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Dylan, Bob

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.

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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:

http://bobsboots.com/boots/bt-g0091Ad.html

Dylan GWW CBM

  • 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. ”  http://bobsboots.com/boots/bt-g0091Ae.html

Dylan GWW b

Dylan GWW

 

 

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Dylan Stealin'

Dylan Stealin' 2.jpg

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.” (bobsboots.com)

Dylan Stealin 2010 2

Where did the inner sleeve come from though?

Dylan Stealin 2010 3

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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&w

Dylan Stealin 2010 b&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.”

 

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Hendrix Live In Hawaii 4

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:

B12a. INCIDENT AT RAINBOW BRIDGE MAUI, HAWAII (Dragon)
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

 

Dylan B LatPS 78

Dylan B LatPS 78 st 2

Dylan B LatPS 78 st

For the longest time, I thought the image showed Elvis & Bob inside a car but I have since learned that it was Bob & Sarah. If anyone has a clearer image, which we obviously very much need, please leave a comment.

bobsboots shows a different previously unseen stamped label:

Dylan B LatPS 78 st alt lbl

and confirms that black vinyl copies also exist.

USA: summer – late 1979

Source: More nostalgia from this label for what appears to be their swan song: An excellent mono audience recording from the Hec Edmondson Pavilion, University Of Washington, Seattle, 10 November 1978

Side 1: It ain’t me babe (acoustic) / One more cup of coffee / Blowin’ in the wind  
Side 2: Where are you tonight? / Forever Young / Changing of the guards

The slip sheet lists side 2’s songs as: Journey to The Dark Heat / May You Stay Forever Young / Sixteen Years

 

The concert set list (the whole recording is on YouTube as “78 seatle” (sic)):

01. Set I Intro
02. My Back Pages (Instrumental)
03. She’s Love Crazy
04. Mr. Tambourine Man
05. Shelter From The Storm
06. It’s All Over Now Baby Blue
07. Tangled Up In Blue
08. Ballad Of A Thin Man
09. Maggie’s Farm
10. I Don’t Believe You
11. Like A Rolling Stones
12. I Shall Be Released
13. Senor

Set II
14. Set II Intro
15. Rainy Day Women #12 & 35
16. It Ain’t Me Babe
17. One More Cup Of Coffee
18. Blowin’ In The Wind
19. Girl From The North Country
20. Where Are You Tonight
21. Masters Of War
22. Just Like A Woman
23. To Ramona
24. All Along The Watchtower
25. All I Really Want To Do
26. Band Introductions
27. It’s Alright Ma (I’m Only Bleeding)
28. Forever Young
29. Changing Of The Guards

 

Dylan 78

“is that dude taping the show?”

live-aid-tgjb-v1

live-aid-tgjb-v1-b

Japan: 1985

Source: Mining the Live Aid radio broadcast from July 13th ’85 for two double sets. Selected were the performances by David Bowie, Bryan Ferry with David Gilmour), the Wembley Finale, Paul McCartney, F.Mercury & B.May, the Power Station and Duran Duran.

ETS 2588 A: TVC 15 / Rebel Rebel / Modern Love / Heroes / Sensation / Boys and Girls / Slave To Love / Jealous Guy
ETS 2588 B: Do They Know It’s Christmas / Is This The World We Created?
ETS 2589 A: Let It Be / ? / ? / ? / Murderess / Get It On (Bang a Gong)
ETS 2589 B: A View to a Kill / Union of the Snake / Save A Prayer / The Reflex

[Not an accurate track list, I just tried to piece it together from various sources.]

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Volume 2 presents Eric Clapton, Led Zeppelin (with Phil Collins), The Who, Black Sabbath, Mick Jagger (w. Hall&Oates, Eddie Kendricks, David Ruffin and Tina Turner), Bob Dylan (w. Keith Richards & Ronnie Wood) and the finale in Philadelphia.

ETS 2590 A: White Room / Rock & Roll / Whole Lotta Love / Stairway To Heaven
ETS 2590 B: My Generation / Love Reign On Me / Won’t Get Fooled Again / Paranoid
ETS 2591 A: Lonely At The Top / Just Another Night / Miss You / State of Shock / It’s Only Rock & Roll
ETS 2591 B: Ballad Of Hollis Brown / Ship Comes In / Blowing In The Wind / We Are The World

 

live-aid-tgjb-v2

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Meanwhile, someone in Europe went “the whole hog”and issued everything on a 12 LP box (ca. late ’85/86):

live-aid-sg-6

live-aid-sg-6-b

live-aid-sg-6-lbl

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peter-blake-tgjb

Peter Blake art work

 

dylan-iow-piece-b-rs

I love it when past record owners hold onto contemporary articles and keep them with the record, like a time capsule.

The article, discussing the misadventures of its 20 year old producer “Steel” and the first UK produced bootleg, a bad sounding single LP ‘Best of’ version of G.W.W. taped from Ken & Dub’s original., was first published in the 19 March 1970 issue of Rolling Stone magazine.

rs-19-march-70

The article is actually online for much better readability: http://www.rollingstone.com/music/news/dylans-great-white-wonder-bootleg-turns-up-in-london-19700319

The front of the album that the article was taped to (not the one discussed in the article, which I have never seen and there won’t be much to see anyway even if I had an image as the album had few markings apart from the matrix number GWW LP1 A/B): Reissue of the Dutch copy of the first Isle of Wight bootleg.

dylan-iow

“Isle of Wight      The Peace/Piece versions
The Dutch release of this album came out in 1971.  It has a white cover with the title stamp, and a peace symbol in red or blue. It has a ‘Peace’ label that reads
“In concert on the island”  The matrix is 31 W-A/B  HM-PART – 1/2.  There was also a second issue that has a slightly larger stamp in purple.  (gwa 44Ba).
Later in 1971 another Dutch issue came out with an album that was pressed from the same master plates, however the package was completely different (gwa 44Bb). The front cover has a small red title stamp with no peace symbol.  The label now read ‘Piece’ instead of ‘Peace’.  It is not sure whether this alternate word is a play on the former, a spelling error, or a communications error.  The LP has a pink Piece label with the title “In concert on the Island”.  Another version of this LP came in the same cover as gwa  44Ba, with a label the same as gwa 44Ba… except that ‘Peace’ had been replaced by ‘Piece’! Obviously related … although it is not sure quite how or why.” (source: bobsboots.com) 

 

 

 

 

 

 

 

 

 

1. Talkin’ Bear Picnic

Dylan Talking Bear Picnic

A very rare item. It is not in HOTWACKS, not in the 1980 book The Great White Answers

 

Dylan GW Answers

And has not been added to the variations on bobsboots.com.

The title has been changed from Talkin’ Bear Mountain Massacre Picnic Blues (probably to allow Dittolino to use a smaller and cheaper stamp for the front cover) –  the “great quality” 1971 TMOQ release containing Freewheelin’ session outtakes and one Witmark demo:

 

Dylan Talkin'Bear Mt. Massacre Picnic Blues

“Early inserts included the text ” Cover Design Made For “Trade Mark of Quality” by PoPo Productions”
and were mainly exclusive to Dylan issues. PoPo Productions started as a small time bootlegger and in short order became aligned with TMQ. Dub probably recruited Mr. PoPo to design Dylan inserts much like he later recruited William Stout for TMQ’s cover art designs. Unlike Stout though Mr. PoPo was also involved in the bootlegging vinyl side of the business. His contribution to the TMQ Dylan catalogue included two titles “Let Me Die In My Footsteps” and “Blind Boy Grunt”. PoPo Productions is often referred to as TMQ’s sister label.
bob-dylan- Freewheelin
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2. Looking Back
Dylan B Looking Back 2
Dylan B Looking Back
# 0008 
Issued in 1971 by Dittolino, when they would still number their releases in their early days. Copied from the 1970 Zerocks double LP of the same name, that premiered the “Royal Albert Hall 1966” (in reality, Manchester Free Trade Hall) material in the U.S. This material would subsequently be issued in different formats/compilations and by several different bootleg labels as it remained very popular.
Dylan Looking Back Zerocks
Dylan Looking Back b Zerocks
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3. Blind Boy Grunt
Dylan BB Grunt
Dylan B BB Grunt 1
“This LP was repackaged with various combinations of blank white, 1&2 , Dittolino Discs, and full printed labels.” [bobsboots.com]
Released by Dittolino ca. 1972/3, either copied from the BBG original or the TMOQ – PoPo title shown below. 
More info on the contents found here: http://www.punkhart.com/dylan/tapes/61-dec22.html
‘Linealogy’ for this release:
1971:  BBG LP Kindest Cut , matrix: RI 3145
Most of the time when this LP is described or pictured, there is only a title sticker on the front and a track list sticker for the back:
Dylan Kindest Cut sticker
Dylan Kindest Cut tlist
Dylan Kindest Cut lbl 2
However, I have since come across this image and it seems that the LP may have been subtitled Blind Boy Grunt from the start but either: a. this insert was only available for a limited time, b. most people lost it over time or c. this is a fake (however, as BBG is an abbreviation for the title in question we can probably rule that out):
Dylan Kindest Cut BBG
Dylan recorded under the pseudonym “Blind Boy Grunt” in sessions for Broadside magazine in 1962/3.
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September 1972: TMOQ + PoPo Productions issued this as Blind Boy Grunt – copied from the BBG release; Matrix: Blind Boy g    A / B [the lowercase ‘g’ easily mistaken for a ‘9’]
Dylan BB Grunt
Dittolini’s copy was just one of many, including this one by Berkeley, also ca. 1973:
Dylan Kindest Cut
Dylan Kindest Cut lbl
Above: Alternate printed label of the Berkely LP