Archive

CBM: Comet, Instant Analysis, King Kong, Shalom

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)

Also exists in yellow, if you have an image of this, please leave a comment.

Hendrix Clapton Baker red d

Hendrix Clapton Baker red 2

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.

 

 

Advertisements

That’s what I love about researching this topic: There are still so many details that we don’t know.

In this case, we knew the that Contraband had released four titles on colored PVC and they were all blue:

Stevens Cat Catnip 2 cv

British Blue Jam

Dylan B Seventy DR blu

Young N YMFancy blue

**

So, today, I come across this eBay auction (still active for another 5 days at the time I’m writing this):

Stewart R Plynth red 2

I thought maybe it’s a trick of the light (to quote The Who)…

Stewart R Plynth red d

… but no, there’s no doubt, that record is RED!

What else may be out there?

https://www.ebay.co.uk/itm/Rod-Stewart-The-Faces-Plynth-Contra-Band-Music-CBM-3A-NOT-TMOQ-EX/272962318086?hash=item3f8dd26f06:g:Ng8AAOSwsI9aIFQc

 

 

 

Hendrix LatForum blu

Thanks to a trove of images I received from frequent forum contributor Karl, I can show the different font and label styles used by WCF in previously unseen detail, as well as three excellent quality slip sheet variations for this Hendrix title.

 

**

Hendrix LatForum purp

 

**

Hendrix LatForum red

 

**

 

USA: 1971

Matrix for all WCF versions:  LPR 28 A  /  LPR 28 B  /  LPR 29 A  /  LPR 29 B

Variations include the letters ‘tvc’ in a triangle and “SIDE 2” on sides 28 A / B and “SIDE 1” on 29 A / B

Source: A copy of this Rubber Dubber bootleg:

Hendrix J EEnjoy

Hendrix Enjoy b

 

2nd & 3rd pressing:

“- The front cover of these two albums are slightly different; One has a circular logo stamp in the lower right corner, while the other has a stamp that says “Yours truly, Rubber Dubber”. ( http://infromthestorm.net/hendrix.html#boot )

Above: Stamp from the back of the album. This version came with four light-blue labels, same font as shown below.

 

Matrix: 70-001-01 A  /  70-001-04 D  /  70-001-02 B  /  70-001-03 C 

Source: First date on Hendrix’ Cry Of Love tour, April 25th, 1970, as correctly stated on the WCF inserts. Eventually, four different audience recordings would surface from this date but in the 1970’s and among those pressed on vinyl all originated from the Rubber Dubber source, known as the “near” source with a 1 minute long cut in the middle of “Ezy Rider”.

discogs dot come lists no less than 23 different vinyl versions for this, so this was a very popular title in the 1970’s with many different bootleggers copying it. “The sonic quality here is not very impressive, but the performance is great” (Allmusic review).  The WCF version represents this recording in HOTWACKS and only achieves a very low “Poor to Gm” rating, owing some of it to it being a copy and a lot to the limitations of the Rubber Dubber source tape. The bass is inaudible and the drums are very low in the mix.

“This show has widely been regarded as one of The Experience’s top shows, but due to quality concerns it has never been released in official terms. (Jimi Hendrix.com)

***

Copies – an attempt at making sense of some of the copies found based on their most obvious differences: 

  1. (and 2.) TMOQ (+ WCF as shown above):

The record wiki on TMOQ states that they released their copy of the Rubber Dubber album around June of 1971 – ALIVE # 71003, shown here in a pre-sticker version. The colored pig stickers were introduced that year.

Matrix: JH-1 70-413  /  JH-2 70-414  /  JH-3 70-415  /  JH-4 70-416

I wish I could pinpoint in which month WCF released theirs but so far that is just not possible. My feeling tells me that if the date is correct for 72003, then it was likely TMOQ.

**

3. The rare Dittolino Discs version, also ca. 1971:

Hendrix LatLAForum

Matrix: JH 1-4 70413/4/5/6 F

Hendrix LatLAForum 2 bl

**

4. The by now obligatory CBM copy of WCF’s copy:

 

Live at The Forum – Los Angeles April 25, 1970 (Contraband [Munia] LPR 28/29 / – / 2LP) (LP1: Red labels / LP2: Black labels) ftbfs: B044c
(Los Angeles Forum, Los Angeles, CA 25.04.70 [Almost Complete*; 1st Source (Near source)])

notes:
– Matrix: Record 1: Side 1: LPR-28-A and SIDE 2 b/w Side 2: LPR-28-B and SIDE 2 / Record 2: Side 3: LPR-29-A and SIDE 1 b/w Side 4: LPR-29-B and SIDE 2.
– Generally the same front covers as used for Munia 1622, but with the bottom part of the picture cut and replaced with the tracklist. Loose inserts. The first has brown print, while the second is slightly different, with purple print, in poorer quality (seems to be a Xerox copy of the first), and also has a small drawing of a vinyl LP in the bottom right corner.” (http://infromthestorm.net/hendrix.html#boot )

Year: 1972

**

5.  Abstract Records / M1622 Matrix copies

 

Matrix: Record 1: Side 1: M-1622-A and S-2325-A b/w Side 4: M-1622 D and S-2332 8 / Record 2: Side 2: M-1622-B and S-2326 b/w Side 3: M-1622-C and S-2327

**

6. WCF insert design without a track list & MUNIA Records “Re-Channeled For Super-Stereo” versions:

I have so far only found this insert with ‘Dragon’ labels:

 

Hendrix LA Forum Munia

I have combined them here since both versions seem to have the same LPR 28 A  /  LPR 28 B  /  LPR 29 A  /  LPR 29 B matrices.

 

Versions re-titled ‘Scuse Me While I kiss The Sky‘:

7. Fake Rubber Dubber and HEN Records version:

Label version one:

 

And two:

 

Matrix:  9002-1 S-2334  /  9002-4 S-2337  /  9002-2 S-2335  /  9002-3 S-2336

It is probably safe to say that Rubber Dubber – by this time out of business – had nothing to do with this release. The matrix endings point to a reissue of the Abstract Records / M1622 version.

**

8. The Mushroom Records, K&S and Ruthless Rhymes, POD label and BOX TOP reissues, ca. 1975-early ’80’s, re-pressed from the TMOQ plates of 72003 ALIVE:

 

OLYMPUS DIGITAL CAMERA

Hendrix LATLAF K&S 013 det

 

Hendrix LA Forum K&S 13 discs

Hendrix LATLAF K&S 013

 POD lbl 2

Ken’s POD label reissue on black vinyl not shown but existence is confirmed. Below, the BOX TOP reissue from the early 1980’s:

Hendrix Alive

**

8. Miscellaneous 12″ Reissues

Hendrix LATLAForum bl lbl

I have a feeling the matrix of this black label reissue is one already listed in this post.

**

 

9. Live In LA April 1970 7″ 2 x EP, made in the UK

Hendrix LiLAApril 1970 4b

Hendrix Live L.A. Forum April 1970

Hendrix LiLAApril 1970

 

As always, if you have further information, please leave a comment.

****

“The “far” source is exactly that, but sounds less so in the merge. The near source is lifted from the Rubber Dubber bootleg of the show…somehow the two compliment each other. Hats off to the original fan who merged these!” What you hear in the YT clip below is a combination of both sources and sounds better than any of the vinyl bootlegs.

 

 

Hendrix LA Forum '70

Los Angeles Times (27 April) ‘Jimi Hendrix at the Forum’ – review by Robert Hilburn:

“In his first major Los Angeles appearance in more than a year, Jimi Hendrix showed a near capacity audience Saturday night at the Forum that he has lost none of his box office appeal and raw excitement. About a year ago Hendrix went into a period of inactivity. He talked about various regrouping plans, finally appearing with drummer Buddy Miles and bassist Billy Cox under the title ‘Band Of Gypsys’. But Miles was soon back as head of his own group. Thus Mitchell rejoined Hendrix for the current tour. Redding who was asked to do the tour had other commitments.
[…]
Opening Response
Wearing a multi-coloured head band and tight black leather pants, Hendrix drew an enormous opening response from the audience as he went through such early hits as “Foxy Lady.” The newer material generated less enthusiasm. As always, Hendrix was more a personality than a musician. Though his voice and lyrics have few distinguishing characteristics, he generates a charge of electricity that virtually ignites the huge arena. Hendrix is a powerhouse of sex and sound. Hendrix does with his guitar what Joe Cocker does with his voice: reaches new levels of communication and emotion, levels far beyond that which most guitarists and vocalists once felt were possible. On Saturday, he seemed freer of gimmicks, more serious of purpose generally, than last spring at the Devonshire Downs Pop Festival in Northridge. Because of this, perhaps, the audience Saturday was less enthusiastic at times than at Devonshire Downs. But his bombing raid version of the ‘Star Spangled Banner’ (as featured in the ‘Woodstock’ movie) and ‘Purple Haze’ brought the audience to its feet for an ovation that lasted several minutes.”

Entertainment World (08 May), ‘The Jimi Hendrix Experience’ review by Jim Bickhart:

“Jimi Hendrix returned to L.A. and a raucous full house last week, but Hendrix, charismatic second-stage demigod of the Cream Generation, who was surprisingly enthusiastic on stage, did not have the audience wrapped constantly around his little finger pick.
The Hendrix Experience, presently a mixture of the original group and last winter’s short-lived Band of Gypsys, is an unbalanced power trio with Jimi a top-heavy leader. Bassist Billy Cox (from the Gypsys) and drummer Mitch Mitchell were next to inaudible behind the – guitarist’s deafening amplification. They did not fill the huge musical gaps left by Hendrix’s noisy, undisciplined guitar style. While the crowd was most enthusiastic for the material from the group’s old albums, it was these songs which made this concert deadly dull. Jimi’s attempt to update too-familiar guitar solos became pure cacophony, and Cox was half asleep as he played bass runs first created by Noel Redding.
New material was a lone bright spot, with Hendrix apparently trying to inject some music into his ‘music.’ ‘Message of Love,’ ‘Easy Rider [sic] ‘, and ‘May I Come Along [sic, Hey Baby} all featured guitar breaks that bordered on being tasteful. The audience seemed bored by them though, waking up for a familiar medley of the national anthem and ‘Purple Haze.’
With Hendrix were the Buddy Miles Express, who played a very good but short set of soul and blues numbers, with leader Miles doubling on vocals and drums, and Ballin Jack, from Washington, playing mediocre Family Stone-like music but eliciting good crowd response.”

 

Above: The inner panels of the Tarantura CD release

Disc (09 May) ‘U.S. Fans are better rehearsed than groups!’ review by Judy Sims:

“I survived the Jimi Hendrix concert. I was lucky – just a few bruises and a small cut on my left hand, plus an hour’s worth of tremblies in the legs. I’m beginning to wonder about the whole concert jive trip, where thousands of young people, most of them sane, pay a great deal of money to watch a performer be mobbed by the lunatic fringe. Sure, it’s healthy spontaneous emotion, the fans love Jimi and Jimmy Page and Eric Clapton and Ian Anderson. The fans love them to death, almost. Concerts in this country (and, I suspect, elsewhere) are rehearsals for riots, mini-bloodbaths disguised as good times. I’m sick of all those writhing, shouting masses of people who won’t stay in their seats, who don’t care if the rest of the audience can see, who only want to satisfy their own personal ego urges by getting near the stage and the so called ‘magic’ of the performer. Ian Anderson told a reporter here that American audiences are better rehearsed than the groups, and it’s true; a certain segment of each crowd knows just when and how to elude the guards or ushers, knows exactly the shouts and whistles and hand waving required (and when) and has an uncanny awareness of the performer’s attitude and the ushers’ impotence – or strength. At the huge Forum last Saturday, about 20,000 people crammed in to see Jimi Hendrix in his first appearance here in almost a year. He was preceded by Buddy Miles and his new group, a jive act if ever there was one (and there was) and a new group called Ballin’ Jack. The ‘swinging groovies,’ the spaced-out worshippers, leaped from their seats for Buddy, but they weren’t inspired to rush the stage. Yet. For one thing, the ushers were efficiently keeping the aisles clear and the front of the stage area vacant; for another thing, the crowd wasn’t going to waste its energies for Buddy, they wanted Jimi. For a while I thought Jimi was going to thwart them. He was relaxed, cool as ever, and did an almost casual set. He teased us with a few erotic movements during ‘Foxy Lady,’ but after that he just stood there and played that guitar – mostly new songs from his Band of Gypsys album. I was in the second row, directly in front of him, the best concert seat I’ve ever had. Also the worst.., at the end of the set Jimi broke into our National Anthem and ordered us to stand up, stand up, which we did. The aisles filled, but still the space down front remained miraculously clear. Kids started leaping over the seats so they could stand on chairs in the first two or three rows, and people from the aisles crowded into the rows. The ushers massed in front of the stage. Then Jimi went right into ‘Purple Haze’ and all hell broke loose. It was as if that song were the pre-arranged signal. The aisles spilled forward, and in less than one minute the entire area was solid humanity – waving, shouting people, some sitting on their friends’ necks, some perched precariously on the backs of seats. I was jostled but unharmed. I couldn’t see. As ‘Purple Haze’ ended and the closing number, ‘Voodoo Child,’ began, there was an incomprehensible (and terrifying) backward thrust. Everyone up front was somehow invisibly thrown back with sledge-hammer force. Chairs went over, people went down. Like a fool, I’d been standing on my chair trying to see Jimi through the crowd, so I we over the back of the chair and stayed there, suspended like a trapeze artist.
I like Jimi Hendrix; I think he’s of very few real innovators and a most incredible performer. But it’ll be an icy day in hell before I’ll see him at the Forum again. I’m afraid of his audience.”

 

 

Rolling Stones Gimme Shelter 2

Here’s the surprise, a rather non-WCF looking label without a number:

Rolling Stones Gimme Shelter LP.jpg

Rolling Stones Gimme Shelter Lurch

Copies with white labels also exist.

Matrix: X14327/X-14328

Matrix of the original pre-TMOQ release: X 4172 4328 / IX 241 X 14237 

Label of the original release:

Rolling Stones LiveR Lurch lbl 1

Someone was clearly trying to get as close to the original as far as the disc and label was concerned.

The surprises do not end here:

Rolling Stones Gimme Shelter st

 

The cover is also stamped underneath the insert, only the third case found with WCF releases so far after The Band – Live Band # One (stamped “LIVE Band”) and The Beatles – Let It Be Live (stamped “SILVER”).

Rolling Stones Gimme Shelter

 

One of only a couple of WCF titles found with a slightly smaller ‘negative image’ insert.

Rolling Stones Gimme Shelter wh lbl

USA: 1971 Although rollingstonesnet.com places the WCF version right on top with the earliest releases of LiveR on their page analyzing the famous Oakland ’69 bootleg, I would place it significantly later.

Source: One of the many copies of LiveR Than You’ll Ever Be, only the fourth release by what would become the TMOQ label and the first ever bootleg containing a contemporary live recording. 1969-11-09, second show that night at the Oakland Coliseum.

***

Needless to say, Contraband again copied WCF’s cover design 1:1 and it’s this version that’s featured in HOTWACKS and on dbboots.com under the Gimme Shelter entry.

Rolling Stones Gimme Shelter CBM

 

Matrix: X-241-1 // X-241-2 

Rolling Stones Gimme Shelter CBM 2

 

Also issued with this distinct tan CBM label:

Looking through my image collection, both label times can be found with these CBM releases:

The Band – What’cha Want Mama; The Beatles – Live Concert Atlanta (# 3552) (both WCF copies), Beatles – the never released MARY JANE (# 3585, shown here);

Beatles TNR MJane lbl 2

Bob Dylan – GWW II (single disc version, # 616/7) & Help (# 3587, bobsboots lists this as a 1975 release but these are clearly much earlier labels), the CBM copy of Jethro Tull’s My God, the Moody Blues – October and Santana – Collectors Item (I’m sure there are likely more examples). All of these releases date from 1971 to 1972. This means that the WCF version of Gimme Shelter likely dates from 1971, in line with the year they produced the “Compatable For Stereo” insert designs) and the CBM copy from 1971/2.

 

 

Pink Floyd Pompeii FT

USA: 1985 (don’t mind the label, it always said the same, just like the old “Duck Records” and Ruthless Rhymes labels). The copy shown here sold at auction last month for a healthy $157.50

Repressing from the original plates of the fairly rare single LP CBM release (matrix: 1036 A/B), a straight copy of the Pompeii movie soundtrack, released ca. 1975 on the King Kong sub-label (using Instant Analysis or dragon paper labels). CBM stopped operating ca. 1977.

Pink Floyd Live At Pompeii yb

Pink Floyd Live At Pompeii disc 1

Pink Floyd Live At Pompeii disc 2

To the best of my knowledge this is the only time that the mid 1980’s reissue label Full Tilt re-pressed a CBM title.

That raises a few questions:

  • How did Full Tilt acquire the plates?
  • Where were they in the meantime?
  • Where are the remaining CBM pressing plates?

There might be a story in here somewhere.

Usually, one could expect only $20 – $40+ for this title but this copy was different in that it shows a previously unseen insert:

Beatles LS BB alt 3626

Definitely not a fan made insert (except for the stickers), I would say. The label isn’t mentioned but this can also be seen on other inserts of the Contraband “umbrella label group” (for example super tracks 1, BEFORE THEIR TIMECinelogue LET IT BE, LIVE IN VANCOUVER CANADA & LIVE In Melbourne, Australia – July 16, 1964, , Paris SPORTS PALAIS, RARE BEATLES, SWEDEN 1963, Cream – ’67 – ’68, CSNY – Reunion Concert – July 25, 1974, Dylan: BLOOD TAKES and SEVENTY DOLLAR ROBBERY, Harrison: chicago 11 30 74 and EXCERPTS FROM THREE MAJOR CONCERTS, etc.).

Beatles LS BB alt 3626 d

http://www.popsike.com/Beatles-LS-Bumble-Bee-not-TMOQ-Unique-version-of-WEC-3626/201843644392.html