Bootleg History

19 October 1976: The Sound Recording Amendment to U.S. copyright law for the first time extends copyright protection to sound recordings. Unfortunately, it combines both counterfeit and ‘pirate’ recordings in the same category as “misappropriated” recordings, “making bootlegs the legal equivalent of any pirate album containing commercially released material in alternative packaging” (Heylin, BOOTLEG, p. 125). In addition, for the first time the owner of any exclusive right (for example, mechanical reproduction) can now claim action for infringement. This right previously lay with the copyright owner of a work exclusively. As a result, record companies could now instigate legal proceedings without the cooperation of the artist.

“Vicki Vinyl was busted, a guy who was distributing Wizardo Records was busted, a number of stores were busted, my friend back east was busted – he was sending me the King Kong and Contraband Records in trade for my records. There were a whole bunch of people busted in December 1976.” [Lou Cohan in Heylin, BOOTLEG, p. 125]

The FBI, however had a lot to learn and were operating on some false beliefs, for example that there was a ‘Mr. Big’ somewhere behind this, controlling it all and in return for talking deals were offered.

“Wizardo, now working in tandem with Vicki Vinyl, managed to wriggle out of a first rap with a little kiss’n’tell. He promptly started up again, assigning new releases to the 500 series, only to be hit a second time. This time operations were forcibly put on hold by court action. Cohan, who was also busted at the end of 1976, was lucky that the FBI did not manage to gather all the available evidence.” (Heylin, BOOTLEG, p. 126)

As Lou Cohen was a volume dealer with an impressive catalog with product sourced from other bootleggers the FBI thought that this was their “Mr. Big”: “As for my own personal bootlegs, the most I ever pressed was 4,000 of any one title, the average was around 2,500 … [but] I would trade my bootlegs with other bootleggers, including a guy on the East Coast [in Darby, PA], so that by the time the FBI busted me in December of 1976 … I carried hundreds of titles, but only about twelve to ffteen of my own. I only made, I think twenty-two bootlegs. Hot Wacks says I made about ten, because I changed label titles, I changed what was scratched in the vinyl, to try and confuse the FBI.” [Lou Cohan in Heylin, BOOTLEG, p. 127]

While Wizardo’s second bust forced him to appear in court and close up shop for good, Cohan paid $1,000 to a lawyer, who made the whole issue disappear. Cohan retired his label name Hoffman Avenue Records and started up again using a pressing plant not listed as such in the yellow pages and continued until the end of 1977.

If anyone deserved the title “Mr. Big”, it was certainly Ken but Ken was never caught. Heylin’s book has ‘Eric Bristow’ recount an anecdote when the California State Police almost busted Ken in Westminster in Orange County, CA when a neighbor called the cops on him claiming Ken dealt in stolen property. Incredibly, Ken managed the cops to only leave with some samples and his lawyer basically blackmailed the police into dropping the case for not arresting Ken on the spot! To the best of my knowledge, a couple of the raided samples are the only items ever to come up for public auction:


Dylan CotH police evidence 1

Dylan CotH police evidence 2

Dylan CotH police evidence detail

From the auction description:

“Dylan Police Evidence
Police Evidence Sticker on Back Sleeve
Spine Also has 3 White Labels on It with Bob Dylans Name, LP Name & Cat #

TMOQ Record was A Legendary Bootleg Label Based In Westminster California back in the 70’s
Then when One day the Westminster Police Dept. Shut them down and this is one of the records that
was seized and held as evidence with the label from the police stamped and labeled.

If you check Under “TMOQ Evidence Room” you will also find
some Labels from this same seize and that has the same label from the Westminster
Police with Stamp & Lot #. Which Sold for $577

Labels evidence

Rolling Stones 1975 TOTA pt one disc

Rolling Stones 1975 TOTA pt one b stamp

Rolling Stones 1975 TOTA pt one 1 lbl

Matrix – side1: Impact 1 / Side2:  Impat 2 states: First edition in black vinyl. Second edition in multicolored vinyl. Third edition with Ruthless Rhymes labels and black vinyl.

Source: Great Western Forum, Inglewood, CA – 13 & 10 July 1975 (different venue & date where noted)

Side 1. If You Can’t Rock Me (03:33) / Get Off Of My Cloud (03:40) / Star Star (04:37) [July 10] / You Gotta Move (05:01) / Brown Sugar (03:48) / Band intro (01:25) / It’s Only Rock’n Roll (But I Like It) (06:05)
Side 2: Tumbling Dice (05:50) / Wild Horses (07:24) / Jumping Jack Flash (06:47) 


Part 2:

MATRIX: Impat-2-1 (1) Rolling Stones Forever. Impat-2-1 (2) Watch For Part III

Side 1: Gimme Shelter (05:33) / Ain’t Too Proud to Beg (03:47) / Midnight Rambler (14:46)
Side 2: Doo Doo Doo Doo Doo (Heartbreaker) (05:16) [July 10] / Fingerprint File (09:41) [July 10] / Sympathy For The Devil (10:05) 


Part 3 “1975 Nervous Breakdown / L.A. Friday” [the 13th was actually a Sunday]:


Side 1: Honky Tonk Women (05:29) / All Down The Line (04:09) / Angie (05:52) [July 10] / Luxury (03:42) [June 1, Baton Rouge, LA – 2nd show] / Dance Little Sister (04:26) [June 1, Baton Rouge, LA – 1st show]
Side 2: You Can’t Always Get What You Want (12:42) [July 10] / Happy (03:37) / Brown Sugar (04:22) [July 10] / Rip This Joint (02:09) / Street Fighting Man (04:12) 


1975 was quite a year for live show tapers and bootleggers. Led Zeppelin toured from January to March, Pink Floyd started their in April, the Wizardo label started churning out titles in the middle of the year, as did another massive Rolling Stones North American Tour. Again, Vicky Vinyl was able to secure copies of excellent audience recordings made by local concert taper Mike Millard, who worked in the Audio Visual Dept. at Mt. San Antonio College (Mt. SAC) in Orange County, CA.

“part two” especially clearly shows Vicky Vinyl’s love for the band in every detail and stands high above any output from most of the contemporary bootleggers at that time. This material has since been officially released by the band as a download – under Vicky’s chosen title L.A. Friday to boot! – and subsequently bootlegged on vinyl again from the FLAC files (see last image before the Mike Millard notes).

Rolling Stones 1975 TOTA pt 2

Rolling Stones 1975 TOTA pt 2 detail

Rolling Stones 1975 TOTA pt 2 disc


Rolling Stones L.A. Friday

Rolling Stones L.A. Friday back

Rolling Stones L.A. Friday disc

Some of the disc variations:

red – IMP logo label
white – IMP text label
blue – Slipped Discs text label
MCV blue – blank label
MCV red – IMP text label
MCV blue/black – IMP logo label
MCV red – Slipped Discs text label


In 1976, the single albums were reissued as a 3 LP box, using the inserts for the first release and blacking out “part one”:

Rolling Stones 1975 TOTA box rwb

Rolling Stones 1975 TOTA box 2 g st

Rolling Stones TOTA box RR SD


LA Friday RS

P.S. 2012 limited vinyl bootleg set made from the official soundboard recording released by the band.


Mike Millard


The recorder model used by Mike Millard from 1975 onwards. Not much is known about Mike and the same information is usually copied across the web sites that mention him. The following blog post was written by someone who actually knew him:

List of shows known to have been taped by Mike Millard:

Eric Clapton – Irvine Meadows Amphitheatre, Laguna Hills, CA 23 September 1988

Rush – Convention Center, Anaheim, CA – 16 June 1981

Yes – October 6, 1978, Inglewood, CA, Great Western Forum
Yes – October 5, 1978, Inglewood, CA, Great Western Forum

Kansas – Arena – Long Beach, CA – December 31, 1977

Yes – Long Beach Arena, CA – September 26, 1977

Yes – The Forum, Inglewood, CA – September 24, 1977
Yes – The Forum, Inglewood, CA – September 23, 1977

Led Zeppelin – The Forum, Inglewood, CA  June 27, 1977

Led Zeppelin – Led Zeppelin 1977-06-25 , Inglewood Forum, CA

Led Zeppelin – 1977/06/23 The Forum, Inglewood, CA     For Badge Holders Only / Part Two

Led Zeppelin – The Forum, Inglewood, CA  1977-6-21     Listen To This Eddie

Led Zeppelin – 1977-6-19 San Diego, CA

Wings – 1976-06-23 The Forum, Inglewood, CA        Wings From the Wings

Eric Clapton – LA August 14, 1975

Rolling Stones – LA Forum, Los Angeles, CA, July 13, 1975       Tour of the Americas, part one, two, three
Rolling Stones – LA Forum, Los Angeles, CA, July 12, 1975
Rolling Stones – LA Forum, Los Angeles, CA, July 11, 1975
Rolling Stones – LA Forum, Los Angeles, CA, July 09, 1975

Yes – June 23, 1975, Long Beach CA, Long Beach Arena
Yes – June 21, 1975 Los Angeles, CA Hollywood Bowl               The Sorcerer

Pink Floyd – 1975.04.26 – Los Angeles Sports Arena

Led Zeppelin – 75-3-27 LA Forum
Led Zeppelin – 75-3-25 LA Forum
Led Zeppelin – 75-3-24 LA Forum

Led Zeppelin – March, 12th, 1975, Long Beach, CA, Long Beach Arena
Led Zeppelin – March, 11th, 1975, Long Beach, CA, Long Beach Arena

Yes – March 19, 1974, Long Beach, CA, Long Beach Arena
YES – March 18, 1974, Inglewood, CA, Great Western Forum

After first finding the Dylan boot Let me Die in My Footsteps, he discovers the Crosby & Nash title A Very Stoney Evening (plainly visible from 4:00 onwards, does not look like the TMoQ version though) and a CSN&Y bootleg, which I have not been able to identify. A tense situation ensues between Neil and the store clerk, who seems to have no idea who this ‘hippie’ is.

The issue of Rolling stone magazine in the rack is Issue #97 with a cover date of December 9,1971. A Very Stoney Evening was recorded in October of that year and shows how fast some bootleggers could be in bringing shows to market.


The line up as presented by detective N.Young:


Dylan Let Me Die In My Footsteps


2. “A Very Stony Evening”

Crosby Nash Very Stoney Evening

Seems to be rare today. First version of the much more common classic TMOQ version and issued together with the folder type version of Led Zeppelin’s Going To California. eBay seller mentioned that it came on blue vinyl.

Crosby-Nash Stoney Evening 2

Led Zep G T Cali 1st


3. Busted! CSN&Y “Live At The Forum”

CSNY LID Records

CBM duke_ellington-chicago_-_detroit_1940

CBM benny_goodman-at_the_waldorf

Discovered by a frequent contributor and source of expertise without whom the blog would have a lot more inaccuracies and mistakes. A big public thanks for that. Now, we know where the 1974/5 J.Fish cartoon cover came from. If anyone knows of any further titles, do let me know.

As Billboard wrote in 1974 that “jazz is the genre that seems to be bootlegged the most” but I will leave that field to someone else to research … or perhaps that’s already been done.

“The larger pressing plants we used, used good vinyl (virgin vinyl). The smaller ones would punch out the labels, grind up the vinyl and reuse it and this made for some clicks and pops as that vinyl had already been heated before and also no matter how hard they tried, tiny bits of paper from those labels invariably wound up in the mix. Also, there was the issue of how long you left the record in the press. A full minute made for a much better pressing than a record that was only in for twenty or thirty seconds. Those small plants wanted to make records as fast as possible. And two of those small plants that we used were pretty doggoned filthy. Dirt and dust in the vinyl before it got into the press didn’t exactly make for a good sounding record.

When we went to the bigger plants (and believe me, we wound up at the biggest) they had the vinyl come out of hoppers above the press and only used virgin vinyl, but the small ones saved the crap, gave it to us, because could we complain, go somewhere else? Well, eventually we did.”

“Yeah that pesky band between the songs on an LP. On the studio versions we would use about three seconds of paper tape, so whoever was cutting the record would know to put a band there (sometimes we didn’t thought). On the live albums we didn’t do that, didn’t know you could, though I wondered how the real companies did it. Then one day I was sitting by the lathe when the applause came on after the first song and this guy running the machine reached down and turned a knob and, as if by magic, a band appeared on the acetate and then I had to start putting song times on the tape box to warn him when to make the bands. It was so much easier when all I had to worry about was was the side over twenty-two minutes, but under twenty-eight.”


We remember this part from an earlier short Q&A session Ken did:

Q: Do you have a list which TMOQ titles you made on CV?

A: […]Just about every TMOQ record I did was available on colored vinyl at one time or another. We didn’t charge more for colored vinyl and we used it when we could get it. Usually when we pressed at Lewis.

“The CV records all came from one pressing plant. If they had it, they used it. A couple of the guys there liked to experiment and that’s why you have splash vinyl.

I spent two months there pressing records, because a couple of employees quit and Greg (my partner at the time) and myself really needed product. This was before we went to the big plants. We pressed only CV and made many different combinations, especially with splash white vinyl. We could be working along, making a bunch of records red, then all of a sudden, to break the monotony, we’d make a few multicolored or splash.

Led Zep Final Option disc

This particular pressing plant had all old presses, so you could change up pretty quick. We’d usually make a hundred records or so, then switch to something else. So it’s possible to get any of the early TMQ records on color, multicolor or splash vinyl. There just is no rhyme or reason for it.

Bowie In America splash

Also, on a few occasions, we’d order the whole first run, usually two hundred or so records at the time, colored, white or splashed. Later, after we shifted to the big plants, colored vinyl was no longer an option. If we ordered a hundred of a title on colored vinyl, we usually didn’t specify color. The colored vinyl at that old plant came in slabs that you heated on a hot plate, then folded, then put in the press. Each rectangular slab made one record, so it was very easy to mix the colors. Some of the hundred record run would be red, blue, green, splash or any number of colors. So as far as identification is concerned, the color of the vinyl doesn’t help. Also, I’m afraid the stamper numbers don’t help me either. If the plant had CV at the time, I asked them to use it. If they didn’t, well they didn’t. I never held up pressing a record because the plant was out of CV and I don’t think Dub did either.

Deep Purple Purple For A Day

The last things we did on colored vinyl there (if I remember right) were the two Dylan Box sets. Striptease and Toasted: the Australian Collection. We did about three hundred and fifty of each and we pressed them at the same time and we went to a lot of effort to try and make one set all green, another all red, another all blue, etc. Of course we had to mix some of the sets.

Dylan Striptease box

I know the popular belief is that we did five hundred, but back then they were specialty items and a whole bunch of trouble. It was much easier to do the color jackets then at the big plants, because we didn’t have to stuff the records. They came shrink wrapped and ready to go, so we didn’t even have to take them out of the boxes. The box sets were a whole bunch of work and at the time we didn’t think they were worth all the effort.

Much later, with a different partner, I made the mega Zeppelin box set on CV. Only a hundred of those [I believe 150 is the correct number]. My partner at the time was behind the whole thing. He hadn’t done a box set before and wasn’t aware of all the work. But to his everlasting credit, I must say we made a pretty penny off that one, so it was worth all the bother.”

Led Zep Final Option

The splash white disc image used above is one of the records from this massive set that will eventually sell for five figures in the future.

Led Zep Final Option box side

As for the matrix numbers, we didn’t think too much about that with the early ones. The guy cutting the acetate probably decided in some of the cases. Then Dub came up with the series idea. Dr. Telly wanted to only do a hundred records, starting at 1900 through 1999. I convinced him to assist me with TAKRWM which I think started at 1800. Sometimes we’d change the numbers for one reason or another.”

  • “Regular pig” vs. “smoking pig”:

It would be wrong to assume that the regular pig was Dubs only. I did many regular pigs after we split up, oftentimes I would make the same record with different labels, sometimes regular pig, sometimes smoking. Sometimes I just used whatever labels I had on hand. And Dub and I used often used stampers off the same mothers, so the records would be exactly the same. I got my pig labels and stickers the same place he got his and he got his covers the same place I got mine.

The clue as to whose record was whose might be in the rubber stamp impressions. Ten or maybe fifteen of Dub’s and my rubber stamps were exactly the same, but after we split up I went to a different place for my stamps as Dub lived in Glendale and I lived in Long Beach. There was a rubber stamp place close to where I lived, so I went there for mine. So most of the TMOQ records will be out there with slightly different rubber stamps. It would probably be hard to tell, unless you knew exactly what you were looking for, but a couple of mine had straight quotes around the title and all of Dub’s had curly quotes. However, I soon caught this and ordered new stamps with curly quotes. So if you find a “Freeze Out” or a “John Birch” with straight quotes around the title, you’ve found something rare.

If today you were to hold up one of my later Great White Wonders next to Dubs, you might see a bit of a difference in the stamp impression, but I wouldn’t be able to tell you which was which, but other than that, they were exactly the same. Very confusing, I know, but back then we were not planning on anybody caring about all this three decades later.

However, we were about making the best records possible. There never has been a perfectionist like Dub. He did his very best on every record he mastered. And I know what you mean by every record being unique, there were some I only made fifty copies of with a stamp, then did the rest in inserts, I think I did that just to confuse people. But all that said, we still never thought it would last. In fact for the longest time we thought each record would be our last. We made quick money and we spent if fast, because we were young and dumb and having a lot of fun.

From my point of view (and I’m sure Dub’s), There were no pre TMoQ records. Once Dub came up with the pig idea, we shifted the first five or six of our records over. There was nobody else before us. And until Rubber Dubber (with the exception of Norty and Ben), nobody after, except for that one Canadian guy who did that one Beatles’ record. Then, all of a sudden there was Troubled Troubadour, Herbie Howard, CBM Dave, Wooden Nickel, Liver copies galore and the floodgates were open.

I remember one time Dub and I were recording Phil Ochs at the Troubadour [Phil Ochs played at least a dozen shows there from January to February 1, 1970]. He was using the same shotgun mic he’d used to record Liver. The waitresses made sure to not walk in front of our table, kept the area between Dub’s mic and the stage clear, so as not to mess up the recording. We must have looked so official to her with our long hair and hippy clothes. I don’t have that tape anymore, wish I did.”

  • On the later years, repackaging old titles, etc.:

“Boy I’ll tell you this thread has got me to thinking about how greedy we got. Later, looking for an easy buck, we repackaged the Striptease stuff as five double record sets. Those were on black vinyl, if I remember right, because we wouldn’t have been at that old plant anymore. We also made a pretty cheesy cover that we used generically for the toasted box records (I can’t remember what it looked like, but I know it was cheesy), releasing them as five double records as well. God we were a bit slimy, repackaging that stuff over and over again. It wasn’t much fun in those later days. We were just going through the motions, trying to make money on old stampers, when it wouldn’t have been very much harder putting out something new. Lord knows, there was plenty of stuff out there.

I remember TAKRL 1900 was the Beatles live in Japan, because we did so many and we were going to start a special new label with that one. We had the rubber stamp made up and everything. But at the last minute, Dr. Telly came into the picture and Kornyphone was born. So that rubber stamp never got used (except for a couple records we sent to a guy in New York who was supposed to send them to a big account in Japan).

It was all so long ago and I seem to mostly remember the fun stuff, but it wasn’t always that way. Plus, I have to admit, I may be remembering stuff out of order, or maybe even glamorizing it a bit.

Maybe I should follow my own advice and go to some of these sites and get my facts straight, but I’m afraid if I do that, that it’ll color what I have to say. So, I guess I won’t. I’ll just keep writing it the way I remember it, without refreshing my memory with useless facts. You all will just have to remember that I am a fiction writer, and fiction writers like to tell a good story. So just take everything I say with a grain of sand.

As for your questions about various groups, if it’s not Dylan, the Beatles or the Stones, it would be info my brain has long ago flushed. And even regarding those groups, I wouldn’t know anything about stamper numbers other than what I have already posted here. I only have general knowledge, you’ll have to go elsewhere, I’m afraid, for specific knowledge. I don’t own any records anymore, or even CDs. All my music is on my hard drive. For me it was always about the music, not about the medium it was on.

Also, I will tell you that you were a bit wrong in what you told Steve about Homogenized Beatles. However, that’s a story I am going to address in one of my chapters, so you’ll have to wait on that. What Steve has is the test pressing. The first two records I did after Dub and I split were that one and the Reedy River. Steve has the test pressings for both. I was at a new plant and they didn’t know they were making bootlegs, so they naturally thought I’d want test pressings.

As far as matrix numbers and release dates, I don’t know any. And as far as what came before what, if you read through these posts you’ll see that I’ve contradicted myself on that and I probably will again. Which is true? I don’t know. Maybe neither. My posts here are about the way it coulda happened, not necessarily the way it did.

What I’m about here is the why of it all, the fun, the adventure and the downside. I’m not a collector, never was, so I don’t look at it from that kind of perspective. As I’ve said elsewhere, I’ve always considered bootlegging the same as stealing, always considered myself just a lucky crook. Our only justification was that we had no money and we wanted some. We did it for the money, me and Dub. We liked the music, sure, but we did it for the money. If we told you different, we’d be lying.

I don’t want to depreciate what I did either. We did it for the money, but it was exciting as all get out. However, you have to remember we were just kids. We thought (wrongly as it turned out) that we were breaking the law. We didn’t know we were opening the floodgates, didn’t have any sense that what we were doing was going to be important someday. Sure, we knew guys like B. Mitch Reed were playing our records and guys like Grell Marcus were writing about them, but we really thought it would all blow over. Either that, or we’d get caught by the cops and get sent up the river, which is why we were so paranoid.

This is the second of three Contraband master lists. Part three will include all releases with a non-10XX and non-3XXX – 50XX number.

Relevant concert performance dates where they can help determine the release date are given in brackets behind some of the titles. Approximate year of release appears without brackets.  I did not separate these by sub label. 

What we can see is that CBM was active into the second half of 1976 but they were at their peak from 1972 – 75. Double LP’s were rare on CBM.   

If I am missing any releases falling into this number range, do let me know. I will present and review every single one of these titles in the coming days and weeks. Dates indicate original recording date – for concert recordings) and/or approximate release year + month.

2810 David Bowie      In America     (copied from TMOQ)  rel. ca. late ’73 – early ’74

3010/4240    King Crimson        Texas Hall 2LP / Arlington, Texas / Crimson Rose Of Texas / A Sympho Session 2LP  (6 October 1973)

WEC-3030  Beatles   20 Never Published Songs                                                                            

**** there is a break here as we go back in time here to 1972 ****

3213        Jimi Hendrix         Rainbow Bridge    1972

3245         Neil Young        Live On Sugar Mountain    (1971-02-01)

3272/3     James Taylor    In Disneyland  2 LP  (March 12 ’71) – copied from Rubber Dubber   1972

3316        Beatles            As Sweet As You Are         1972
3316        Beatles            Don’t Pass Me By                1972
3316C/D        Beatles     Yellow Matter Custard        1972

3403        Bob Dylan       Seventy Dollar Robbery

3426        John Lennon/Rolling Stones        British Blue Jam       1972

3436        Jethro Tull        Ticketron      (22 April 1972)

3508 Rolling Stones Goin’Back To The Roots: American Tour/July 72 (5 July 1972)

3512 Bob Dylan        Seventy Dollar Robbery

3519        Beatles            Get Back To Toronto

3552        Beatles            Live Concert Atlanta
3553        Santana           Collectors Item
?              Santana           Collectors Item Vol. 2  [I have found no trace that this exists under this title]

3571        Beatles            Live In Europe & US TV Casts     1972
3571/3795    Beatles        Live In Washington DC        

3585        Beatles            Mary Jane / What’s The New Mary Jane        1972
3586/3436    Jethro Tull        Baltimore And Around (listed in Hot Wacks as “November”)   (12 November 1972 & 22 April 72)
3587        Bob Dylan        Help       bobsboots states 1975 (?)

3601/02        Allman Brothers        Nassau Coliseum Vol 1 (30 April or 1 May 1973] 
3603/04        Allman Brothers        Nassau Coliseum Vol 2

3609        Beatles            the BEATLES! Gamma Alpha Records 2LP

3624        Beatles              Have You Heard The Word
3625        Neil Young        Coming Home    (1973-01-29, Norfolk, VA)    Feb 73
3626        Beatles              L.S. Bumble Bee        1973

3640        Beatles              Studio Sessions Volume One    1973
3640        Beatles              Studio Sessions 2        
3640/3641    Beatles        Decca Audition Outtakes – Super Studio Series 2 2LP

3643        Deep Purple       Sonic Zoom   1973
3644        Neil Young          A Bit More  (MSG, NY & 1973-01-29, Norfolk, VA)
3645        Pink Floyd           Floyds of London
3646        Led Zeppelin      BBC Zep

3649        Simon & Garfunkel    McGovern Benefit, MSG  (14 June 1972)

3665/3949        John Lennon         Lennon/McCartney / One To One Concert

3669        The Who            Collector’s Item    (1971-08-13)   
3670        Beatles               Peace Of Mind        late spring 1973

3687        Beatles            Sunday Night At The London Palladium / London Palladium
3687        Beatles            London
3688        Beatles            Paris Again or Sports Palais France – Second Show
3688        Beatles            Live At The Paris Olympia
3689        Rolling Stones            Hyde Park July 1969
3690        Rolling Stones            Rehearsal Sessions ’72 Tour     1973

3711        John Lennon Telecasts
3712 WEC Rolling Stones “We Never Really Got It On Until Detroit”
3713        Led Zeppelin                Going To California
3795        Beatles             Sweden 1963  or Worldwide            July 1973
3795        Beatles             Holland/Sweden – Super Live Concert Series 1
3795/8430    Beatles       Super Live Concert Series                                   

3796        Jethro Tull        Live May 1973  (17 May 1973)                                                                  3796/3436 Jethro Tull     Retroroc  2 LP

3812        Bob Dylan        Alias
3813        Beatles            Some Other Guy        1973
3814        Bob Dylan       Gas Light Tapes    (Visions Through A Window)    1973
3815        Yes                    …Indeed 1973    (21 April ’73)

3903        Pink Floyd      Fillmore West

3906        Beatles            Cavern Club                    1973
3906        Beatles            Cavern Days – Super Studio Series 5
3907        Beatles            Abbey Road Revisited    1973
3908        Alice Cooper/Jethro Tull    Ian & Alice  (not ‘Alice & Ian’ as stated in HW)  (Jethro Tull in Denver side: 17 May or 9 July 1973)
3909/3645    Pink Floyd        International Transmission
3910        Allman Brothers    Statesboro Blues

3922        Beatles            Supertracks 1        1973
3922        Beatles            bacTrax sessions  KK    1975  reissue                                                   3923        Beatles            Supertracks 2

3940        Neil Young & Crazy Horse

3947        Rolling Stones            Old Gray Whistle Test: The Guv’nors of R&B
3948 WEC    Rolling Stones      Lord Have Mercy

4010        Bob Dylan        Bob Dylan / The Band

4020        Beatles             Cinelogue 1
TB-4020        Beatles      Cinelogue Let It Be

4022A-C/3665A    Beatles       Cinelogue 6
4022        Paul McCartney        James Paul McCartney

4030       Pink Floyd         Nordestar

4040        C,S,N&Y            Reunion Concert July 25, 1974

4162 Beatles Live In Melbourne
4163 Pink Floyd Live At Pompeii
4164        Beatles             Live In Vancouver

4178        Beatles             Live In Italy / Italy
4178/3688A    Beatles    Italy/Paris
4178        Beatles             Back in ’64 At The Hollywood Bowl
4179        Beatles             Stockholm                December 1974
4181        Beatles             Sweet Apple Trax Vol. 2
4182        Beatles             Sweet Apple Trax Vol. 1
4183/2044    George Harrison        Excerpts From Three Major Concerts 2LP  (November 1974)
4184        George Harrison              more from the tour   (22 November 1974)

4216/7     Beatles            Hot As Sun

4228        Beatles             Forest Hills Tennis Stadium

4240        King Crimson      Crimson Rose Of Texas

4242        Lennon / Hendrix    Day Tripper Jam

4438        Beatles              Hi Ho Silver!

WEC S-4450-A / 8420    Harrison / Clapton (Delaney and Bonnie)     Falkoner              4451        Pink Floyd         Live At Pompeii (reissue)

4463 SH/CBM8440    Pink Floyd        Copenhagen
4464/GT8450    Bob Dylan                   Bloodtakes

4598        Paul McCartney        First American Concert
4599        Paul McCartney        Ft. Worth / Seattle      (May & June 1976)

4749        Beatles              Before Their Time

5030        Beatles               Happy Birthday or Rare Beatles        March 1974
5040        John Lennon    Hounddog
5050        The Band           Down South    (1974-01-17)

Last night, these original rubber stamps used to stamp bootleg covers (in 1996 though for the “Bootleg Archive Series” – not the 1970s, as you can see from the ones included that never had a rubber stamped cover) were auctioned off on eBay. I would have been interested in a couple of them but eBay has started to exclude bidders from other countries if the seller has not listed those regions of the world in the “ships to” section (dumb move if you ask me, some of us have mailing addresses in the US too, or friends…).

rs Last Live Show

rs Spicy Beatles Songs

rs 20 x 4

rs Decca Tapes

rs File Underrs Broadcasts

The seller linked to the following story:

Vesta and I spent six months in New Zealand in a small town called Onarahi outside of Wangarai in the north. We lived next to a cemetery and on Sundays we could see the funerals outside our kitchen window. We called the people at rest there, our quiet neighbors. Being Americans we had to drive to Auckland once a month to go to the mall, because as everybody knows if an American doesn’t breathe mall air at least once a year, they die. When in Auckland we’d go to Dominion Road, one of my favorite places on Earth, and eat at one of the restaurants there. There are so many fine ones and we love to eat, so Dominion Road was made for us. And it was in one of the finer restaurants on Dominion Road that one of my ex bootleg partners—who wants to be left out of the story, so I’ll call him Smith—first brought up the idea of what would later be dubbed the “Archive Series.”

Smith was visiting and we were wining and dining him when he brought up the idea, because he had about a thousand records left over in his garage, records without covers, records doomed to sit boxed up and alone forever. But since I was never planning on returning to the States, I wasn’t interested. Besides, that part of my life was behind me. However, I told him, he could do it himself, to which he replied that it wouldn’t be the same.

When our six months were nearing an end, we went to the immigration people and tried to get an extension, something very hard to do. I told them I was a writer doing a story on the Maoris and I needed more time. They gave us three more months and not a second longer. We had to be on the plane, no excuses. It was the flight out or jail.

Two months later we gave up our house, sold our car and got a rental. We decided to drive around the country, spend some time in the wine country, fly to the top of the glaciers, jet boat on the Shotover river, parasail off a mountain, the usual touristy stuff before we had to leave. We’d planned on going to Surfer’s Paradise in Queensland and return in six months. We figured if we kept trying the Kiwis would eventually take a liking to us and let us stay.

With two days left, we left the car we’d rented for our tour of the south island, took the ferry across, rented another car we could drop at the airport in Auckland, drove out of the Hertz parking lot and three minutes later had a head on collision with sixteen-year-old drunk driver. We spent over a month in hospital and another two recuperating at in a hotel in Wellington.

Then it was back to the States, where we spent a week during Mardi Gras in New Orleans. I could barely walk. Getting around by myself was difficult to say the least. I’d been using a wheelchair, then crutches and had graduated to a cane, but I couldn’t go very far. So, when we left the Big Easy, we decided to rent an Executive apartment in Seal Beach, one of those places that has a gym and a Jacuzzi, so I could work on getting my leg working again.

Smith came by to visit quite often and we’d drink wine in the evening and we’d talk about the old days when we sold boots at swap meets, dodged the law and ferried records around in the middle of the night. Ah, the old days, they always seem better than the present and the new days yet to come.

He still had those records left over from when we did the boots and I did too. He still wanted to put them in white jackets, like the original boots, but at first I still didn’t want to be bothered.

But I kept thinking back to what I did just before Vesta and I went away to Spain, after we quit the biz. I sold my collection to John Tsurgee, better known as Wizardo, for a buck fifty a record. It was a lot of records, quite a chunk of change, but not a fraction of what they’d be worth today. So, I had no records left, not one, save for those mismatched records that had been in storage along with the stuff Vesta and I didn’t want to part with.

Smith is not an avid bootleg collector, but he has the best collection going of the stuff we’d made and of the stuff Dub and I did together. If it came out in colored vinyl, he had to have all the colors. He loved those records. And he hated the fact that he had all those orphans sitting in his garage, over a thousand of them. I didn’t have that many, maybe five hundred, maybe a little less, but some of mine were ones Smith didn’t have, because I’d made them after he’d retired from the bootleg biz and had gone on to bigger and better things.

These days anybody could make these Archive records, because there’s the internet. How hard could it be to find white jackets and rubber stamps? But back then it wasn’t so easy. Smith dragged me to the library in Lakewood and we let our fingers do the walking through the L.A. Yellow Pages, looking for a place that would sell us some plain white jackets. The rubber stamps Smith had made through a friend who owned a Sir Speedy printers in Huntington Beach.

In the end, we spent a lot of money on those rubber stamps, hundreds of dollars for way over a hundred of them. And why would we do this for a product we were never going to sell? For Smith it was a no brainer, because as I said, he loved those records. For me, I didn’t love them so much, but I’d held on to them for a very long time and besides, it was something for me to do.

So we gathered our records together in that Seal Beach Executive Suites apartment and made a list. Some of the records had labels with song titles on them and Smith wanted to make plain white labels and glue them over the song titles to make them look more like the first boots, but that was way way too much trouble, so I put the kaibash on that idea.

As for the pig labels. Smith couldn’t find the labels Dub and I had used, so he bought day glow label paper and printed them out on his Apple laser printer, which used to be mine, but I gave it to him when Vesta and I went away. However, they had to be cut out. At first I tried using a scissors, but the labels looked like shit. Then Smith bought, from a craft store, a circular cutting device, which worked sort of like a compass. After about twenty or thirty tries, I was able to cut out a round label that looked pretty much like the original ones did.

The rubber stamps and the pig labels taken care of, now all we needed was the white jackets and Smith set out to get them. But that turned out to be the hard part, because it seemed they didn’t make them anymore, not like the ones like Dub and I used to use. Now they were glossy and when you stamped ink on them, it rubbed right off. After his third attempt at trying to buy jackets that would take ink and getting no joy, he decided to go back to the first place and have them made up. They cost more then the glossy stock jackets, but heck, back then we had too much money and it was aching to get spent.

So now we had all the pieces. The records, the jackets, the rubber stamps, the pig labels. And for the next couple weeks it was just like the old days, we stamped covers, we stuff jackets and we boxed records.

The first day I circled out a couple hundred of those pig labels while I watched daytime TV. I went to bed early, got up around 5:00 and started cutting out more labels when the room started to shake.

“Earthquake,” Vesta shouted from the bedroom. Then, seeing I wasn’t in bed, she started shouting my name. I guess she’d thought I’d been swallowed up.

“Out here,” I said, “in the living room.”

“We gotta get outta here! We gotta get outta here! We gotta get outta here!” She wasn’t panicking, but she was getting there. Then with a strength I didn’t know she possessed, she pulled me to my feet. I was barefoot and it hurt like hell as I’d broken most of the bones in my right foot during that accident and usually I’d been wearing an oversized Ugg on my right foot with the front of the boot cut away.

But she didn’t care about my pain and I guess I didn’t either, because she was so excited that I didn’t even think about my foot. Not till we were outside and safe on the grass. We’d’ve been safe in the apartment, too, because it didn’t fall down.

Earthquake over, she went inside to get my Ugg and left footed running shoe, muttering as she went, “I hate California.”

Inside, there were little piggies all over the floor. She went to the kitchen, got a bowl, put them in it and I started peeling and sticking and a week later we had our records. No more orphans.

Beatles Get Back Masters
Mine sat until 2006, boxed up in our storage unit and would still be sitting there, but when Vesta and I came back to America, we got involved in a custody battle and lawyers aren’t cheap. My son sold some of his collection on eBay and then we decided to sell the so called Archive records. We did okay with them and they paid the attorney’s fees.

So, mine are all gone. But Smith, he’s still got his. He watched with amusement as mine sold on eBay, some bringing a pretty penny, but he’s never been tempted. Of course, he invested wisely.

I’ve asked Smith in the past what he’s going to do with his collection.

His answer, “Since I can’t take them with me, my kids will probably donate them to the Salvation Army or the Goodwill.” So if you’re a collector, you might want to start checking out the thrifts, because Smith, like me, is getting up there in years.