to the mix. The plant had a large investment in Machinery and needed all the customers they could get. We were young crazy and would use different color Vinyl just to create a collectors Item. I liked Red and Green.”

  • 1/2 labels: Orange/tangerine, light blue, red, dark green, yellow/gold, lime green, smoky (diff. color combinations).

Dylan SLAFO smoky nb lbl

  • Bordered 1/2 labels: Orange/tangerine, red, yellow/gold
  • Blank white labels: Green, blue, red, black, tangerine, smoky

Dylan SLAFO blu gree

  • Orig. pig labels, introduced early 1973: Blue, red, yellow/gold, green, white mixed splatter
  • Made In Holland labels: Red

Dylan SLAFO wh red MIH d

  • Smoking Pig labels: Black, lime green, red, blue

 

Due to the many variations for TMOQ, I have decided I’m not the right person to attempt a review of all the TMOQ’s;  you really need someone who has access to most of them and has studied them for decades to do them justice.

**

In 1975, Berkeley released the album in their now new trademark b&w cover art (which I’m not a fan of), the matrix remained the same.

Dylan VisOJoh 75Dylan VisOJoh 75 b

 

Yardbirds On Down p.i.

 

First issues available in various two-tone color combinations for the insert and black title or blank white labels. The official 45 label from 1965 was included as its mirror image can be seen in the white one.

Mid-Western USA: 2nd half of 1971 – early 1972

Sources:

Tracks credited to Jeff Beck:
1. I’ve Been Drinking – B-side of Jeff Beck non-US 45 “Love Is Blue (L’amour Est Bleu)”, February 1968
2. Tallyman – 45 A-side, 1967
3. Hi Ho Silver Lining – 45 A-side, 1967
4. Rock My Plimsoul – B-side to # 2.
Tracks credited to The Yardbirds:
5. Stroll On – from Blow Up movie soundtrack?
6. Psycho Daisies – B-side to non-US 45 “Happenings Ten Years Time Ago”, 1966
7. Ha Ha Said The Clown – 45 A-side, 1967
8. Goodnight Sweet Josephine – 45 A-side, 1968
9. Think About It – B-side to # 8.
10. Shapes In My Mind – (credited to Keith Relf) 45 A-side, 1966
11. Ten Little Indians – 45 A-side, 1967
12. Steeled Blues – B-side of “Heart Full Of Soul”, July 1965
13. Puzzles – B-side of “Little Games”, 1967
14. The Nazz Are Blue – album track left off the US version of their re-titled 1966 album Over Under Sideways Down
15. Rack My Mind – ditto
16. Love Is Blue (L’amour Est Bleu) – (credited to Jeff Beck) see # 1.

***

Here’s the folder cover reissue ca, ’73/4:

Yardbirds ODYardbirds On Down

***

This material – plus another Keith Relf track “Blue Sands” but omitting “Psycho Daisies”, “Ha Ha Said The Clown” and “Rack My Mind” – was also released under this title:

  • Matrix # AR-1687-1/2

 

  • WCF/(pre) Berkeley also released their own version as part of their 20XX series, which started in late ’73/early ’74. The matrix was 2052-A / B

My apologies for skipping over WCF 719 & 720, which had somehow vanished from the master list I keep on my lap top although they are still on the main list I compiled for the blog.

Kinks Rare

Kinks Rare b

Kinks Rare det 2

That is a rather shocking amount of track information for a WCF title.

Below: Alternate version with only one insert with track list. As these came with blank white labels it must be a later “economy” version.

 

 

Mid-Western USA: ca. mid-1971, making it the first Kinks underground release but not their first bootleg. Not as easy to find compared to the pirates WCF compiled for the Who, Instant Party (736) and Who Unreleased (27).

A 1   Act Nice And Gentle – Non-US B-side to “Waterloo Sunset” 45, 1967
A 2   This Man He Weeps Tonight – B-side to Shangrila, non-US 45, 1969
A 3   Mr. Pleasant – 45, 1967
A 4   King Kong – B-side to “Plastic Man” non-US 45, 1969
A 5   Creeping Jean – B-side to Dave Davis non-US 45 “Hold My Hand”
A 6   Plastic Man – see # 4.
A 7   Lincoln County – Dave Davies non-US 45, 1968
B 1   Polly – B-side to “Wonderboy” 45, 1968
B 2   Mindless Child Of Motherhood – B-side to the non-US 45 “Drivin'”, used as B-side to “Lola” in the US in 1970
B 3   She’s Got Everything – B-side to “Days”, a 45 released only in a handful of countries in 1968
B 4   Berkeley Mews – B-side to “Lola” in most countries except the US
B 5   Hold My Hand – see # 5.
B 6   There’s No Life Without Your Love – B-side to “Lincoln County” 45

Jefferson Airplane UATW WCF

If you see this with a light brown-grey insert, it is likely the WCF version.

Which was the original version? The two contenders are:

  1. The JA-9999 version with matrix S-2583/4, reminding us of those used by Dittolino, except if this title came out in 1970 the numbers are off in that a 1971 release such as the rolling stones live in concert used lower numbers

 

 

2. This TMOQ title, released ca. March 1971 – square label version, a recent find for me (much rarer than the 1/2 round label versions).  Are the square label ones first editions? Can anyone confirm?

Is that the insert seen above a genuine TMOQ item? I have never seen this again with a TMOQ pressing and we have to consider that one of the owners of this album may have added it later. Further evidence against it is seen in another ‘square label’ version, which has the standard TMOQ-produced insert for this title:

UPDATE:  Within minutes of posting, I received this image showing the full insert and making it look more likely that TMOQ had copied the material:

Jeff Airpl UATW 1st insert

Thank you, Karl for the image.

**

The material presented on UATW comes from two PBS TV programs: “Go Ride The Music” recorded 2nd of  April, 1970 at Wally Heider Studio, San Francisco (tracks A1, A2, A4 – B3) and “A Night At Family Dog” recorded 4th of February, 1970 at Family Dog on the Great Highway (supposedly broadcast on 27 February and 13 December 1970), tracks A3 + B4.

My current preferred theory is that the release date for the TMOQ version is too late to be the original source for this, so, my money is currently on the JA-9999 version.

Isn’t it also more likely that Dub & Ken removed the ‘F’ after “Mother” from their insert instead of another bootlegger adding it on theirs?

The timeline for these three versions then looks approximately like this:

  • JA-9999 original released ca. June of 1970
  • TMOQ with square labels and the copied “cop drawing” insert released around March of 1971
  • The WCF version released ca. middle of 1971 to early 1972

 

 

 

 

 

Dylan Looking Back 1

Dylan Looking Back 2

An alternate insert for Volume 2 below:

Dylan Looking Back alt

 

 

bobsboots.com comments on Volume 1: “29A  In ’70 or ’71 Zimmerman records released a single LP of record 1 (The Royal Albert Hall show) of 28A. The cover was blank. A color printed insert was a reverse image of the original drawing with song titles added. labels were dark red with songs listed. Matrix : GM LP 744 ”

“29B  In ’70 or ’71 Berkley records released a copy of the 29A LP. They used the same insert on a gatefold cover. The quality, however, was inferior; with many bad presses. Blank labels. Matrix : LP 744″ They must be referring to the folder style re-issue, which I have been dating to ca. 1973/4

**

And Volume 2: “30A  In ’70 or ’71 Zimmerman records released a single LP of record 2 (The ’63 & ’66 shows) of 28A. The cover was blank. A color printed insert was an image of the original drawing with song titles added. Labels were dark red with songs listed. This LP was copied and released as ‘While the establishment burns’
Matrix : LP 745 “

“30B  In ’70 or ’71 [ 1973/4] Berkley  records released a copy of the 30A LP. They used a mirror image insert on a gatefold cover.   Blank labels. 
Matrix : GM  745 ”

The ’28 A’ original bobsboots is referring to here, however that is a British version made in 1972, as they say, so how could it have been used tor a 1971 release?

So, let’s go back to the 1970 US original on Zerocks Records, the first time that Dylan’s 1966 Royal Albert Hall recording (actually from Manchester’s Free Trade Hall) was commercially made available in the US. RAH occupies two complete sides, one each per disc to allow stacking on automatic turntables. Another side has the Townhall 1963 concert and the last side has four tracks from the Adelphi in Dublin, also in May of 1966. 

Dylan DLB Zer gold st

Dylan Looking Back b Zerocks

bobsboots hated the artwork but loved the actual records: “Nicely done full printed labels. Good, heavy vinyl…great sound.”

Dittolini and TMOQ (first as the full double album using practically the identical artwork and as the aforementioned single album While The Establishment Burns). HOTWACKS states CBM did as well but this version has never turned up and been recorded in anyone’s research (“Raging Glory” by Dennis R. Liff, “Great White Answers” by Dominique Roques, “Bob Dylan – His Unreleased Recordings” by Paul Cable).

Dylan Looking Back 4

 

Dylan Looking Back st

Dylan Looking Back

 

Grateful Dead AICrazy

The return of the “COMPATABLE (sic) FOR   STEREO” slogan not seen since the 713 – 715 releases.

 

 

The number of different labels indicates that the producers at WCF must have felt a lot more confident about this new entry into the Dead bootleg pool compared to Live Dead Spring Tour 1971.

Mid-Western USA: Mid-1971 – early 1972

Source: Likely taken from one or several of the April 25 – 29 1971 Fillmore East shows in 1971 (a compilation of these shows was officially released in 2000 as Ladies and Gentlemen… the Grateful Dead. “Ain’t It Crazy” is also known as “The Rub”. Rated as “Exm” in HW.

Here’s a link to locate and listen (and perhaps compare if you own this album) to these recordings: https://archive.org/details/GratefulDead?and%5B%5D=%22Fillmore+East%22+1971&sin=&sort=titleSorter

Plus another link describing the band’s attitude towards bootlegs at the time of this release: http://deadsources.blogspot.de/2013/11/august-26-1971-bootleg-battle.html

**

WCF reissued this title ca. 1973/4 in a folder style cover that featured an image of the performers or artist on the back, in this case a Jerry Garcia cartoon. Although now a deluxe printed cover there was a noticeable loss of detail compared to the original slip sheets:

Grateful Dead AIC RE

Grateful Dead AIC RE b

***

While WCF’s master was in mono, the following version with the matrix K7201 was in stereo. Despite the similarities I don’t believe this was made by WCF.

Grateful Dead Ac D K7201

Thanks to doinker for the image & info.

 

 

 

Joplin J GIWYC

Another cover nicked from the “ratpack ink.” version (JJ-4). The track list nicked from yet another version, the one with the yellow cover and PVC color, supposed to be the original version:

Joplin J Get it While You Can purple cover 2Joplin J Get it While You Can yel b

 

 

 

Mid-western USA: Mid-1971 to early 1972

Source: Soundboard recorded at the Honolulu International Center Arena on 6 July, 1970.

A recording of this caliber was exactly what bootleggers needed following the surge of interest in Janis’ charisma as a live performer following her untimely passing.

At least four other different versions of this recording were released around this time on bootleg vinyl and have been discussed previously in this post.

 

 

Grateful Dead LDST 71

 

Upper mid-Western USA: 2nd half of 1971 / early ’72

A “medium rare” release that seems to have been pushed to the side by superior titles taken from radio broadcasts. It only seems to exist with a red slip sheet and b&w labels as shown.

Source: New Expo Convention Center, Milwaukee, WI on  21 March, 1971

https://archive.org/details/gd71-03-21.aud.cotsman.12074.sbeok.shnf

 

***

For deeper reading on the topic of Dead live shows/taping/bootlegs there is no better place than this blog: 

http://lostlivedead.blogspot.de/2016/03/bootleg-grateful-dead-lps-east-and-west.html

Here’s an excerpt that is of particular interest:

“It seems like Dead bootleg LPs started popping up on the east coast in 1970 and 1971, probably after the Great White Wonder got written about in Rolling Stone in late 1969. But Dead bootlegs seemed to really start taking off in 1971, which is not coincidentally when the band themselves moved from being primarily an underground phenomenon into a band that played arenas in most parts of the country. I’m really fascinated by this period in Dead fandom, as the band was exploding but before the term “Deadhead” came into common use with the release of Skullfuck in October ’71 and before all the Deadhead norms of tape-trading and folklore became fixed parts of the world around the band. When Dead freaks were Dead freaks

Going by coverage in the [NYC underground newspaper] East Village Other, it seems like Dead bootlegs really exploded on the east coast the summer right before that. One show that was especially popular was from the KSAN broadcast of the October 4th, 1970 show at Winterland, the night Janis Joplin died. That sold especially well, since it came from an FM recording and sounded great, which was a pretty standard bootleg procedure even today with the new wave of bootleg LPs that have appeared with the so-called vinyl revival. Since the Dead and their friends really pioneered the act of live concert broadcasts (as you’ve pointed out!), you can maybe blame that aspect of bootlegging on them, too, sorta. A lot of the early bootlegs were totally white label, with no identifying information at all, so it’s only later that we’ve been able to identify them.

And the spring or summer of ’71 was when Marty Weinberg put out his first bootleg LP, too. Marty was the inventor of really high quality Dead concert taping. He was a brainiac boy genius who went to Bronx High School of Science and was a teenage member of the Audio Engineering Society, among other cool things. But he’d sneak a mono Uher into the Fillmore East and position himself on Garcia side. His techniques were actually pretty different from what tapers developed later, but his tapes became legendary among east coast Deadheads. The guitarist in the earliest Dead cover band I know about (John Zias from Cavalry) told me Marty’s tapes sounded dosed. But most of Marty’s friends didn’t own reel-to-reels, so he made an LP of his favorite jams from the fall of 1970, mostly from the Capitol Theater in Port Chester and some from the Fillmore East, and pressed up 500 copies, gave half away, and sold the other half. He never repressed it, but Marty’s LP got play on New York radio stations, and he was invited to appear as a guest on Bob Fass’s Radio Unnameable on WBAI, the hippest radio show in the city, where the Yippies first came together and Bob Dylan took calls on the air a few times.”

A. The original version, ca. 1971:

Woodstock Nation 2

Woodstock Nation 1

 

It’s almost shocking how much information there is on the back insert compared to the usual WCF modus operandi of “you got the song titles, what more do you want?”. There is just one issue here, while the title alludes to this possibly being a recording from Woodstock, it certainly fooled HOTWACKS, this is from a different festival recorded nine months later and I have a strong feeling that the producers knew this.

Source: Kickapoo Creek Rock Festival, May 30, 1970, in Heyworth, IL

Despite the title and all the confusion it has caused, this LP was actually recorded the following year at the Kickapoo Creek Festival. There was an interview with the bootlegger available online a while ago. I haven’t been able to find it recently. In it he states that 37 reels were recorded from the soundboard, and that most or all of the reels were stolen. He did state that the album was produced in somewhere between 500 and 2000 copies, many of which did not come out. The remainder of the Canned Heat session was put out in Amsterdam under the title The Real Future Blues. A photo of that original is also attached. Of interesting note is that all known copies of Ted Nugent listed as being from Woodstock are just copies of this album. He never performed at Woodstock.” (thanks to Doinker for the images & background info)

Kick a Poo Creek 1

**

B. The first Reissue

WN Atlasta RE I aWN Atlasta RE I b

“BANANAZ are BLACK.” is this an insider joke or a reference to the yellow PVC version of this release shown here (NR-1202)?

WN Atlasta RE II aWN Atlasta RE II b

WN Atlasta RE II b1WN Atlasta RE II b2

****

The Canned Heat tapes pressed onto vinyl – if you have any further detail regarding this release, please leave a comment:

Canned Heat FBA

LP with blank white labels, matrix: SD 8476 / 8477

**

Plus the gold/yellow wax copy NR-1195:

Canned Heat TRFBACanned Heat TRFBA b

Better quality images needed.

Just one performance on side 2: A 16:30 minute version of “So Sad”.

A total of five Canned Heat songs are available spread across both releases.

 

Who Instant Party

Who Instant Party det

I have only found this with this red slip sheet.

 

USA: 1971

A copy of the first Who underground/pirate release (not a bootleg as usually stated, as all tracks were taken from officially released UK 7″‘s) from 1971, the M-171 version of INSTANT PARTY:

Creating cover art by simply gluing two labels on, quite primitive but also quite intriguing, giving it an instant ‘test pressing’ look.

WHO Instant Party orig. lbl

It does remind me of the April 1970 STONED AGAIN (RS-121 or 722 or 727) album I had shown in this previous post.

Track list:

A 1. I Can’t Explain & a 2. Bald Headed Woman: Likely taken from the US DECCA 45 from 1965
A 3. I’m A Man: Album track taken from My Generation
A 4. Daddy Rolling Stone: B-side to Anyway, Anyhow, Anywhere in several countries but unreleased in the US in 1971
A 5. Anyway, Anyhow, Anywhere: Likely taken from the US 1965 7″
A 6. Shout And Shimmy: B-side to My Generation 45 in several countries but not the US
A 7. Waltz For A Pig (instr.) credited to “The Who Orchestra” but none of them play on it, which becomes very apparent once played. Supposed to be Ginger Baker, Jack Bruce and Dick Heckstall-Smith: B-side to Substitute on the US ATCO 45 (also in other countries)

B 1. Substitute: A-side to A 7.
B 2, Instant Party (Circles): The original B-side of Substitute, which had its title changed and was then withdrawn due to their legal issues when the band broke their contract with Shel Talmy. thewho.info does not list a US release for this despite what the song’s wikipedia page claims.
B 3. Heat Wave; Album track from A Quick One
B 4. & B 5. The Last Time & Under My Thumb: This 1967 45 did not see a US release until many years later.
B 6. & B 7. Batman & Barbara Ann: From the Ready Steady Who EP – released in Canada but not the US – (which was probably also the source for Instant Party (Circles)).
B 8. Dogs: June ’68 single, not released in the US (perhaps due it only reaching # 25 in the UK

***

A large number of these tracks repeat on the other Who pirate WCF did: THE WHO UNRELEASED (27)