Berkeley label

CCR Cosmo OG frontCCR Cosmo OG label 1CCR Cosmo OG label 2

Japan: ca. 1973

[CCR toured Japan in February of 1972]

Collector’s comment for the this re-issue: “My copy has number 348 on it, limited edition. It’s a fair stereo copy from an audience tape. Pretty rare I guess”

HOT WACKS rated it “Fair stereo”. It does surprise me a bit that this bootleg was selected to be copied by OG. Only songs from their first three albums up to and including Willy and the Poor Boys are present, so 1969 does seem to be the year this concert was recorded and in fact we have a likely exact date:

MARCH 21 OR 22,1969



The original:

California Northern USA: ca. 1971 (Their official LP Cosmo’s Factory which inspired the label, was released in late July, 1970).  CC-714-A/B 


CCR Fillmore E CosmoCCR Fillmore E Cosmo detailCCR Fillmore E Cosmo lbl 1CCR Fillmore E Cosmo lbl 2

Hopefully, I can upgrade these images one day.


Taylor J L NY 72 4033 Sweet 2

Taylor J L NY 72 4033

Taylor J L NY 72 4033 alt

Above, the alternate insert version.

The “Volume 1/2” designation found in the HOTWAX listings apparently added by them as it’s not found anywhere on these inserts.



Taylor J L NY 72 bTaylor J L NY 72 4044 lbl

Taylor J L NY 72 4044 alt

Year: 1973

Source: November 3 or 4, 1972 – Radio City Music Hall, NY 0 audience recording,                                         “I’ve got a lot to be happy for tonight,” announced an elated James Taylor at his Radio City Music Hall concert on Nov. 3, 1972. Earlier that evening, the 24-year-old troubadour had wed balladeer Carly Simon, 27, at her Manhattan apartment. No matter that the bride’s first hit had been the marriage-skeptical ”That’s the Way I’ve Always Heard It Should Be” — the audience roared its approval when Simon joined her ”steamroller” on stage. ” [If that’s not on this album, than it’s probably from the 4th.]

Label: From the producers that would eventually bring you Berkley Records. Mostly found as two single LP’s and as it was produced during a time when this outfit produced relatively low runs, not impossible but also not that easy to find.

4044 runs at the incorrect speed.

Notes from a collector: “My copy comes in a double gatefold sleeve with two inserts…. The labels are blank, but the dead wax area of the first record has 4033-A and -B, and the second has 4044-A and -B engraved by hand.


101 Sweet Baby James
102 Makin' Whoopee
103 Riding On A Railroad
104 Long Ago And Far Away
105 Lo And Behold
106 Anywhere Like Heaven
107 Brighten Your Night With My Day
108 Something In The Way She Moves
109 Highway Song
110 Sunny Skies
111 Carolina In My Mind
112 Rainy Day Man
113 Instrumental
114 Hymn
115 Fanfare

201 Nobody But You
202 You've Got A Friend
203 Chili Dog
204 New Tune
205 Back On My Feet Again
206 Don't Let Me Be Lonely Tonight
207 Country Road
208 One Man Parade
209 Steamroller Blues
210 Fire And Rain
-- Encore
211 (You Can) Close Your Eyes

James Taylor
Danny Kortchmar (guitar), 
Leland Sklar (bass), 
Craig Doerge (keyboards) 
and Russ Kunkel (drums).

Just presented as a needledrop on dime a few years ago.




3 November 1972

1. Talkin’ Bear Picnic

Dylan Talking Bear Picnic

A very rare item. It is not in HOTWACKS, not in the 1980 book The Great White Answers


Dylan GW Answers

And has not been added to the variations on

The title has been changed from Talkin’ Bear Mountain Massacre Picnic Blues (probably to allow Dittolino to use a smaller and cheaper stamp for the front cover) –  the “great quality” 1971 TMOQ release containing Freewheelin’ session outtakes and one Witmark demo:


Dylan Talkin'Bear Mt. Massacre Picnic Blues

“Early inserts included the text ” Cover Design Made For “Trade Mark of Quality” by PoPo Productions”
and were mainly exclusive to Dylan issues. PoPo Productions started as a small time bootlegger and in short order became aligned with TMQ. Dub probably recruited Mr. PoPo to design Dylan inserts much like he later recruited William Stout for TMQ’s cover art designs. Unlike Stout though Mr. PoPo was also involved in the bootlegging vinyl side of the business. His contribution to the TMQ Dylan catalogue included two titles “Let Me Die In My Footsteps” and “Blind Boy Grunt”. PoPo Productions is often referred to as TMQ’s sister label.
bob-dylan- Freewheelin
2. Looking Back
Dylan B Looking Back 2
Dylan B Looking Back
# 0008 
Issued in 1971 by Dittolino, when they would still number their releases in their early days. Copied from the 1970 Zerocks double LP of the same name, that premiered the “Royal Albert Hall 1966” (in reality, Manchester Free Trade Hall) material in the U.S. This material would subsequently be issued in different formats/compilations and by several different bootleg labels as it remained very popular.
Dylan Looking Back Zerocks
Dylan Looking Back b Zerocks
3. Blind Boy Grunt
Dylan BB Grunt
Dylan B BB Grunt 1
“This LP was repackaged with various combinations of blank white, 1&2 , Dittolino Discs, and full printed labels.” []
Released by Dittolino ca. 1972/3, either copied from the BBG original or the TMOQ – PoPo title shown below. 
More info on the contents found here:
‘Linealogy’ for this release:
1971:  BBG LP Kindest Cut , matrix: RI 3145
Most of the time when this LP is described or pictured, there is only a title sticker on the front and a track list sticker for the back:
Dylan Kindest Cut sticker
Dylan Kindest Cut tlist
Dylan Kindest Cut lbl 2
However, I have since come across this image and it seems that the LP may have been subtitled Blind Boy Grunt from the start but either: a. this insert was only available for a limited time, b. most people lost it over time or c. this is a fake (however, as BBG is an abbreviation for the title in question we can probably rule that out):
Dylan Kindest Cut BBG
Dylan recorded under the pseudonym “Blind Boy Grunt” in sessions for Broadside magazine in 1962/3.
September 1972: TMOQ + PoPo Productions issued this as Blind Boy Grunt – copied from the BBG release; Matrix: Blind Boy g    A / B [the lowercase ‘g’ easily mistaken for a ‘9’]
Dylan BB Grunt
Dittolini’s copy was just one of many, including this one by Berkeley, also ca. 1973:
Dylan Kindest Cut
Dylan Kindest Cut lbl
Above: Alternate printed label of the Berkely LP


This is post # 500 today. Good to see that I made it this far and kept at it, even when preparing a post can sometimes feel like a part-time job to the full time one I already have and I’d rather be lazy… so far the love for the music and the anticipation of what the next post will introduce me to has kept me going. Thanks for reading!

Oh, and by the way I’m open for guest submissions. If there is something you feel you can contribute, do let me know.


Wings Fly South Wdrlnd

Wings Fly South Wdrlnd b

Wings Fly South Wdrlnd lbl

Side 1:    Venus And Mars/ Rock Show/ Jet/ Let Me Roll It/ Maybe I’m Amazed/ I’ve Just Seen A Face     
Side 2:    Blackbird/ Waltzing Matilda – Yesterday/ Listen To What The Man Said/ Call Me Back Again/ Letting Go/ Batman Theme     

Source: Melbourne Myer Music Bowl, first show on Thursday, 13 November 1975    Professionally filmed and recorded on 16-track tape. The show was also broadcast on Australian radio. “This broadcast serves as the source of the first disc of the 2LP set Fly South , in an edited form to remove the announcer’s comments (i.e. the introduction to ‘Venus And Mars’).

The second broadcast is of Japanese origin (station JO2R) and served as the source of the scarce Japanese bootleg  Rock Show ’75 [images a little further down]. Although it utilized the same mix, it was subjected to some unusual post-production and contains two additional tracks, ‘Band On The Run’ and ‘Hi Hi Hi’, as well as some segments which were edited out of the Australian broadcast (i.e. the introduction of ‘Venus and Mars’). However, it does lack the brief bit of guitar noodling (aka “Batman”) that prefaces ‘Band On The Run’ (which is found on Fly South). The post-production could best be termed “audience reaction” and was dubbed onto the soundtrack to mask edits in the tape and at points in the performance deemed appropriate by the producer. This LP served as the source for the Melbourne material on the three-discset Wings [WRMB 505]. Presumably this material was broadcast in Japan in hopes of taking the sting out of the recently cancelled performances at the Budokan.   [Eight ArmsTo Hold You, Madinger/Easter, p. 212]
Side 3:   The Long And Winding Road/ Yesterday/ Band On The Run/ Hi Hi Hi                                    Side 4:   My Love/ Blackbird/ “Paul Talks After The Concert”/ Letting Go/ “Paul Talks About Beatles Break Up And Possible Reunion”

Source: Perth, Entertainment Center – Saturday, 1 November 1974 (opening night of what was supposed to be Wings’ Australasia Tour) “Highlights of the Perth concert (7 songs) and contemporary interview bites first appeared on disc two of the 2LP set Fly South taken from a radio broadcast (“Concert Replay”) on Melbourne’s 3XY. The broadcast used a very good audience recording for ‘The Long And Winding Road’ and ‘My Love’, while ‘Yesterday’, ‘Band On The Run’, ‘Hi Hi Hi’, ‘Blackbird’ and ‘Letting Go’ all come from an inline source. [Eight ArmsTo Hold You, Madinger/Easter, p. 211]

As the b&w cover design already indicates, it was Berkely Records, who had borrowed the classic pig logo and produced this content-wise very attractive set (for the period and the few chances fans had of acquiring non-official concert recordings) in early 1976. John Wizardo must have come across a copy not long after and seeing the short run times for disc two decided to release it as a single album, while keeping the title. “The single disc version of Fly South omits ‘Ýesterday’, ‘Blackbird’ and ‘Letting Go’, according to Madinger/Easter in EATHY.

Wings Fly South mcv

Wings Fly South mcv lbl

I believe this is the last colored pressing Wizardo ever did.

Wings Fly South Old Glory


Wings Rock Show '75 Jp

Wings Rock Show '75 Jp 2

Wings Rock Show '75 Jp b

Wings Rock Show '75 Jp lbl


Wings Budokan 75 ad

Sadly, the only letting go anyone had to do was by the ticket holders of actually seeing the shows happen.

1975: Oops. maybe next time. … 1980: Ok, maybe next time for sure!

Wings Perth venue

Perth, Entertainment Center

Wings melbourne 75 2

We’ll call it the “drenched Kimono” tapes. The full Melbourne show can easily be found on Youtube, along with material covering Wings’ stop in Perth.

Stevens Cat Catnip 2 cv

Only four Contraband titles were ever pressed on colored (blue) PVC: British Blue Jam (John Lennon/The Rolling Stones), Seventy Dollar Robbery (Dylan),  Young Man’s Fancy (Neil Young) and this Cat Stevens release shown here. These were probably pressed around 1972 / 1973.


Stevens Cat Catnip CBM

Stevens Cat Catnip 6

Steven Cat CATNIP lbl

Stevens Cat CATNIP lbl b

Side 1 Moonshadow/ On The Road To Find Out/ Where Do The Children Play/ Longer Boats (w. extra verse)/ Maybe You’re Right/ Miles From Nowhere (Side 1: 22:18)
Side 2: Peace Train/ Hard Headed Woman/ Father And Son/ Sad Lisa/ Changes IV/ Into White (Side 2: 21:20)

Quality rating: HW gave it a “Vgs”; one track is online and sounds “Exm” in my personal rating.

HW says “Live in Boston”, the internet attributes this as “Chicago 1972”, with nothing on the recording to base the city claim on it. There are no songs on here from Catch Bull At Four, the album he released in September of 1972 (some of the 1972 shows include “Can’t Keep It In” and “Sweet Scarlet” or “Ruins”). UPDATE: Now confirmed as having been taped at one of the two shows Cat gave at the Village Gaslight Cafe in Manhattan on either 30 November or 1st of December 1970.

Full set list:

    On The Road To Find Out
    Wild World
    Longer Boats
    Maybe You’re Right
    Sad Lisa
    Miles From Nowhere
    Hard Headed Woman
    Peace Train
    Father And Son
    Charges IV

Compare set lists here:


Comment from the net:

I came by this tape by way of a trade with a Norwegian bootlegger a decade ago.

Quality is standard audience recording, cheap machine secreted in greatcoat. In spite of this, a great moment in time recorded for posterity. Whoever recorded it probably just wanted a souvenir of the show but it sounds as good as the vinyl boots around. The gig was from Cat’s second U.S. tour. The Gaslight was full to its 300 or so capacity. Nice intimate atmosphere!

The tape starts with some setting up of guitar mikes by the crew, you can imagine a few burly guys plugging leads in with plenty of bum cleavage showing! The audience are evident by their chatting, coughing and clinking glasses.

The punters respectfully hush for a perfect opening rendition of Moonshadow. Falsetto ending, decent applause.

Alun and Cat tune up and then into On The Road To Find Out. Powerfully sung over just the two guitars and Alun chipping in with vocals. A great sound and the crowd are appreciative.

Cat introduces Where Do The Children Play by saying he wrote the song about two years ago and dedicated it to kids. Larry Steele provides electric bass on this one and Cat and Alun parry acoustically. The version doesn’t deviate greatly from the studio version although there’s no percussion.

“Now my first hit over here” Cat purrs in an American accent to introduce Wild World to a few chuckles. The song is well received.

Again they tune up and Cat calls for Alun’s bass to be turned down. “A song about spaceships, y’know what I mean?” Cat has difficulty getting his old star studded Gibson in tune and says “wouldn’t it be great if you could just press a button and it would be in tune…guitars are only human anyway.” Assuming it’s his Gibson as he says it’s old fashioned – The Everly Brothers used the same model. A lovely guitar intro to Longer Boats and then my tape chews up slightly, a flaw on the original tape. A shame as the best song so far in my opinion. Cat sounding confident and great choppy timing. The extra verse adds a new dimension to the vague lyrics of the song. Perfection!

Cat takes to the piano for a few songs:

Maybe You’re Right – just Cat with Alun strumming, the piano and Cat’s voice carry the bluesy melody just right. The melancholy feel continues with Sad Lisa, sounding sparse without the violin. Miles From Nowhere completes the keyboards set, again very blues based and powerful.

Cat introduces Hard Headed Woman, you can tell they’re all having a good time.

Some tuning up then Peace Train chugs along with the audience clapping mostly in time. Cat and Alun harmonise exquisitely.

Straight into Father And Son, again it’s close to the album version. Cat’s voice descants between the split personality of dad and headstrong son. Alun’s contribution on guitar and vocals is superb – his sweet voice complementing Steve’s harsher tones.

There’s lots of audience chat as the trio take a breather.

Then Changes IV rocks with more crowd participation! It’s flamboyant and optimistic and you’re left wanting more as the tape shuts down. Sadly you’re cheated, there’s no encore preserved. At least someone had the good sense to record the show albeit crudely.


This album was also released/re-pressed by someone in California (not Berkeley Records, as I had first thought):

Stevens Cat Catnip 5

Stevens Cat Catnip 2

As well as a WCF release (with wraparound slip sheet) with matching “Catnip” labels:

Stevens Cat Catnip lbl

Steven Cat Catnip

Stevens Cat Catnip b

TMoQ cover- version 1:

McCartney JPM 2

McCartney JPM 3

McCartney JPM

TMoQ cover- version 2:

McCartney JPM design 1 II

McCartney JPM design 1 lbl

Released in 1974, Matrix #: 1882

Side 1: Big Barn Bed/ My Little Woman Love-C Moon/ The Mess/ Maybe I’m Amazed/ Long Tall Sally
Side 2: Another Day/ Oh Woman Oh Why (pirate of the official 45, Apple 1829)/ Hi Hi Hi (pirate of official 45, Apple 1857)/ Gotta Sing Gotta Dance/ Live And Let Die/ Medley: Blackbird – Bluebird – Michelle; Heart Of The Country/ Yesterday (faded out)

Two websites claim that the first or all of the tracks on side one are a re-release of the Live In Scotland material but I believe that to be incorrect. Side 1 is an edit of most of the Wings performances from segments 1, 4 and 10, as listed below. Side two has segments 7, 8 and 11.

Paul McCartney spent February of 1973 in Morocco (staying at the hotel Mamounia in Marrakesh) planning this TV special, presenting Paul as the ‘all-around’ entertainer but falling somewhat short in the end. Broadcast date was 16 April 1973 in the US.


JPM TVguide

Part 1
The program opens with a live performance by Wings in front of an audience of television screens. – Song: “Big Barn Bed”


Part 2
An acoustic medley of songs is performed by McCartney during a photographic session with his wife Linda as the photographer. – Songs: “Blackbird”, “Bluebird”, “Michelle”, “Heart of the Country”


Part 3
A short music video style performance set in an outdoor location. – Song: “Mary Had a Little Lamb”

Part 4
A television studio performance with Wings and orchestra in front of a live audience.
Songs: “Little Woman Love”, “C Moon”, “My Love”

Part 5
Another music video segment, this time for “Uncle Albert/Admiral Halsey”, however the “Admiral Halsey” section was not included in the final broadcast version. – Song: “Uncle Albert”

Part 6
A short voice-over from Mcartney introduces the next segment set in the Clelsea Reach public house near Liverpool. This features members of Paul’s family and Wings in a pub singalong
Songs: “April Showers”, “Pack Up Your Troubles in Your Old Kit-Bag”, “You Are My Sunshine”

JPM Pub singalong

Part 7
A Busby Berkeley style musical number, featuring dancers dressed in half-man/half-woman costumes. Song: “Gotta Sing, Gotta Dance”

Part 8
A music video segment were Paul introduces “Live And Let Die”, the title theme from the 1973 James Bond movie. – Song: “Live and Let Die”

Part 9
Beatles Medley: a filmed segment with street passers-by singing various Beatles songs (off key) to comedic effect. – Songs: “When I’m 64”, “A Hard Day’s Night”, “Can’t Buy Me Love”, “She Loves You”, “Ob-La-Di, Ob-La-Da”, “Yesterday”, “Yellow Submarine”

Part 10
Another live studio performance with Wings. – Songs: “The Mess”, “Maybe I’m Amazed”, “Long Tall Sally” (US broadcast only; the UK and other European market replaced this with “Hi, Hi, Hi”)

Part 11
A live acoustic performance of “Yesterday”. Credits roll over the performance.
Song: “Yesterday”.


The West coast Berkeley label released this title as well in their pre-Berkeley days (and removed the pig face from the circle):

McCartney JPM Berk

Matrix number 2028

McCartney My Love

And one more time under this title with a b&w cover post-1975.


Meanwhile, on the East coast:

McCartney JPM v1

McCartney JPM KK

Released in 1974; Matrix 4022 A/B

Contraband copied TMoQ’s cover art but they produced their own edit of the source tape (which then no longer matched the cover track listing), cutting down the number of pirated material significantly and making this the better version (unless you just had to have “Blackbird-Bluebird” and “Big Barn Bed”):

Side 1: Michelle/ Heart Of The Country/ Mary Had A Little Lamb/ Little Woman Love – C Moon/ My Love/ Uncle Albert/ Pub singalong scene (confirmed in the book Eight Arms To Hold You)
Side 2: Gotta Sing Gotta Dance/ Live And Let Die/ The Mess/ Maybe I’m Amazed/ Long Tall Sally/ Another Day (pirated 45)/ Yesterday


McCartney JPM JL 513

The producers of the JL series in Japan seemed to agree that this was the superior version as they selected this one to be released as JL 513


In early 1976, Wizardo offered a third and perhaps least bang-for-your-buck version of this material:

Wings Gotta Sing Gotta Dance Secret 4

Wings Secret

Side 1: Big Barn Bed/ Little Woman Love – C Moon / The Mess/ Maybe I m Amazed/ Long Tall Sally/ Gotta Sing Gotta Dance / Live And Let Die
Side 2: Now Hear This Song Of Mine-Let s Go; Woman Oh Why; The Mess (live); Country Dreamer; I Lie Around

Side 1 is parts 1, 4, 10, 7 & 8 from the TV special. Side 2 copies the Brung To Ewe by scarce 1971 promo vinyl with pirated Apple single B-sides (#s1829, 1861, 1863 and 1869); the official material earning the album an “Exm” rating in Hot Wacks.  An ebay seller wrote: “In-between the studio tracks are short segments of a song Paul wrote to promote his “RAM” album.”


In the 1980’s, this LP on a label that borrowed its name from the Wings fan club publication offered the most complete version of the event and is still listed as the recommended source in Eight Arms…:

McCartney JPM C S

McCartney JPM C S b

Side 1: Big Barn Bed (4:45)/ Blackbird (0:37) – Bluebird (1:20) – Michelle (1:11) – Heart Of The Country (0:46)/ Mary Had A Little Lamb (3:43)/ Little Woman Love – C Moon (2:39)/ My Love (4:28)/ Uncle Albert (2:28)

Side 2: Gotta Sing Gotta Dance (4:10)/Live And Let Die (3:53)/The Mess (4:15)/ Maybe I’m Amazed (3:43)/ Long Tall Sally (2:19)/ Yesterday (3:14)


If anyone has ever done a quality comparison of these titles or knows where I can find one, do let me know.

Beatles POM large

While other tracks put forward to the bootleg buying public as Beatles outtakes, like “Have You Heard The Word”, “L.S. Bumble Bee” and “People Say/I’m Walking” could finally be traced back to their original singles, the same cannot be said for “Peace Of Mind” (aka “The Candle Burns”). There are those who to this day believe they hear “them”.

From a discussion of this recording on the Steve Hoffman forum:

“Peace Of Mind. What an eerie tune. I don’t think it Beatle-worthy material. I thought that I read once that Pink Floyd (Barrett) was considered the writer/originator of the clip.”

“It still does sound a lot like The Beatles to me….especially the part “we’ll build things never built before, we’ll do things never done”….sounds like Macca and John harmonizing.”

“Not even a stoned out of their minds Lennon and McCartney would write or sing such an unmelodic piece of garbage like Peace of Mind. Even when you look at Lennon’s albums with Yoko, his actual music (Beatle and solo) was kept strictly separate from his avant garde “experiments” (i.e. there is no mistaking one for the other).

One thing about the music of the Beatles, no matter how psychedelic or experimental it was, you always knew, without a doubt, it was the Beatles.

While we’re on this subject, it puzzles me to no end how some fans still believe that the versions of “I Want You (She’s So Heavy)” and “I Need You” on the bootleg Rough Notes are sung by Paul and John, respectively. The singer on I Want You sounds nothing like Macca and the drumming is certainly not Ringo but some Ginger Baker wannabe. And as for I Need You, it sounds like an bad outtake from a Bread album. If anyone believes John could actually compose and sing such a song in 1969 while writing material such as Cold Turkey, Come Together and (the real) I Want You during the same time period is delusional.”

“I believe the first bootleg to feature this song was “Backtrax”, which came out in 1973. John was available to fans during his “lost weekend” late 1973-early 1975, to the point of trading bootlegs (he collected them). It’s been reported that he had no idea where this song came from.Apple insiders report that the Beatles spent only a few days listening to the mountain of tapes that came to Apple, and just chucked them into a back room that was eventually filled to capacity.
John also contributed a few tracks to bootleggers at this time: his acetate of “How Do You Do It” and the 45 edit of “What A Shame Mary Jane”.”

“We were listening to “The Candle Burns” around 1973 (used to have night parties at my high-school girlfriend’s cousin’s pad), but I don’t think it was earlier. I think the very first one I had was Bye Bye Bye Supertracks on CBM with a wraparound cover.  It didn’t fade out at the end, it devolved back into multi tracked (backwards?) vocals. Most later versions faded except Wizardos MMT soundtrack lp w/bonus tracks which used the original full-length version. Some later faded Candle Burns’s were cleaned up, particularly the relatively hi-fi Dr Robert lp [this is correct, it does sound cleaner on this Wizardo LP].
BBBS also debut’d Have You Heard The Word (TinTin?? whoever) and LS Bumble Bee (Cook & Moore), which nods towards the hoax. Early underground lp catalogs claimed POM was found in an Apple trash bin in 1970. This isn’t to prove it’s the Fabs (it wasn’t “leaked”), but it suggests to me that it MAY have been from the thousands of tapes, manuscripts, etc solicited by Apple to find new talent, then binned when A Klein came onboard. Jim Berkenstadt & Belmo interviewed the guy responsible for booting Sweet Apple Trax and POM CBM releases. He got all his Beatle source tapes from one collector (SAT was his crowning boot acheivement), and even he still wonders about the origins of POM. ”

” “Peace Of Mind” first appeared on the bootleg of the same name (CBM 3670) in spring 1973. “Bye Bye Bye/Supertracks” (CBM 3922) came out a few months later.

In applying logic to this, my reasoning is that “Peace Of Mind” has never turned up in any direct capacity related to The Beatles. It’s nowhere in the EMI vaults. It’s not copyrighted under any Beatle’s name. It’s nowhere on the hundreds of Nagra reels. No Beatle has ever mentioned, quoted from, or referred to such a song (except when asked about the bootleg track, and it’s never rung a bell with anyone). No lyric sheet has turned up in any Beatle’s handwriting.

In fact, the ONLY thing connecting it to the Beatles is the fact that someone put it on a Beatles bootleg back in 1973. ”

– John

Someone named John Roberts wrote the following to The 910 a few years ago:

“I recorded “Piece Of Mind” off-the-air in October or November, 1969 from WUSF-FM (stereo), the radio station for the University of South Florida, where it was broadcast on their “Underground Railroad” show (Beatles’ special). The recording quality of the radio broadcast and stereo separation is very good. However, the quality of “Piece Of Mind” itself is quite poor, due to the quality of the DJ’s tape…

The DJ at WUSF who claimed ownership of the tape states the tape of “POM” was given to him around the time of the release of “Strawberry Fields Forever” (1967). He also states that he had been playing this tape at WUSF at every Beatles special since that time.

Other data from the DJ –

– Tape was labeled “Piece Of Mind” rather than the commonly stated “Peace”.
– Original source of the tape told the DJ that it was a “basement” track recorded by The Beatles (or at least John and Paul) while tripping on acid.”


Meanwhile, on Youtube, someone named “Walton Jones” has posted the same text under several clips of the song: “It’s title is really “Piece of Mind.” I know because I wrote it and played it in 1970-71. All overdubs of myself, on an old Wollensak tape deck. Someone got ahold of the tape and sold it to someone in 1972 or 1973 claiming it to be a rare Beatles tune. It isn’t. It’s me. Sorry to disappoint. I suppose a voice print could prove it.”

Side 1: Peace Of Mind / Lend Me Your Comb / Carol [Pop Go The Beatles # 5, BBC radio, broadcast 16 July 1963] / Rip It Up – Shake Rattle And Roll / Kansas City – Miss Ann – Lawdy Miss Clawdy [Rock’n Roll medley from Let It Be soundtrack, one excellent and the other one in poor quality]                                                                                                                                                                 Side 2: I Feel Fine / I’m Down / Act Naturally / Ticket To Ride / Yesterday / Help! [Ed Sullivan Show, recorded 14 August 1965 and broadcast 12 September ’65]

The two BBC tracks (“horrible quality”) and the 1965 Ed Sullivan Show (“mediocre quality”) also made their bootleg debut on this album.

“In late spring 1973, CBM distributed another album, titled PEACE OF MIND, matrix WEC Rl-3670, which, among various material, also included a few songs taken from the BBC sessions, in low quality. Its first pressing had generic labels with side indications. In late 1974, this was copied by Amazon Etcetera records.” From ‘A COMPREHENSIVE BEATLES HISTORY of THE BEATLES’ BBC Bootleg Releases.’


I have only ever seen this album with two kinds of labels:

Beatles PoM blue ss

Yellow with large letter font

Beatles PoM purple

Or blank labels in different colors.


Beatles Peace of Mind

As Berkeley release # 2009

Beatles POM

A re-issue, also with 2009 matrix numbers.