Archive

CBM: Comet, Instant Analysis, King Kong, Shalom

 

Matrix : 1806 A  /  1806 B

 

 

Matrix: 1807 – A   /  1807 – B

WCF did some of the worst ever “song title mangling” bootleggers sometimes committed as they were not familiar with an artist’s repertoire, on the blue volume: “Moonoge Dyelseom”, “Gene Genie” and “Luffragete City”.

I do believe WCF made this first available in the form of single albums (just like TMOQ did) only to be distinguished by their color but a double version also appears to have been made:

 

 

Year of release: 1973, perhaps late spring or middle of the year

Reissued ca. 1974/5 with a redesigned cover:

 

 

***

Source: KMET-FM’s broadcast of Bowie’s first of two shows at the Santa Monica Civic Center on 20 October, 1972. RCA also recorded the performance on multi-track tapes (and then left them in the vault for 22 years while the bootlegs from this show gained a reputation for their un-bootleg-like excellent sound quality and Bowie’s A-game performance that would even eclipse the official David Live a couple of years later.

Bowie SM 72 pic

***

Now, coming back to the red & blue first releases, these are referred to as the very first Bowie bootlegs. While I agree with him on the release date being 1973, he is off on dating the TMOQ titles IN PERSON & IN AMERICA as only having been released in 1974. Using the TMOQ RecordWiki (that used to be posted under the recordcollectorsguild.org) as I have done throughout the blog, as the dates have so far been the most detailed and only one error could so far been found by a major bootleg collector, IN PERSON would date around January of 1973 (#71054, matrix: DB – 528) and IN AMERICA (#71062, matrix DB – 531) from around April of ’73.

 

Regarding the order of the TMOQ releases, Bassman is also incorrect when describing the first version, “The first and original discs came in a so called TMQ Production cover, and they all have labels with the songs listed on one side and the TMQ pig on the other.” I have shown these versions below. The cartoon cover edition was not the first but came after the generic farm pig label editions on colored vinyl and in stamped and sticker-ed covers.

So, Ziggy in concert. was not the first David Bowie bootleg but IN PERSON was.

There are also differences in content & quality between both labels:

  • TMOQ edited the the DJ talk out, WCF left it in.
  • TMOQ had the edge when it came to the sound quality.

 

***

I came across this CBM copy presenting the second half of the show, likely taken from IN AMERICA, and winning the award for Most Minimalist Cover Art. It appears that this is the only Bowie title they ever put out. I did not find any evidence that they had copied IN PERSON as well.

Released around 1974.

 

Matrix: 2810-C  /   2810-D

Curiously, it shares its matrix number with Ken”s issue of the In Person / In America material, which he released as a double album:

Bowie Santa Monica double

Matrix: 1847/2810

 

Advertisements

Finally found: The elusive WCF # 751 release:

 

Matrix : 751 SIDE I  /  751 SIDE II

This was the first of three times WCF would release this material, ca. 1972

Source:  Radio broadcast from the Winterland  in San Francisco on 04 October 1970, the night Janis Joplin dies. This was a joint Quadrophonic broadcast on two radio stations, KSAN and KQED, which also did a video feed on its TV channel. There are claims that the bootlegs contain only half the mix  as they only contain one of the two feeds but I did not find that to be the case (compare below).

SIDE 1>Sugar Magnolia/Good Lovin’
SIDE 2>end of China Cat>I Know You Rider/Casey Jones/Uncle John’s Band

http://deadsources.blogspot.com/2013/06/october-4-5-1970-winterland-sf.html

http://lostlivedead.blogspot.com/2013/09/grateful-dead-live-fm-broadcasts-1970.html

https://archive.org/details/gd70-10-04.fm.glassberg_winters.28363.sbeok.shnf/gd1970-10-04t02.shn

Bootleg needle drop: https://www.youtube.com/watch?v=uBvoBl7kN94

***

It appears that the original version was first released by an independent bootlegger – not TMOQ – who had come up with the mammary presentations logo. These are easily identifiable by their “Mother” labels:

The matrix numbers were either only DEAD-1 / DEAD-2 or:
DEAD-1 S-2644
DEAD-2 S-2645

TMOQ then “took over” this release and first pressed it ca. April of 1972 on colored vinyl and with 1 / 2 labels,  giving it the matrix that had been the identifier on the Mother Records label: MEL – 77 A / B:

For the early pressings, I have only seen it with two ringed 1 / 2 or blank white labels. The earliest version of the insert had an intricate background image that was not always present in subsequent versions. Also notice the other differences shown here: Just the drawing, with added text, or both plus TMOQ logo.

Below: Later versions.

 

TMOQ then must have decided they liked the logo mammary presentations and continued using it on occasion. This is a list of all TMOQ titles bearing that logo. No originals issued by other labels for MM6 onward seems to exist.

MM4 – GRATEFUL DEAD – RECORDED LIVE IN CONCERT (# 71037)
MM6 – JEFFERSON AIRPLANE – TAPES FROM THE MOTHERSHIP (# 71038)
MM8 – THE MOODY BLUES – ANSWER TO THE MYSTERY OF LIFE (# 71053)
MM11 – THE KINKS – WINTER LAND 02/77
Un-numbered:

JETHRO TULL – NOTHING IS EASY (# 71030)
BUFFALO SPRINGFIELD – “BLUEBIRD ROOTS” (# 71035, copy of the 5D Records title)
LED ZEPPELIN – GOING TO CALIFORNIA (# 72004)
PINK FLOYD – OMAY YAD (# 71049, April 1972)

 

***

Contraband copied this title as well but unlike WCF they did care to brand the insert with their own (sub) label name. However, in order to cover all of TMOQ’s mammary productions logo they had to increase theirs in size. That, plus their decision not to clarify with an added ‘Records/Productions’, led to the album being called Shalom to this day.

Matrix: GD  1020 A / B

Based on that number, the release date would be mid-1974, sandwiched between the Beatles albums supertracks 2 (# 1018) and soldier of love (# 1022).

However, Contraband’s sole other Grateful Dead release high time in old town is also supposed to have a 1020 matrix. As this matrix seems to be confirmed, I am waiting for confirmation on what the actual matrix for high time in old town is. If you know, please leave a comment.

***

In 1973, WCF re-issued this album as part of their 22XX Grateful Dead series from new pressing plates now marked 2266.

2222 GRATEFUL DEAD – Turn On Your Love Light
2233 GRATEFUL DEAD – “Central Park, Fillmore East, Action House”
2244 GRATEFUL DEAD – Sugaree
2255 GRATEFUL DEAD – DARK STAR
2266 GRATEFUL DEAD – “Sugar Magnolia”

 

 

***

And a final time for WCF (I have not seen this reissued with a b&w cover) ca. 1974/5 in a printed folder-style cover and with blank white labels:

 

 

Released ca. early 1973, unless WCF’s 40XX series, which includes recordings taped in the fall of 1972, was issued with month-long gaps between them.

From the description on bobsboots.com, we know that WCF reissued this album as part of their folder-type cover series ca. 1974 but I have yet to find an image of this: “It has a folder type wrap-around sleeve with a black and green, or green and white cartoon insert of Harrison.”

The material is identical with the FRT BRK 1001 version. Considering how WCF was mainly a copy label, I feel it’s justified to claim that this version shown here came first.

 

 

HOT WACKS has contradicted itself for year in these two listings saying Bang Records 4022 contains excerpts from the second (evening) show) while claiming FRT BRK1001 is from the “afternoon concert, not evening from which Apple LP’s were made.”

Eight Arms To Hold You  confirms that this and The Greatest Show On Earth (Share Records GH-6699), later copied by CBM (or the other way around) as Madison Square Garden August 1, 1971 and issued in several different variations – stamped cover, insert, with Carnaby, Instant Analysis or blank labels (matrix: SAD 1 / 2) – do indeed come from the evening show.

 

All performances on the official double album were taken from the evening show, with the exception of “Wah Wah” (compiled from afternoon & evening show), “While My Guitar Gently Weeps” and Leon Russell’s medley, which were entirely taken from the afternoon multi-track tapes. That means The Greatest Show On Earth and the CBM issues remain core for WMGGW, while FRT BRK 1001 and the WCF copy are core for Leon Russell’s medley as well.

However, sine the audio quality for both masters seems to be rather challenging – “Satisfactory mono, a lot of crowd noise”and “Poor mono” for FRT BRK 1001/WCF 4022, this is for hardcore collectors only.

Track list for the two versions:

FRT BRK 1001 & WCF 4022 A/B:

A1 My Sweet Lord
A2 It Ain’t Easy
A3 Beware Of Darkness
A4 While My Guitar Gently Weeps
A5 Jumpin’ Jack Flash Medley
B1 That’s The Way God Planned It
B2 Mr Tambourine Man
B3 Just Like A Woman
B4 Something
B5 Bangla Desh

The Greatest Show On Earth & CBM issues:

A1 My Sweet Lord  4:12
A2 Beware Of Darkness  3:22
A3 While My Guitar Gently Weeps  4:20
A4 Here Comes The Sun  2:38
A5 Something  2:58
A6 Bangla Desh  4:14
B1 A Hard Rain’s Gonna Fall  5:27
B2 It Takes A Lot To Laugh, It Takes A Train To Cry  2:58
B3 Blowin’ In The Wind  3:38
B4 Mr. Tambourine Man  4:07
B5 Just Like A Woman  4:38

 

I was not able to find an image for # 2235 JIM HENDRIX – ‘SCUSE ME WHILE I KISS THE SKY so that one will have to be skipped for now.

***

Three Tull copies, likely released by WCF in the 2nd half of 1972 – early 1973.

  1. U.S. TOUR  APRIL  1972   VOLUME II

Jethro Tull US Tour April 1972

 

The cover art “borrowed” from CBM down to a ‘T’.

WCF’s detailed album track list:

A1 Wind Up / instrumental by Martin Barre
A2 Locomotive Breath / Hard-Headed English General / Wind-Up Reprise
B1 Thick As A Brick pt. 1
B2 Thick AS A Brick pt. 1 (cont.)

Source: The Scope in Norfolk, VA on April 22, 1972.

Below, the CBM original with matrix markings 3426 for Side 1, which is identical to Á1+2 on the WCF album above but Side 2 is different, playing Cross-Eyed Mary / A New Day Yesterday / Aqualung – and the matrix is ‘3436-B JTB Scope’.

 

 

The two segments of “Thick As A Brick” on WCF’s Side 2 appear to be identical to plate ‘3436-A JTA Scope’ as released on CBM’s ticketron.

Jethro Tull ticketron RE

CBM created two plates for “Cross-Eyed Mary / A New Day Yesterday / Aqualung”: ‘3436-B JTB Scope’ – used for the titles ticketron & U.S. TOUR APRIL 1972 VOLUME II and ‘JTB 3420 3436B’ also used on Side 2 of BALTIMORE AND AROUND NOVEMBER 1972

Jethro Tull Baltimore And Around detail
Around 1975, CBM created yet another master plate as they needed to pair down the Norfolk material to two album sides for the rare double album RETROROC, combining it with LIVE MAY 1973. Just over six minutes of “Wind Up” were extracted and tacked on to “Thick As A Brick” and issued with the matrix number 3436 A (side 2 had the usual C-E M/A N D Y/AQ).

Jethro Tull RTRC

 

This is one of the most popular recordings from the “Thick as a Brick” tour and deservedly so: it’s a blistering and highly energetic performance captured on a great sounding audience tape.”Ticketron” was first issued with an edited version of part one of “Thick as a Brick” on side A and the “Wind-Up” encore section on side B. After a while, a second version of the LP with the same side A but with “Cross-Eyed Mary”, “A New Day Yesterday” and “Aqualung” on side B was pressed, liberating 25 minutes more from the show. ” (notes from a restoration project)

Track list:

01 Introduction
02 Thick as a Brick, Pt. 1 [cut during organ solo]
03 Jeffrey speaks
04 Cross-Eyed Mary
05 A New Day Yesterday
06 Aqualung
07 Ian speaks
08 Wind-Up [cuts in, piano intro edited out]
09 Instrumental by Martin Barre
10 Locomotive Breath
11 Hard Headed English General
12 Wind-Up (reprise)

**

While I believe that the WCF version with the blue title/number labels comes in a single sleeve with a slip sheet, there was also this ca. 1973 reissue in a folder but without an artist image on the back yet, likely a transitional phase between the insert and the deluxe folder covers.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Another singer songwriter whose success led to a number of bootlegs in 1971 was James Taylor.

Taylor J Tailor Made A

Taylor J Tailor Made b

Compared with the label below, we can see a discrepancy that the insert claims “Steamroller Blues” was moved to the end of side A, yet the label doesn’t list it. This may just be a case of WCF not bothering to correct TMI’s running order. Please leave a comment if you can confirm the correct running order on the discs.

Taylor J Tailor Made lbl 734 A

Matrix / Runout: 734-A / B / C / D

Side A: Sweet Baby James (3:00) / I Feel Fine (3:08) / Hey Mister, That’s Me Up On The Juke Box (3:30) / Sunny Skies (2:46) / Chili Dog (1:51)
Side B: Riding On A Railroad (2:40) / Conversation (1:38) / Places In My Past (2:09) / You Can Close Your Eyes (2:25) / Soldiers (1:12) / Going To Carolina In My Mind (3:33) / Long Ago And Far Away (2:32)
Side C: Country Road (4:51) / Fire And Rain (3:46) / Sixteen Candles (1:46) / Love Has Brought Me Around (2:59) / Oh, Don’t You Know (2:42)
Side D: Steamroller Blues (5:08) / Come On Brother, Get On Up And Help Me Find The Screw (4:08) / The Promised Land (3:36) / Isn’t It Nice To Be Home Again (0:41) / “On Campus TV Special”: Fire and Rain; Country Road; Oh Susanna;  Sweet Baby James (9:30)

Track lengths, except for the very last item added to side D, which first appeared on the TMI Records version, are taken from “Isn’t it nice to be home again” and may not be accurate for the WCF copy.

Source: Live At The Anaheim Convention Center, Anaheim, CA, 21 March 1971; except for the On Campus special, Nashville Ryman Auditorium, broadcast 17 February, 1971.

**

The Original by Rubber Dubber (71-014), likely the follow up to their famous Neil Young double and likely their final product. RD was raided in L.A. on September 9th & 14th ’71. This makes me wonder how fast their “recording to vinyl” cycle was; if it was fast, i.e. a release soon after the concert date, were there any other projects they did not get around to release or had they stopped for the time being? If it was slow, it would have meant that this had a street date closer to the summer of 1971.

In addition, unlike the earlier Rubber Dubber titles, no ‘white stamped cover’ version of this release seems to exist despite someone connected to the label claiming that those were always done first.

Taylor J IINTBHA 3

Taylor J IINTBHA b 3

Taylor J inner L

Above: The inner gatefold right panel text. Below, the photo on the opposite side:

Taylor J inner R

 

 

HOTWACKS claims that Rubber Dubber also released this as TAILOR MADE but I believe they are mistaken.

**

The first copy on this no label name outfit:

This was likely the first version moving the position of “Steamroller Blues” to the end of side A and adding the “On Campus” TV broadcast capture. WCF and CBM’s copy originate from this version (alternatively, CBM copied WCF’s copy).

Taylor J TMI

Taylor J TMI b

A nice gesture among bootleggers: TMI thanking Rubber Dubber on the back cover.

Matrix / Runout: TMI-A / B / C / D

This was a short lived 1971 bootleg label that emphasized the quality of their cover art, down to what looks like gold-foil stickers.

Taylor J Tailor Made st

Their only other titles I am aware of are Janis Joplin – GET IT WHILE YOU CAN (JJ-4)

Joplin J Get it While You Can purple cover 2

and Carole King – FIT FOR A KING (KK-1/2):

King Carol Fit For A King

This version is known as the “Sound Underground” version, due to the name used on the back and the labels. It’s the same recording as California Concert on Carnaby/CBM and HOTWACKS states: “Also available as Fit For A King (Sound Underground). On this label S1 is better quality [than on Carnaby/CBM].

***

The CBM copy named IN DISNEYLAND (3272/3)

Taylor J In Disneyland

Taylor J In Disneyland lbl

CBM seems to have only done a limited run of this title in 1972 (number-wise, it preceded their version of Cat Stevens – CATNIP, which in contrast they must have pressed a few thousands of). popsike recorded just three past auctions for this title. That being said, while researching if I can find better images I came across a website offering a copy for an incredible $150).

It is a lot more common as this tripe set on their early sub label Carnaby Records. It combines the JT Anaheim 71-03-21 recording with Carole King’s CALIFORNIA CONCERT

Matrix: RI 3272/3

Taylor J AKATJ

The artwork uses elements of the IN DISNEYLAND and CALIFORNIA CONCERT inserts (or maybe it’s the other way around). Produced with Carnaby Records labels that are either half red & white or orange. Tries to pass itself off as a UK product with a Newcastle, England address but it was made in the US.

Below: The original version, the later reissue with pirate logo on the insert and labels is more common, of the Carole King album, showing the link between Carnaby Records and CBM:

King C California Concert 3

 

 

HOTWACKS claims a CBM version named LIVE AT THE ANAHEIM CONVENTION CENTER exists, apparently with an insert listing track lengths. Does this really exist or is it another HW mistake?

**

The Dittolino Discs single album version “FIRE & RAIN” with incorrect track list for side two

Apparently, the B-side does not have the five songs originally on side 3 of the double albums but the side two tracks (starting with “Riding On A Railroad”).

Taylor J Tailor Made Fire Rain 2

Taylor J Tailor Made Fire Rain

Matrix: TM-1-A / B

“Steamroller Blues” closing side A pointing back to the deluxe cover versions with TMI matrix.

***

Taylor J_1971-03-15-71

As always, any confirmations, corrections and general comments are welcome.

 

 

Based on the extra info I received yesterday – many thanks for that – here’s part two to round out the list.

While Catnip on blue PVC is not that hard to find and the other blue ones appear occasionally, the red ones seem to be much rarer and I have never seen a purple CBM record nor was I able to find one on discogs or popsike. All have in common that the pressings are on the thin side.

First up:

JIMI HENDRIX EXPERIENCE
ERIC CLAPTON – GINGER BAKER – JOHN MAYALL – JACK BRUCE

Hendrix Clapton Baker red lbl

“Microgroove”, a term CBM liked to put on their labels around this time, as these 1972/3 releases show:

Shown above are # 3316 (Beatles – Don’t Pass Me By), # 3426 (John Lennon/Rolling Stones – British Blue Jam), # 3552 (Beatles – Live Concert Atlanta) and from 1973 # BD 1011 (Bob Dylan – Seventy Dollar Robbery)

 

Hendrix Clapton Baker red d

Hendrix Clapton Baker red 2

Hendrix Munia yel

This is a pirate album containing the following tracks:

A1 –The Jimi Hendrix Experience – Stars That Play With Laughing Sam’s Dice
A2 –The Jimi Hendrix Experience – Highway Chile
A3 –The Graham Bond Organization – Hear Me Calling Your Name
A4 –The Graham Bond Organization – Camels And Elephants
B1 –John Mayall & The Bluesbreakers – No Reply
B2 –John Mayall’s Bluesbreakers – I’m A Stranger
B3 –John Mayall – Sonny Boy Blow
B4 –John Mayall – Don’t Kick Me
B5 –John Mayall’s Bluesbreakers – Stand Back Baby

Easily identifiable by the stamp:

Hendrix Clapton Baker May

but usually only identified as a CBM title in its reissued forms years later, known as CBM 4 with matrix  markings XCQ-4A / B:

Hendrix Clapton Mayall Bruce 2

The red cardboard version is WCF’s first issue of this title with its distinct WCF-style labels (for a change also using the term “Microgroove”, which makes me think the red PVC copy shown first was also the original issue):

Hendrix Clapton Baker May red

Matrix list: XCQ-4 – MB-1 – MB-2 / 707, 707 A /B and XCQ-4-B 707

Reissued ca. 1973 in WCF’s typical folder-style cover with blank white labels and a 707 A/B matrix:

Hendrix C M B B RE

Hendrix C M B B RE. inner

Hendrix C M B B RE. b

**

Second: radiocord / elton john

John E radiocord disc

John E radiocord blu ss

John E radiocord b

The blank back above. Also exists on black PVC:

This did not really look like a CBM release to me when I first came across it but their version with the pirate logo on the insert has the same matrix number (35-4000 A/B).

John E radiocord

**

allman brothers / duane allman – statesboro blues (# 3910, released 1973)

Allman D statesboro blues red

Also exists in purple.

**

Finally, the missing colors for these two titles:

  • Cat Stevens – Catnip  (# 3275, rel. 1972) – > on red vinyl
  • Jethro Tull – ticketron (# 3436, rel. 1972) – > on red and purple vinyl

 

If you have images of any of these, please leave a comment, thanks.