Dylan, Bob



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, 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


Dylan JBSB fs

Dylan JBSB fs b

Side 1
A1 CBS 45 released in 1962
A2 “Another side” outtake June 1964
A3 “BIABH” outtake 1965
A4 Original “Freewheelin’ ” 1962-63
A5 Carnegie Hall October 26, 1963
A6 “Times” outtake 1963
A7 Original “Freewheelin’ ” 1962-63

Side 2
Minneapolis, December 1961 except:
B2 “Freewheelin” outtake 1963
B3 CBS 45 released in 1962




Sources like bobsboots state this was released in 1972. I’m leaning towards ’73 – if ’72 is correct, I would say very late in the year.

First, we notice the matrix number, which is the same as that of the TMOQ  original, however, bobsboots states “They were not pressed from the same mastering plates. The Berkeley versions are not quite the quality as the TMOQ versions. Perhaps they were actually recorded from a vinyl copy of the album.” Second, these labels are rather unique for a WCF/pre-Berkeley release.

JBSB was only the third Dylan title (and perhaps rock bootleg) ever, released in October 1969 by Dub & Ken of what would become known as the Trade Mark Of Quality label.

Below: First versions with printed labels (two different styles) and blank white cover, matrix: 417 A/B / 111 A+B superimposed:


At least four types of stamps were used in the beginning. The very first large one, apparently discarded soon after, is quite hard to see as it’s so faded but you can make out the work “Society”:

Dylan JBSB 1st 1st st

The 2nd stamp (most of the stamped copies were found with blank white labels):


The 2nd stamp with a disclaimer notice and the same one on their earliest version of their Donovan title from around February of 1970:


The 3rd stamp:

Dylan JBSB 3rd st

The 4th version, using the type of stamp that would be continued on future pressings of this title on colored vinyl:

Dylan JBSB 4th st


A review of the bootleg found taped to one of these stamped early copies:

Dylan JBSB review

A ca. late 1972 reissue, the matrix was now BD 509 A/B:



Then, there is a 5th type of stamp, around 1971/2 (thanks to Rob for the image):

Dylan GWW JBSB 5th st

And reissued as part of the cartoon series in 1973:



TMOQ-2 version with smoking pig logo and changed matrix number 1803 A/B:

Dylan John Birch S B

Thanks to Karl for allowing me access to his amazing image collection, from which many of the above were taken.


“In 1975 Berkeley issued four albums in great looking black and white deluxe covers. These included “Visions of Johanna”, “Stealin'”, “Let me die in my footsteps”, and this LP. This cover is a great looking 1963 ‘in-concert shot’, and the back is a nice casual publicity shot from ’66 along with with the song listings.” ( 






Exists in at least two different printings for the folder-style cover. A bright red one and the lighter one seen below, which seems to be more common.


The release date is usually given as 1972.

This is an inferior copy of  (pre)-TMOQ/PoPo Productions’ GWW “SEEMS LIKE A FREEZE OUT”, which was first released around January of 1971. Matrix: 501 71 – 154 / BD – 501 71 – 155

Dylan SLAFO wh red MIH

Dylan SLaFO gree

TMOQ re-pressed this title several times. The following versions can be found based on label and PVC color differences (list may not be complete).

Quote from a person that claims to be the PoPo Productions Dylan titles:

All done at Lewis’s Pressing Plant. They had a bunch of colored 45’s on the wall. Pick any color you want. I think the base color was Clear Vinyl with the color you asked for added to the mix. The plant had a large investment in Machinery and needed all the customers they could get. We were young crazy and would use different color Vinyl just to create a collectors Item. I liked Red and Green.”

  • 1/2 labels: Orange/tangerine, light blue, red, dark green, yellow/gold, lime green, smoky (diff. color combinations).

Dylan SLAFO smoky nb lbl

  • Bordered 1/2 labels: Orange/tangerine, red, yellow/gold
  • Blank white labels: Green, blue, red, black, tangerine, smoky

Dylan SLAFO blu gree

  • Orig. pig labels, introduced early 1973: Blue, red, yellow/gold, green, white mixed splatter
  • Made In Holland labels: Red

Dylan SLAFO wh red MIH d

  • Smoking Pig labels: Black, lime green, red, blue


Due to the many variations for TMOQ, I have decided I’m not the right person to attempt a review of all the TMOQ’s;  you really need someone who has access to most of them and has studied them for decades to do them justice.


In 1975, Berkeley released the album in their now new trademark b&w cover art (which I’m not a fan of), the matrix remained the same.

Dylan VisOJoh 75Dylan VisOJoh 75 b


Dylan Looking Back 1

Dylan Looking Back 2

An alternate insert for Volume 2 below:

Dylan Looking Back alt comments on Volume 1: “29A  In ’70 or ’71 Zimmerman records released a single LP of record 1 (The Royal Albert Hall show) of 28A. The cover was blank. A color printed insert was a reverse image of the original drawing with song titles added. labels were dark red with songs listed. Matrix : GM LP 744 ”

“29B  In ’70 or ’71 Berkley records released a copy of the 29A LP. They used the same insert on a gatefold cover. The quality, however, was inferior; with many bad presses. Blank labels. Matrix : LP 744″ They must be referring to the folder style re-issue, which I have been dating to ca. 1973/4


And Volume 2: “30A  In ’70 or ’71 Zimmerman records released a single LP of record 2 (The ’63 & ’66 shows) of 28A. The cover was blank. A color printed insert was an image of the original drawing with song titles added. Labels were dark red with songs listed. This LP was copied and released as ‘While the establishment burns’
Matrix : LP 745 “

“30B  In ’70 or ’71 [ 1973/4] Berkley  records released a copy of the 30A LP. They used a mirror image insert on a gatefold cover.   Blank labels. 
Matrix : GM  745 ”

The ’28 A’ original bobsboots is referring to here, however that is a British version made in 1972, as they say, so how could it have been used tor a 1971 release?

So, let’s go back to the 1970 US original on Zerocks Records, the first time that Dylan’s 1966 Royal Albert Hall recording (actually from Manchester’s Free Trade Hall) was commercially made available in the US. RAH occupies two complete sides, one each per disc to allow stacking on automatic turntables. Another side has the Townhall 1963 concert and the last side has four tracks from the Adelphi in Dublin, also in May of 1966. 

Dylan DLB Zer gold st

Dylan Looking Back b Zerocks

bobsboots hated the artwork but loved the actual records: “Nicely done full printed labels. Good, heavy vinyl…great sound.”

Dittolini and TMOQ (first as the full double album using practically the identical artwork and as the aforementioned single album While The Establishment Burns). HOTWACKS states CBM did as well but this version has never turned up and been recorded in anyone’s research (“Raging Glory” by Dennis R. Liff, “Great White Answers” by Dominique Roques, “Bob Dylan – His Unreleased Recordings” by Paul Cable).

Dylan Looking Back 4


Dylan Looking Back st

Dylan Looking Back


Dylan Isle Of Wight 2


Dylan IoWight 509 lbl a.jpg

The sides seem to be reversed, i.e., the concert started with the tracks on side two but that is how the British original had it as well. This is not the complete performance., which consists of 17 songs. “I’ll be your baby tonight” is found here between “Like A Rolling Stone” and “Mighty Quinn” but was missed by all WCF and the  CBM version pirating this insert. The different vinyl bootleg versions all suffered from challenging audio. The concert was also recorded on multi-track tapes, and after a few tracks appeared on an EP in the early 70’s, the whole concert was officially released in 2013.

USA: 1971

There also appears to be a later WCF reissue in their trade mark folder style covers.

Copied from one of the following choices:

  • The original 1970 UK release; 1st edition: Blank black label, with or without stamp. 2nd edition: With island sticker – C-7 A/B matrix on all copies:

  • Any of the three different Holland 1971 Peace / Piece versions:

1st issue: Title stamp plus peace sign in red or blue with this label; 2nd issue: Slightly larger stamp in purple:

3rd issue with a different red stamp and a pink “Piece” label:

The matrix for all three  versions was ’31 W-A/B HM-PART – 1/2 ‘



CBM Copies with matrix ‘ (C-7-A) MOTION BEAVER REC. 104701 / (C-7-B) MOTION BEAVER REC. 104702 ‘

  1. Using WCF’s art work again and with their early ‘large letter’ label style:

To me, this proves again that WCF’s version had come first.


2.  This rare insert variation, I have only found once:

3.  And finally the last version, ca. 1974 in their ‘minimalist insert’ style:


TMOQ’s popular and more complete version did not appear until around September of 1972


Dylan was a late addition at the Isle of Wight Festival, this was his first performance in over two years.


John, George and Ringo watching Dylan. While for George it was the start of a life-long friendship and appreciation, John would 10 years later record himself calling Dylan (along with Paul McCartney) a “company man” and “… Gotta Save Somebody … I guess he wants to be a waiter now …”.



Dylan Kindest Cut 2


Dylan Kindest Cut

The insert is also found in b&w, green or red.



USA: 1971/2

Matrix: 507 A / B

It appears that this was reissued in the folder-style cover as well and exists with a different insert or a wrap around insert or even a printed cover, which moved the track list to the back:

Dylan Kindest Cut alt ins

Dylan Kindest Cut alt insert b



A copy of this 1971 original:

Dylan Kindest Cut BBG

The sticker found on the back was copied by WCF and integrated as part of their art work:

Dylan Kindest Cut sticker 2

The one on the front was not:

Dylan Kindest Cut sticker

Dylan Kindest Cut lbl 1

Dylan Kindest Cut lbl 2

Matrix: RI 3145 / FIWN

Sources: The majority of these recordings comes from the “Minnesota Hotel tape”, recorded 22 December 1961. More info here: 

Exceptions are “Ballad of Donald White” from a March 1963 WBAI FM radio broadcast and “Only a hobo/talkin’ devil” and “John Brown” from the 1963 Broadside recordings.


Dylan Villager.JPG

Dylan Villager inner

The blank inner gatefold covers, as used for all double albums WCF produced between 1070 and 1972.

Dylan Villager Kathy

Labels came in any combination of ‘WCF blue’, red or white with the names “STEVE” or “KATHY”.

USA: 1971

Matrix: 503-A/B X and 504-A/B V

The title comes from the location of the Gaslight Cafe in Manhattan’s Greenwich Village area.

Gaslight cafe

Source: Side 1 & 2: “The Famous ‘Gaslight’ tapes have traded among collectors since the 60’s, and individual songs have been available on various bootleg recordings since the early 70’s.” [] 06 September 1961 known as the first Gaslight (cafe) tape. This is the first recording capturing Dylan performing one of his own compositions.

Man On The Street
He Was A Friend Of Mine
Talkin’ Bear Mountain Picnic Massacre Blues
Song To Woody
Pretty Polly
Car Car

The last song on 503-B “California” is a ‘Times They Are A-Changin’ sessions outtake from the second half of 1963. Two more close the second disc (marked with * below).

The second disc has the Gleason home tape, recorded 01 February 1961 in East Orange, NJ ( ):

Jesus met the woman at the well
Gypsy Davy
Bull session I
Pastures of plenty

Jesse James
Bull session II
Remember me
Lay down your weary tune *
Moonshine blues *


Most interesting are the comments found at “As far as quality goes, the Villager is one of the worst records ever made. Paradoxically, as far as collectibility goes; it was a highly sought after piece for collectors of this type of material.
The rarity of the album stems from a few facts. First of all, there was a very small run produced. The title itself evoked all kinds of speculation and rumors in the early 70’s. A lot of people talked of the existence of this record, but few had seen it.
This LP set a record in Europe in 1976 as the highest price ever paid for a bootleg album. The album changed hands for an incredible $400! One of the reasons for this high price was not only the speculation of the early 70’s, and the fact that it was an import in Europe … but an incredible looking full printed cover. As it turns out, the cover had been a one or two of a kind silk-screen … not done by the manufacturer, but by a printer who wanted to create a wonderful looking cover for his album. Putting a value on this cover is a very subjective thing and better left to the discretion of the buyer/seller.”

These days, the title achieves from < $30 – $70 at auction.


This double set was also reissued in a folder-style cover ca. 1973/4 with the usual blank white labels:

Dylan GWW inner


Dylan Motorcycle

There are two versions: Those with handwritten covers, which seems to have been done by the same person):

Dylan Motorcycle II

Bob Dylan Motorcycle red

Dylan Motorcycle III

And those with a stamp:

Dylan Motorcycle stamp

The stamp up close:

Bob Dylan Motorcycle st

Exists with purple, green (or is it turquoise?) or red labels and while bobsboots calls it “relatively rare” there are certainly rarer WCF titles.

Dylan Motorcycle blu lbl 1

Dylan Motorcycle blu lbl 2

Matrix: 103 A / B

USA: 1971

Source: Basement tapes with the Band, April 1967, Woodstock, NY, except the last three tracks on side B: Witmark demo tapes, 1963.


Based on the fact that WCF for the most part did copy the releases of others, my money is on this version having come out first, also ca. 1971.

“(Referencing) Dennis Liff in “Raging Glory”, the LP-1943 version is noted as having matrix: LP-1943-A/B, SON, K-4068/9. It’s actually unclear in the book if this refers to 3 different pressings (one with LP-1943 A/B, another with SON, and a 3rd with K-4068/9), or if this version simply had a matrix of LP-1943 A, SON, K-4068 one one side, and a matrix of LP-1943 B, SON, K-4069 on the other side. However following the pattern in the book, this entry indicates the one matrix number of LP-1943-A/B, SON, K-4068/9 for this version.” [from a comment by frequent blog contributor YesDays]


Bob Dylan Motorcycle 1943 st

Unfortunately, the added notes on this copy are not readable. A lot of work seems to have gone into them.

It is usually found with this stamp in the top right corner spelling out “CYCLE” in all caps or without the stamp:

Bob Dylan Motorcycle 1943 hw

It is quite peculiar how similar both releases are in appearance, although the labels do not use the same wording and this version has song separation.

There seem to have been two pressings as evidenced by the labels. Those with a large slightly depressed central area surrounding the spindle hole:

Bob Dylan Motorcycle 1943 lbl 1 alt

Bob Dylan Motorcycle 1943 lbl 2 lg

And those with an additional raised central area:

Bob Dylan Motorcycle 1943 lbl 1



WCF # 39 should be their first copy of Ken & Dub’s Bob Dylan STEALIN’ release based on the matrix number but someone goofed and the number ’37’ was re-used in error on the label.


Dylan GWW WCF 4

Dylan GWW WCF 5



USA: 1971/2

This WCF copy is not mentioned in HOTWACKS or bobsboots (and based on that in Roques’ book Great White Answers?) with the Contraband copy being singled out instead. In addition, the timeline in bobsboots is incorrect. There, just as in HW, they place Contraband’s version first and date it 1970:


  • I believe the blog has already shown convincingly that Contraband tended to copy WCF and its cover designs and not the other way around and that the catch phrase “compatable (sic) for STEREO” was WCF’s. The matrix numbering system originated with WCF as well and not the other way around as described in bobsboots. Overlooking WCF’s first version has led to this error.
  • I believe the correct year for this CBM copy is around 1972

bobsboots then makes a connection between the CBM copy and the next GWW release by WCF in a folder-type cover:

Dylan GWW outer


Dylan GWW inner

The comment on bobsboots is (my corrections in [ ]: ” In 1971 [ca. 1973/4], the U.S. Label ‘ Berkeley ‘ released one of the first bootlegs to have a full-printed cover. (a cover that was actually printed on the cardboard stock rather than being simply an insert. [bootlegs have had printed covers, even using color since 1970, see The Beatles – Shea The Good Old Days, for example ) (gwa 1Ae). It is a wraparound folder type cover. The front is a photo from the Isle of Wight 1969 . The back has four pictures from 1966 . It was pressed on black vinyl with white or various colored labels. The song titles on the back were reproduced from the ‘Contraband’ cover [incorrect, this had always been WCF’s track list], and the album itself was copied from this previous version [CBM copied from WCF]. (Pressed from the same master plates; or is possibly, in fact, the same album [a reference to the identical matrices, as they had been copied by CBM as well. It is correct that this is a repressing using the same plates of the original WCF 40 A/B, 41 A/B release) The sound quality is the same. ”

Dylan GWW b

Dylan GWW







Dylan Stealin orig

Dylan Stealin orig b

Dylan Stealin'

Dylan Stealin' 2

Dylan Stealin' lbl 1

USA: 1971/2

Matrix: 39- A X  /  39- B X

’37’ on the labels vs ’39’ in the matrix, no wonder someone got confused.

This and the Hendrix insert are the first were WCF used the ” Compatable for   STEREO ” phrase.

STEALIN’, the 2nd rock bootleg ever produced, had originally been released by Ken & Dub in September of 1969.

WCF/Berkeley Records released this title two more times. First, ca. 1974 as part of their series of releasing albums in a wrap-around folder cover: “There was also a release that has an orange folder wrap-around cover with blank labels, & no matrix.” (

Dylan Stealin 2010 2

Where did the inner sleeve come from though?

Dylan Stealin 2010 3


And in 1975, when they reissued many of their old stampers in b&w covers and branded as Berkeley Records (with a fake UK address):

Dylan Stealin 2010 b&amp;w

Dylan Stealin 2010 b&amp;w b

The matrix number was now ‘ 2010 A / B ‘ and bobsboots reports: “This Label had been been releasing titles by copying TMQ LPs and creating their own cover. The quality of the recordings was therefore less than the original TMQ. Since this LP has the same unique track order as the TMQ release, one would assume that this was a copy of it. However, the quality on this release is just as good as the TMQ version.”



Hendrix Live In Hawaii 4

Hendrix Live In Hawaii lbl 37-A

Hendrix Live In Hawaii lbl B

The track names are all incorrect. When CBM released this album as Rainbow Bridge, they (re-)used the same track names.

USA: 1971/2 – TMOQ’s MAUI, HAWAI album (also a copy of INCIDENT…) was released in June of 1971, so WCF’s version likely came later.

If you know the matrix number, please leave a comment.

Just like STEALIN’ this was another title that was copied many times by different bootleggers. It goes back to this somewhat obscure US release on a label referred to as Dragon:

Hendrix Incident ARBridge cvr 2

Hendrix Incident ARBridge lbl A

Hendrix Incident ARBridge lbl B


Hendrix Incident ARBridge

The two inserts that came with the album were thankfully picked up by the copying labels and used for their own art work. WCF picked the left one and TMOQ the right one.

Hendrix Maui, Hawaii

Source: A fragmented audience recording from both free Hendrix and the Experience shows July 30th, 1970 , which became known as the “Rainbow Bridge Vibratory Colour-Sound Experiment”. 17 minutes of heavily edited live material appear towards the end of the film “Rainbow Bridge”. Hendrix’ performance was arranged to inject some much needed excitement into the floundering film project. The JHE had a show to play in Honolulu on August 1st anyway, so the timing fit. Less than 1,000 people saw the actual sets Hendrix played that day. The movie was released in the fall of 1971.

Disc two contains an audience source from this show but is far from complete. Its origin is unknown to me although it could be taken from Incident At Rainbow Bridge, Maui, Hawaii, a single LP on the Dragon label and contains only a few tracks from the show. It sounds like it is sourced from very clean vinyl and has commentary from someone during “Guitar Intro” which is really the intro to “Hey Baby” from the early set. The quality is fair to good and will appeal to serious Hendrix collectors. Jimi’s guitar is high in the mix with the drums almost nonexistent but it is still an interesting listen where Hendrix is in excellent shape and makes me wish I had the entire audience source. The third track is actually “Jam Back at the House/Straight Ahead” and not “Villanova Junction Blues” as listed. “Here My Baby Calling” is “Here My Train A Coming” from the early set and “Incident At Rainbow Bridge” is the proper “Villanova Junction Blues” which segues into a minute of “Ezy Rider” that has the drum intro edited with the tail end of the song. This audience source is very fragmented but still a nice inclusion in the set.” (from a review of the CD bootleg Maui Hawaii on the Scorpio label)

from an eBay ad: “The introductory minute of side one is an overview of what we are about to hear from who, I assume, is the person recording this concert. It’s an excellent tribute and introduction to a fabulous performance. The recording is very well done, and the playing is unlike anything you have ever heard. The track list is a little strange because, while there are only five tracks, you’ll hear pieces of “Red House” and “Hear My Train A’Comin”, as part of the noted tracks.
Rainbow Bridge Vibratory Colour-Sound Experiment, Haleakala, Kailua (Maui) (HI), United States. 30th July 1970, 1st show:
Side A 1. Intro / Hey Baby (New Rising Sun) (titled ‘Some Slow Thing’) 2:07 [“This track has a spoken introduction dubbed over by an unknown male voice. This was added later, not spoken at that time.” Geldeart/Rodham “From The Benjamin Franklin Studios Part 2]

Rainbow Bridge Vibratory Colour-Sound Experiment, Haleakala, Kailua (Maui) (HI), United States. 30th July 1970, 2nd show:
2. Red House (titled ‘Boogie It All Together’) 6:50
3. Beginnings / Instrumental Jam / Straight Ahead (titled ‘Guitar Improvisation’) 11:38

Rainbow Bridge Vibratory Colour-Sound Experiment, Haleakala, Kailua (Maui) (HI), United States. 30th July 1970, 1st show:
Side B 1. Hear My Train A Comin’ (titled ‘Get On Home Boogie’) 8:37

Rainbow Bridge Vibratory Colour-Sound Experiment, Haleakala, Kailua (Maui) (HI), United States. 30th July 1970, 2nd show:
2. Villanova Junction / Ezy Rider (titled ‘Stevie’s Walk’) 6:52
Total duration: 36:04

The Bootleg release history for this title, slightly amended from Geldeart & Rodham’s book:

B12b. MAUI, HAWAII  (Trade Mark Of Quality JH 106) – released June, 1971
(Trade Mark Of Quality TMQ 71018) RE
B12c. LIVE IN HAWAII-1970 (WCF: Hen 37)
B12d. MAUI, HAWAII (no label listed, deluxe cover, see below)

Hendrix Maui, Hawaii orig

Hendrix Maui, Hawaii orig b