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CBM: Comet, Instant Analysis, King Kong, Shalom

 

Matrix: SGTJ-A / B

Based on the label I would date this to 1973 but it may exist with other labels and in different insert/cover variations.

I could not list this one when I tried to cover all of the Contraband releases, as it’s one of the rarer ones and I only had a small image of it taken from a sales list of the Warehouse record store in Tokyo (now closed in that location).

This is mostly a pirate release.

Track list (taken from HW, so likely incorrect in places):

S1: Not Yet / She’s Gone (But Morning Lives On) / Tear Jerker / Teenage Fool / High School Dance Instrumental / Dancing Wild
S2: Pretty Boy / Two Teenagers / Please Answer / High School Dance Instrumental 2 / 59th St. Bridge Song* / Feeling Groovy* / Cloudy*

The first 10 tracks were supposedly recorded by Simon & Garfunkel in the second half of the 1950’s when they called themselves Tom & Jerry. I looked hard and was only able to confirm three of the titles on compilations released decades later. The tracks marked ‘* ‘ were taken from their appearances on the Smothers Brothers Comedy Hour TV show in 1967 (in season 1, episode 14 – taped in May – and season two, episode 107, taped in October ’67).

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Likely a copy of this early, ca. 1971, Contraband release (the use of “Microgroove” gives it away) that I had not been aware of so far. HW didn’t mention it (on the other hand, they mention a version called Solo ’65 that I cannot confirm exists):

 A further clue is HW’s quality rating for the WCF album: “Vgs, hissing”. Clearly, this was a couple of generations removed from the original.

In a past eBay auction this CBM album was mis-identified as an advance pressing of the official album due to the stamped title. A rare but funny misunderstanding (for those hip to the world of bootlegs).

For comparison purposes, here is another CBM title released around the same time:

Hendrix Munia yel

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The official release from August 1965:

Apparently, the story goes that Simon spent a lot of time in London in the summer of ’65 and as his album with Garfunkel, Wednesday Morning, 3 A.M. had not been released in the UK (yet), he decided to record his own solo album, which would get a limited release in the Commonwealth countries (UK, CAN, AUS, NZ) only. By the time rock bootlegs had been invented this made the album attractive for those in the US not minding to get involved in a bit of piracy, despite the flagrant copyright violation.

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Even TMOQ could not resist and released their own re-sequenced version around May of 1971.

A1  Kathy’s Song
A2  He Was My Brother
A3  Flowers Never Bend with the Rainfall
A4  The Side of a Hill
A5  A Simple Desultory Philippic
A6  Patterns
B1  A Most Peculiar Man
B2  I Am a Rock
B3  A Church Is Burning
B4  April Come She Will
B5  Leaves That Are Green
B6  The Sound of Silence

Here are early versions from ’71/2:

And later ones:

 

I have never seen an insert for this nor a smoking pig label version. Do they exist?

 

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:

 

 

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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

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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.

 

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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

 

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

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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)

 

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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.

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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”

 

 

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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.

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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)

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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.