HH label


I believe the WCF 2001 – 58 series was the first time the label used the folder-type covers and all the reissued titles that had them came later. Based on two contemporary recordings among the first 10 titles – 2006/07 Led Zeppelin – Bonzo’s Birthday Party and 2011/12 Allman Brothers – Watkins Glen July 28/73 – the second half of 1973 appears as the most likely release date/ start of the series.

Matrix: 2001 A / B and 2002 A / B

It is relatively easy to distinguish the WCF copy from the Record Revolution original:

  • Pink cover vs. a rather muted red and blue as seen below;
  • Back cover design changed by incorporating cover art from the HH version (see below) providing a track list;
  • Blank white labels vs. printed red or blue ones;
  • Logo removed from the inside of the folder, lower left.



The original Record Revolution version. It must have been released fairly soon after the broadcast and became the first Dead recording enjoying wide circulation (“Since the album appears to have been made in 1971, the song titles are just guesses (“Had To Move,” “My Uncle” and “No Chance Of Losing” for example.” quote found in the first link posted below). The matrix was GD-R 1/2/3/4

Source: KSAN/KSFX & KMET FM broadcast, closing of the Fillmore West, 02 July 1971

The blue double lp that I had was regularly seen in Bay Area used record stores for the next several years–it was about as near to a “regional hit” as a bootleg could ever be considered. It’s not surprising. A local show, broadcast locally, pressed somehow, and quietly distributed to sufficiently cool stores. That was, in fact, pretty common on the East Coast and less so in the Bay Area...”

Opinions on how well the Dead played that night seem to differ quite quite a bit:


Towards the end of 1972, TMOQ1 released their own version of this recording (matrix: GD – 527 – A / B). Does the added ‘1’ meant that this might have been planned as a two volume release?


Regarding the purple pressing, which sold for $236 in 2012, the seller wrote the following:

“…but the real rarity of this fabulous copy is the color. Look up this album on and you won’t see any that have sold that are of Purple Vinyl! What few copies of this that do exist are seen in the more typical colors of Yellow, Green, Red or Black. This may be the only copy known to exist in purple…”

While it’s probably not the only purple copy ever made, it sure is very rare.

  • Reissues:

Ken”s TMOQ2 matrix: 2805 A-D

Ken’s smoking pig-branded insert has also been found on copies with the original red & blue printed labels but in a black cardboard cover (matrix: GD-R 1-4)  and even on WCF copies.

  • HH DEAD FILLMORE 1 / 2 / 3 / 4 matrix versions:

One of these has the same insert art work but no smoking pig. I suspect Ken nicked the art work from this version and not the other way around but please correct me if this is wrong. As for the copy with classic pig labels, smoking pig branded insert and the HH matrix, I have no explanation at this time. I do believe the seller was not mixed up when posting the matrix #.


  • Reissues, pt.2: S-204/K&S versions:

Almost identical appearance but not manufactured at the same time perhaps: The regular S-204 reissue and the K&S destined pressing with the deletion hole and yellow insert, as described in HW.

100 pressed and most were busted and destroyed in 1980 upon re-entry into Canada as “deletes” with punched covers. Those not destroyed were returned (due to a lack of laws making bootlegs illegal). This copy was “rescued” from the returned survivors. From the same shipment as the Flamin’ Groovies of which only 19 copies survived.”




CCR RevivedCCR Revived lbl

I did not expect a fully printed label for a Dittolini release. Hotwacks, however, states that these tracks were on side 2. They do make more sense on side 1 as these were performed in the first part of the performance.

The other side contains: Commotion / Lodi / Bad Moon Rising / Proud Mary / Up Around The Bend / Hey Tonight / Sweet Hitchhiker

As if I had planned it, Dittolino # 0005 was recorded on a July 4th at the closing night of the Fillmore West in San Francisco, as broadcast by KSAN-FM.

The master is now owned by wolfgangsvault:

1 Tuning 01:47
2 Born On The Bayou 05:22
3 Green River 03:55
4 It Came Out Of The Sky 03:31
5 Door To Door 03:25
6 Travelin’ Band 03:30
7 Fortunate Son 02:21
8 Commotion 04:13
9 Lodi 04:02
10 Bad Moon Rising 02:15
11 Proud Mary 04:08
12 Up Around The Bend 03:32
13 Hey Tonight 03:04
14 Sweet Hitchhiker 02:48
15 John Fogerty Speech 01:08
16 Keep On Chooglin’ 08:07
17.Bill Graham Outro / Introduction of Allen Ginsberg 02:32


CCR Creedence Live R

The artwork on the blank white cardboard sleeve no doubt added by of one of the previous owners, note the amended spelling to “Dittowino”.

According to HOTWACKS, this was also released as Live In Concert on 5D Records by I have not found any trace or image of this item. Not many CCR bootlegs were made and those that were are not that easy to find. What I did find is the following LP, which likely contained the exact same songs as the Dittolini LP, according to this CCR bootleg page:

Based on what information we have, the Dittolino release was likely a copy of one of these two:

CCR Revived

CCR Revived lbl

Matrix: HH CC 1/2

A late, and somewhat harder to find, addition to the family of HH releases.


CCR Revived br

Record Revolution CC 1/2

One might just have been a reissue of the other done from the same pressing plates. The art work was done by the same person as the Morrison / Hendrix / Winter Jam album:

Morrison Hendrix W Jam col 2 sm


In 1984, the material was re-released as part of the Box Top series, with the first 50 copies on clear PVC:

CCR Fillmore West

Part of the July 4, 1971 broadcast was pressed in the 1980s on a radio station live sampler as part of the Retrorock series together with selections from a recording made at Oakland Coliseum on January 31, 1970. The radio station broadcast or even an original LP was subsequently bootlegged in 1986 as Live in the USA 1971 (BR-13868-5):

CCR Live USA 1971


CCR Fillmore East June 71CCR Fillmore East June 71 bCCR Fillmore East June 71 lbl

Roots or Root Records? It seems that this 1980’s release could not quite make up its mind.




Circa 1987 saw a final release of the Fillmore West material on side 2 of this release as part of the BBR / (fake) Instant Analysis series as BBR 09. Some sleeves (first editions?) are reported to have John’s last name spelled “Forerty “.



CCR live

Fillmore West 70

The Fillmore West in 1970.


Happy 4th of July to all that celebrate it.

1. Bob Dylan – Hold the Fort for What It’s Worth

Dylan HTFFWIW Dragonf 2

Dylan HTFFWIW Dragonf

First released by Hoffman Avenue Records #168 in 1976

Mediocre audience recording from Fort Worth,TX, 16 May , 1976 plus one track from New Haven, CT 13 November 1975 and two from Hartford, CT 24 November, 1975.  This show appeared later from a soundboard source and is now seen as the essential Rolling Thunder Tour recording.

This was the fourth issue of this release after: 1. black & white mcv  2. black & clear splatter.  3. red & orange mcv


2. A number of Hendrix titles

Besides the Mushroom title Good Vibes also appearing with Dragonfly labels, there was:

a. SKY HIGH! aka ‘Woke Up This Morning And Found Myself Dead’ aka ‘Jam’

Hendrix Sky High

1968 Scene club, NY jam, featuring Jim Morrison and others, taken from personal tapes stolen after his death. “Although it presents a unique setting, critics and biographers have generally found fault with the sound quality and Morrison’s performance.” states wikipedia.

“Uncertainty has for a long time surrounded both the exact date for the Scene Club recordings and the personnel featured on them. Most sources lean towards 07.03.68 as the most likely date, and personnel is believed to be Jimi Hendrix (guitar / vocals), Jim Morrison (vocals) and Lester Chambers (harp) plus two unknown guitarists, unknown bass and unknown drums. Some of these may or may not have been members of The McCoys or The Young Rascals, but neither Johnny Winter nor Rick Derringer were among them.”

Earlier releases include (the year is unconfirmed):

Sky High ! (Sky Dog SGSH 2017378 / 1972 / 1LP) [Black & White “Pirate Skull” wraparound cover]
Sky High ! (Sky Dog SGSH 2017378 / 1972 / 1LP) [Black & White “Pirate Skull” cover]
Sky High ! (Kustom Rekords SPJH 1[matrix: SPJH+1 (the letters ‘SP’ have been hand etched and the ‘JH+1+A/B’ have been stamped)] / 1972 / 1LP)
Sky High ! ([White label] [matrix: SPJH+1] / 1972 / 1LP)

Supposedly also exists as TMoQ 73031 but I have found no evidence for this beyond the quoted Hot Wacks entry.

From an eBay ad: “i have compared this album with the ‘woke up this morning and found myself dead’ album and have found the ‘sky high’ album to be far better sound quality much louder and clearer, with no editing, there are also things on this album that won`t be heard on the ‘woke up this morning’ album. there is one song on the woke up this morning’ album where it fades out, but on ‘sky high’ there are a few more seconds with the guitar volume being turned up and down giving it a delay affect on finishing. another track on the ‘woke up this morning’ album has a fade in and the ‘sky high’ album breaks straight into it and plays for a few seconds longer.”

Matrix A/1: SP JH + 1 + A
Matrix B/2: SP JH + 1 + B  

Also available as Jam:

Seller description:

A1 Red House  (Unlike other versions of Red House Hendrix used a guitar figure  similar to Cream’s Crossroads”.
B1 People People, People
B2 Tomorrow Never Knows
B3 Sunshine Of Your Love

Run Out Groove Side 1: HH Jam Side 1
Run Out Groove Side 2: HH Jam – 2

“Based on the matrix it appears that this album is from by independent,  Herbie Howard out of Los Angeles. It is in the TMOQ style with the album cover is a flimsy gatefold typical of the bootleg and is in good condition having been stored in a plastic sleeve for the last  40 years. The track listing, recording info & pictures consists of nothing more than a photocopy and is an insert that has been taped to the front of the album cover.

Hendrix Jam RE

The LP descried above, obviously a re-issue, below is the original with b&w cover (I have also seen it with a color cover but am not sure if that is an original):

Hendrix Jam

For more information:



Hendrix Smashing Amps 2

Hendrix Smashing Amps

Originally, the third ever Hendrix release on the classic TMoQ label as # 1813/ 71028:

Hendrix SAmps gree

This copy, listed as being in “superb condition (barely played)” sold for $260 in November of 2013. It should be noted that an orange copy listed as “VG” only made it to $35 two months prior, so condition is of vital importance.

Hendrix S Amps red

I do wonder who made this rare variation?

Source is the soundtrack of the concert movie Experience filmed at The Royal Albert Hall in London at the first – and “appalling” (according to Mitch Mitchell) – show (the second one was one week later but of course, that one was not filmed).

A great analysis of what is available from these shows is here:  [Beware: pop-ups]

Hendrix RAH 69 stub

Hendrix RAH 69

Hendrix RAH CW

Young Charlie Weber stage invading at the show. Charlie has earned a place in Rolling Stones history as he and his brother Jake were used to carry “special presents taped to their bodies” for Mick’s 1971 wedding the South of France.

Charlie’s comment on the photo: “This is incredible. Of course I remember it but it was only because we’d met Jimi backstage and he’d picked me up, cool as could be and carried me around on his shoulders, so he was like a friend to a little boy, me. I don’t remember if I said anything. I think he was a little surprised at coming on the stage and he just said ‘Cool, groovy Charley’.

Charlie W Keith

Charlie (right) hanging out with Keith in the early 70s.


3. ZAPPA & BEEFHEART – Metal Man Has Hornet’s Wings

Zappa metal man

Originally released as CONFIDENTIAL on Wizardo Records 385 and previously discussed on this blog “en detail”.


4. Miscellaneous

I am sure there were more that I am currently overlooking – if you know of any, do leave a comment. There are probably also some false reports, like this TMoQ reissue Beatles LP, which was listed as having Dragonfly labels but I suspect it was a case of wrong disc in sleeve:

Beatles CCC

Changing my view the day after – the more I look at this album, the more I feel this is *not* a CBM release but one on the HH label. I am re-classifying the post & entry.

Matrix: HH-STH-1 / HH-STH-2

Led Zep STH

Led Zep STH disc

A copy of the following Ken ‘smoking pig’ TMoQ release:

Led Zep STH

Side 1: Immigrant Song / Stairway To Heaven / What Is And What Should Never Be
Side 2: Whole Lotta Love medley incl. Boogie Chillun, Truckin’ Little Mama, Fixin To Die, That’s Alright Mama, For What It’s Worth, Mess O’ The Blues, Honey Bee, The Lemon Song
Recording: Very good stereo                                                                                                                  Source: BBC In Concert, Paris Cinema, London, England Apr. 1 ’71

[Half of this had previously been available as part of Dub’s TMoQ 71070 BBC Broadcast but this is a different master.]


Narrowing down the release date:

The next ‘smoking pig’ release and the third one following Stairway To Heaven did all come from source tapes recorded in April and late May of 1973 (the Paul McCartney TV special – James Paul McCartney # 73018 – and Van Morrison at the LA Troubadour A Spawn Of The Dublin Pubs # 730120), so any date before mid- 1973 is unlikely. HH’s copy then can be placed in late 1973/early 1974.

Source: FM recording based on this Columbia Records radio station promo double album (Side 1 contained material by David Bromberg):


Recording date: March 25, 1972 at the CBS 30th Street Studio in New York City, attended by “400 college radio programmers and D.J.’s.” 

Notes from a vinyl to digital restoration project:

“Loggins And Messina – Mega-rare Restored Vinyl – “Your Mama Don’t Dance” –
[…] – FM Great recording and performance!

This is a fabulous sounding set from the early days of Loggins and Messina. This
is a brand-new transfer from an upgraded pressing of this show, and there is a
significant increase in the sound quality. The instrumentation is now sparkling
clear and up-front, and the reverb on the solo section is more in the forefront.
Please remember this is an FM recording from 35 years ago, and adjust your
sights accordingly!

Whenever I see another copy of a very rare album such as this one, I try to pick
it up. To my surprise, this pressing on R.S. Records (Highway-HiFi) turned out
to be the original, and the Phonygraf version used previously was a copy. There
is a sharp drop in surface noise, the insert glued to the front is a bit bigger,
and this pressing has the original labels.


Bootleg Versions:

  1. R.S. Records version made by the HH label (matrix: HH – LM  SIDE I / 2  – or –  #1111 LM Side A / B):

Loggins&M vers 1




2. The Phonygraf version with a slightly smaller insert (matrix: P – 1386 A / B):

Loggins&M vers 2

Loggins&M Phony lbl

3. The WCF/pre-Berkeley label version in a folder-style cover with artist image on the back (matrix: 1975 – A / B):



In terms of release dates, working backwards, I still have the ‘WCF in folders’ releases dated 1973/4, possibly as late as early 1975. Phonygraf’s mainly in 1974, which would place the R.S. version in ’73.

The original bootleg obviously wanted to ride the coat tails of the hit single off of Loggins and Messina’s 2nd album – a # 4 on Billboard Pop Charts. The 45 was released in November of 1972 and reached its peak in early 1973.



John Elton All The Young Girls Love Alice

Elton John
“Live at the Hollywood Bowl”
September 7, 1973
Liberated Vinyl Bootleg #HHEJ1

The 1973 Hollywood Bowl show is a very famous EJ show, and featured Linda Lovelace as the M.C. (not included here, though). I have seen that another vinyl version of this show had been uploaded a couple of years ago, and it was mentioned that the hum was very bad on that recording (before the uploader performed some mastering). This recording does not have those hum issues (although there is a slight hum still present), so this is possibly from a different source. I think Madman Across the Water, with early Davey Johnstone on guitar, makes this worth downloading all by itself. Classic EJ, from a Classic show during his Classic period!

The recording isn’t bad… a bit overmodulated at times, but quite clear nonetheless.

The Band:
Elton John – Piano/Vocals
Davey Johnstone- Guitars/vocals
Dee Murray- Bass/vocals
Nigel Olsson- Drums/vocals

The Songs:
Honky Cat
Goodbye Yellow Brick Road
Rocket Man
All the Young Girls Love Alice
Madman Across the Water
Teacher I Need You
Crocodile Rock

[The complete audience recording has:

Introduction by Linda Lovelace- Elderberry Wine- Your Song- High Flying Bird- Honky Cat- Goodbye Yellow Brick Road- Hercules- Rocket Man- Madman Across The Water – Disc Two  Teacher- Have Mercy on the Criminal- All The Young Girls Love Alice- Daniel- Funeral For A Friend- Love Lies Bleeding- Crocodile Rock- Saturday Nights Alright For Fighting- Honky Tonk Woman]

From “Elton John was among the most bootlegged rockers of 1970s; although he wasn’t bootlegged as exhaustively as the Rolling Stones, there were dozens of John bootlegs for collectors to chase after. The sound quality of his 1970s bootlegs varied considerably, ranging from decent to excellent to terrible. Recorded at the Hollywood Bowl in September 1973 — the month before Goodbye Yellow Brick Road came out in the U.S.– All the Young Girls Love Alice offers sound that is OK but certainly not great. The mono LP wouldn’t impress an audiophile, although collectors were glad to acquire John’s engaging Hollywood Bowl performance of hits like “Crocodile Rock,” “Honky Cat,” “Daniel,” and “Rocket Man.” Unfortunately, All the Young Girls Love Alice contains only part of his Bowl set, and the bootlegger doesn’t bother to list a recording date (although a 1978 edition of the bootleg reference guide Hot Wacks confirms that the LP was recorded at the Bowl in September 1973). Because of its various shortcomings, All the Young Girls Love Alice is strictly for serious collectors.”

John E ATYGLAlice half insert

“Performance: Elton at the Hollywood Bowl, 9/7/73″

By David Rensin

The house lights dimmed and a lonely spot picked out a single figure onstage. “And now ladies and gentlemen, this evening’s hostess… the star of ‘Deep Throat,’ Miss Linda Lovelace!”

Looking more like the enriched mistress of a Las Vegas Kingpin than the renowned man-eater she is, Linda stepped from the shadows toward the microphone. The huge backdrop picturing Elton in top hat floated lazily down as the stage lights went up to reveal full-grown palm trees bordering a huge, glittering staircase and five pianos of varying colors.

“Hi,” Linda gurgled. “I’d like to introduce some of tonight’s guests, very important people and dignitaries from around the world who wouldn’t dare have missed this gala evening.” Over the staircase in rapid succession bounded the Queen of England, Elvis Presley, Frankenstein, the Pope, the Beatles, Batman and Robin, Groucho Marx and Mae West. Moving to the pianos, they raised the covers to display the giant inlaid letters: E-L-T-O-N, and in doing so, released a flock of doves to fly aimlessly about while Linda introduced the band and finally:

“Here he is, the _biggest_, _largest_, _most gigantic_, and _fantastic_ man, the co-star of my next movie… Elton John!”

We’ve learned to expect different and novel things from Elton John. He is a man, however, whose patently non-outrageous music often clashes with his glam stage show, something that has progressed from mere acrobatics to a full- blown production. But does Elton need all this? His music holds its own — something especially evident at his first Los Angeles dates at the Troubadour. At the Bowl, he neither avoided the histrionics nor carried them to expected heights. Those opening moments embodied most of the evening’s flash, and one could sense the audience waiting for something more to happen.
“Elderberry Wine” led into a pleasant version of “Your Song,” and a magnificent “High Flying Bird” followed by “Honky Cat.” Elton appeared almost solemn and somber, resolute upon hitting the high notes. It wasn’t until “Hercules” that he began to move, to kick the piano bench away, to leap into the air — and yet, it carried none of the impact of the old.

Elton’s raucous rockers worked better onstage than on record. He was able to get a fuller, less cluttered sound, and of course, he played off the audience’s reaction which was frenetic throughout. He was tasty in his selection of material which included “Madman Across the Water,” “Have Mercy on the Criminal,” “Teacher I Need You,” and three songs from his forthcoming album, and “Crocodile Rock,” for which a “crocodile” (songwriting partner Bernie Taupin) on organ accompanied Elton. The cast and company reappeared for “Saturday Night’s Alright for Fighting” and Elton’s “favorite rock & roll number,” “Honky Tonk Women.”

But in the end, there was only the mad proletariat rush for free Elton John T-shirts, and a few doves still circling the Bowl, looking for a home. – ROLLING STONE, 10/11/73.”

who dunit

WHO Dunit 2

Who WD

Side 1

 1. Join Together With The Band (sic Join Together)
 2. I Don’t Even Know Myself
 3. Water (This is allegedly the “live” part of the LP)
 4. Mobile (sic Going Mobile – PT demo)
 5. Young Man’s Blues (sic Young Man Blues)

Side 2

 1. Let’s See Action
 2. Love Ain’t For Keeping (PT demo)
 3. Relay
 4. Greyhound (sic Dogs)
 5. It Didn’t Happen That Way At All (sic Naked Eye)
 6. Jaguar
 7. The Seeker

Not a bootleg but a pirate record due to the 100% officially released content. Perhaps due to recycled artwork the cover states “Live Concert” when none of this is live. All tracks were either available as regular releases or on other bootlegs. The material runs too fast to boot [bad pun intended].


WHO Dunit mcv

WHO Dunit mcv d

I recently found this reissued version on multi-colored PVC. I just think it was a bit of a waste to do this for a pirate record.

Matrix A: HH – Who Dunit A  / Matrix B: HH – Who Dunit B T LZW15

WHO Dunit II

Simon P SS 2

Note the TAKRL 900 series typeface for the album title. This LP sticks out like a sore thumb among the HH releases. Perhaps it was really produced by someone else or later than the others,

Side 1: Run That Body Down/ Was A Sunny Day/ Cecilia/ El Condor Pasa/ Duncan/ Death In Santa Cruz
Side 2: Mrs. Robinson/ Congratulations/ Kodachrome/ Homeward Bound/ Mother And Child Reunion/ Sounds Of Silence

Matrix #: HH SIMON 1/2; SOUND QUALITY:  B/C+ (audience)

Simon P SS lbl

May 19, 1973 Saturday
Civic Center,
Santa Monica, Ca. USA

Audience Mono
Teac X-1000R > Tascam CD-RW900
Low Gen Reel > CDR > EAC Secure > Audacity (edits) > CD Wave (tracks) > FLAC
Total Time – 86:03
Thanks to the taper!
Transfer and encoding by Steve Hopkins

Note: this recording is far from ideal, but quite listenable nonetheless…
it’s mono, it’s paused between most songs, there’s mic noise, although
mostly between songs, and the crowd is loud relative to the music…
but this is the only recording of a complete concert from Simon’s 1973
tour that i know of, so i thought it should be shared…also included
in torrent file, a scan of my reel box with an ad for Simon’s Boston
concert earlier that same month…enjoy!

Disc One 65:17
01. Me And Julio Down By The Schoolyard (cut in) 2:25
02. Run That Body Down 2:50
03. Was A Sunny Day 3:43 >
04. Cecilia 1:29
05. American Tune 4:52
06. El Condor Pasa 4:55
07. Duncan 6:22
08. Death In Santa Cruz – Urubamba 3:48
09. Good Bye Song – Urubamba 2:19
10. The Boxer 5:44
11. Mrs.Robinson 2:50
12. Congratulations 3:56
13. Kodachrome 4:17
14. Homeward Bound 2:55
15. Something So Right 4:15
16. Mother And Child Reunion 4:14
17. Sounds Of Silence 4:16

Disc Two 20:46
01. Nobody But Jesus – Jesse Dixon Singers 2:47
02. Jesus Is The Answer – Jesse Dixon Singers 2:56
03. Bridge Over Troubled Water 7:19
04. Loves Me Like A Rock 3:28
05. America 4:15

Paul Simon launched his first solo tour without his longtime collaborator Art Garfunkel on May 6, 1973. The tour kicked off just a day after the release of the singer’s third studio album “There Goes Rhymin’ Simon.”

Rolling Stones Madison 2

Date & source: 1972-07-26: Madison Square Garden, New York City, NY

A1. Band intro [00:49] 
A2. Bye Bye Johnny [03:12] 
A3. Rip This Joint [02:24] 
A4. Jumping Jack Flash [03:23] 
A5. Love In Vain [06:34] 
A6. Sweet Virginia [04:45] 
B1. You Can’t Always Get What You Want [08:00] 
B2. All Down The Line [04:30] 
B3. Midnight Rambler [12:47] 

Recorded Matrices: HH ST M56 & HH ST MSG SIDE A / HH ST MSG SIDE B

This is supposed to be available on CBM as well but all I can find are the Herbie Howard versions. I do not believe that Howard and the East Coast based CBM label collaborated on this release.

See the all the facts surrounding this amazing soundboard recording here:

RS Madison

This version is not the preferred source as the sound “lacks clarity” and there are potential mis-pressings as well that have Led Zeppelin on the BBC in 1969 on side 2.

This is what one of the preferred “Wide Breath-Taking Stereo” versions with the RS-546-A/B REI matrix look like (also available in green, red, black and possibly other colors):

Rolling Stones WtNY

Rolling Stones WtNY back

Rolling Stones WtNY disc