531 Beatles THE E.M.I. OUTTAKES 532 Paul McCartney in scotland 533 Beatles RENAISSANCE MINSTRELS volume 1 534 Beatles Cinelogue: LET IT BE 535 Led Zeppelin CELLARFUL OF NOISE 536 Led Zeppelin ON STAGE IN EUROPE 1975 537 Deep Purple LIVE IN LONDON 538 Deep Purple PERKS AND TIT 539 Queen ROYAL AMERICAN TOUR
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JL 531: The BEATLES – THE EMI OUTTAKES
Copied World Records label above.
Original U.S. ZAP Records label below (the fake track list never changed):
Google has never heard of an official record with this title and if it ever existed it has either remained in total obscurity or was shelved at the last minute and the labels were lying around at an L.A. pressing plant. The third and most favored theory is that this is an invention/meant as a smoke screen and deterrent for closer scrutiny by the bootleggers (Ken?) who reissued (mostly double) TMOQ titles in California around the second half of 1976 / early 1977, reminiscent of the Von Grossenschuss paper label used on Wizardo re-issues I have blogged about before.
It seems that the JL crew liked this label so much, they decided to copy and use it as well.This allows us to date JL 1004 and JL 529 to 1977.
Rolling Stones: GIMME SHELTER / AMERICAN TOUR 75 VOLUME 1, 2 (single volumes of the last bootleg Dub ever released: L.A. FOG (TMOQ 8207/8 – ca. 2nd half of 1976)) / EUROPEAN TOUR 1973
The Beatles: LAST LIVE SHOW
The Who: TALES FROM THE WHO
[There are probably more out there]
Above: White version of the label found on the Zep Blueberry Hill double
Were there any brown U.S. originals? I have yet to see one.
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JL 530: The BEATLES – ABBEY ROAD REVISITED
Quite a change from the original: The copied version of a WIZARDO REKORDS [sic] label.
In (early) 1970, the second ever vinyl bootleg of a Beatles performance was created when someone came into possession of a radio broadcast reel to reel on the east coast and produced the ‘Great White Wonder equivalent’ of a Beatles concert recording.
ALIVE AT LAST
Matrix: 1001 A / B
IN CONCERT AT WHISKEY FLAT
Ken & Dub got a hold of the east coast release and quickly copied it. They were not shy in announcing who the artist was in their version of the title stamp. As there was no clue on the recording which concert this was, they just made up a name and location in jest.
” … July 1970 – plain white label, colored vinyl, OPD 19 / OPD 67 matrix – copy of an East Coast bootleg”. [TMOQ wiki on the record collectors guild website (now sadly removed)]
As I have only seen this title with 1 / 2 labels and these weren’t introduced by (pre-)TMOQ until March/Spring 1971, I doubt the date given by the TMOQ wiki of July 1970.
Much later, the recording was identified as probably coming from a broadcast by Philadelphia radio station WIBG-AM (known as “Wibbage”) but positively identified as the 02 September 1964 concert at Philadelphia’s Convention Hall.
On the West coast, the team that ended up becoming Berkeley Records and were in their early days known as White Cover Folks (WCF) also issued their own version and the first one with a slip sheet (with an image brazenly copied from the fan club Beatles’ Christmas Album) in 1971.
LIVE CONCERT AT WISKEY FLATS
Matrix: 510-A-X / 510-B-X
Also exists with blank white labels and insert in different color shades (for example, red).
In the second half of 1972, Contraband then copied this release as CBM 3552 under a slightly changed title and brought it back to the East coast.
LIVE CONCERT ATLANTA
First editions (?) came with a unique ‘two-tone’ color design and wording – who are the Kyoto Klucks? – , unlike any other I have ever come across for CBM.
Without Contraband symbol.
Alternative labels found with this title:
2013091114570000
The label version copied by JL
In late 1975/early 1976, for a reissue on the King Kong sub-label, the folks at Contraband thought they knew the real location for this recording – someone may have pointed out that the Beatles did not play in Atlanta until 1965 – and in a rare move, they added a correction to the slip sheet (which was still incorrect):
LIVE CONCERT ATLANTA (which really is HOLLYWOOD BOWL SECOND SHOW)
Matrix: RI-3552 A/B
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THE BEATLES LIVE (TPL 3032 A/B)
Another rare Japanese bootleg claiming to contain Atlanta material is this one. This was produced around 1975, based on the one other release found by this label (see below).
From the auction text: “BEATLES-LIVE (LP), JAPANESE PRESSING LP, INCLUDES 2 LIVE SHOW + BONUS, TPL-3032 SIDE A : LIVE IN ATLANTA”1. TWIST AND SHOUT2. YOU CAN’T DO THAT3. ALL MY LOVING4. SHE LOVES YOU5. THINGS WE SAID TODAY6. CAN’T BUY ME LOVE7. IF I FELL8. I WANT TO HOLD YOUR HAND9 BOYS
The other TPL release: The rarest Japanese Pink Floyd bootleg titled LIVE as well, matrix: TPL3003 A/B
Dated as a 1975 release on floydboots.com and containing five performances from their June 1971 Hakone appearance in excellent quality.
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JL 522: The ROLLING STONES / The BEATLES – BATTLE
The matrix images can be found under the JL 512 entry.
516 Last Live Show JL 517 Get Back To Toronto [I almost mixed this up with John Lennon Telecasts, which since the TMOQ days had the matrix # JL-517-A / B and for which a Japan copy – with an insert, however, and not looking like a typical JL release – exists as well.] 518 Various Artists – California Jammin’ JL 519 Paris Sports Palais 520 Led Zepppelin – BBC ZEP
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(JL) 516: THE BEATLES – LAST LIVE SHOW
A. “I had a repressing with printed b&w cover, black-silver labels and matrix no. JL 516 which was very badly pressed.” [bootleg section of http://tomwaits-vinyl.org%5D
The JL number is located bottom left.
B&W insert & silver on black label (copy of the original label design)
B. Not a JL release: The ’10’ version with a purple label (matrix number wanted):
Compare with an original shown here – not a big difference, I know, except that the copies above really have that ‘xeroxed’ look and feel.
Above: 7001 A / B matrix
Those with copied & colored/tinted inserts seem to have an 101 A / B matrix like the one shown here below:
ca. 1971 WCF version/copy with their typical 10″ ring from the converted record press.
**
Above: Red label U.S. version (producer unknown at this time) with added date below the title.
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The Beatles started 1966 on the 5th of January by ‘secretly’ (I really do not believe that there was an intentional effort to hide the fact that what you heard was not always the original field recording) gathering at CTS (Cine Tele Sound) Studios at 49-53 Kensington Gardens Square in Bayswater, London to salvage/improve the inline recording made at Shea Stadium in New York the previous summer for an upcoming BBC1 TV special.
In the 1960’s, CTS had mono and stereo three-track and two-track 7½, 15 and 30 IPS Philips tape machines. CTS was a scoring stage, so the film could be projected onto a large screen and musicians could play along to the selected scene. I assume the Beatles dis this when re-recording two of the songs (see further down) to match video and audio as best as they could.
I have looked far and wide about the recording equipment used to capture this landmark show but found nothing about it at all.
John about to wreck their VOX Continental organ by playing it with his elbow (and making George laugh and lose his rhythm). It repaid him by malfunctioning at the next tour stop at Toronto’s Maple Leaf Gardens and was replaced by the time they appeared in Atlanta. The organ would never be used on stage by anyone ever again and was sold in 2008 for $182,000.
It turned out that “I Feel Fine” and “Help!” were considered “beyond help” and were re-recorded from scratch, with JPGR trying their best to make it sound and look live and synchronized, to be latter dubbed with audience noise – not from Shea but Hollywood Bowl ’65. The bass had suffered especially in the field recording and Paul overdubbed new bass lines onto “Dizzy Miss Lizzy”, “Can’t Buy Me Love”, “Baby’s In Black” and “I’m Down”. John also enhanced his organ part for the final song.It seems that it had already been decided at this point that “She’s A Woman” and “Everybody’s Trying To Be My Baby” had to be cut due to time constraints. “They were, however, included in an early print which Epstein received from Sullivan Productions around 5 November 1965, which then ran to 54 minutes. By January, as it would be for the transmission, the film’s duration had been cut to just under 48 minutes.”
There were plans to enhance “Twist and Shout” as well but studio time had run out. Instead, the Capitol recording from their last Hollywood Bowl concert on 30 August 1965 was used. Now, here is a minor riddle regarding this. In John C. Winn’s book Way beyond Compare it says about the Capitol Hollywood Bowl three-track recordings: “Unlike in 1964, Capitol didn’t even bother to remix either of the 1965 concerts at the time, and they remained unheard until 1971, when the three-track masters were sent to Abbey Road.” So, what type of tape did they have to work with in early 1966?
“Act Naturally”, the experiment – as they were back to performing the old staple “I Wanna Be Your Man” by Atlanta was simply replaced by the official version, overdubbed with pure (looped?) audience pandemonium, not caring or noticing that vocals and image no longer matched in all places. I would imagine that the end of session time forced this as well and obviously no other professionally recorded live version existed. Alternatively, the Beatles and the producers just could not be bothered or they tried and failed to recreate a good enough facsimile.
“Documentation also suggests that John wished to record a new version of Ticket To Ride, and that it was done during this CTS session, but close study of the film indicates that the original Shea version was used (although perhaps a little instrumental overdubbing was effected).”
The Beatles At Shea Stadium was shown on BBC1 in the UK on 1 March 1966 but in the U.S. not until the following year.
Nancy Sinatra and John Barry at CTS in ’67, recording session for the You Only Live Twice . No Beatles photo at CTS available, just imagine JPGR around that mic…
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Sold at auction in December 2005 (for almost $9,000) and subsequently appeared on bootleg CD’s in 2007 (HMC, etc.): Three 7 1/2 ips pre-production tapes containing the raw Shea recording before edits and overdubbing. 28, 32 and 37 minutes long.
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JL 517: THE BEATLES – GET BACK TO TORONTO
* Need image *
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JL 518: Various Artists (Deep Purple, Emerson, Lake & Palmer, Pink Floyd) – CALIFORNIA JAMMIN’
It is easy to determine the start of this series based on the first title copied: Led zeppelin’s DETROIT JUST ABOUT BACK on Contraband, recorded 31 January 1975 and releasedaround spring 1975 as CBM 1046 (sandwiched between the two George Harrison titles CHICAGO and MORE FROM THE TOUR ).
This would place this copy into the second half of 1975 or even early 1976.
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501 Led Zeppelin Detroit Just About Back 502 Led Zeppelin Live On Blueberry Hill 503 Santana Singing Winds Crying Beasts 504 King Crimson Texas Hall Arlington 505 Led Zeppelin Going to California 506 Crosby, Stills, Nash & Young Live At L.A. Forum 2 LP 507 Led Zeppelin Stairway To Heaven
Side 1: Big Barn Bed/ My Little Woman Love-C Moon/ The Mess/ Maybe I’m Amazed/ Long Tall Sally Side 2: Another Day/ Oh Woman Oh Why (pirate of the official 45, Apple 1829)/ Hi Hi Hi (pirate of official 45, Apple 1857)/ Gotta Sing Gotta Dance/ Live And Let Die/ Medley: Blackbird – Bluebird – Michelle; Heart Of The Country/ Yesterday (faded out)
Two websites claim that the first or all of the tracks on side one are a re-release of the Live In Scotlandmaterial but I believe that to be incorrect. Side 1 is an edit of most of the Wings performances from segments 1, 4 and 10, as listed below. Side two has segments 7, 8 and 11.
Paul McCartney spent February of 1973 in Morocco (staying at the hotel Mamounia in Marrakesh) planning this TV special, presenting Paul as the ‘all-around’ entertainer but falling somewhat short in the end. Broadcast date was 16 April 1973 in the US.
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Part 1 The program opens with a live performance by Wings in front of an audience of television screens. – Song: “Big Barn Bed”
Part 2 An acoustic medley of songs is performed by McCartney during a photographic session with his wife Linda as the photographer. – Songs: “Blackbird”, “Bluebird”, “Michelle”, “Heart of the Country”
Part 3 A short music video style performance set in an outdoor location. – Song: “Mary Had a Little Lamb”
Part 4 A television studio performance with Wings and orchestra in front of a live audience. Songs: “Little Woman Love”, “C Moon”, “My Love”
Part 5 Another music video segment, this time for “Uncle Albert/Admiral Halsey”, however the “Admiral Halsey” section was not included in the final broadcast version. – Song: “Uncle Albert”
Part 6 A short voice-over from Mcartney introduces the next segment set in the Clelsea Reach public house near Liverpool. This features members of Paul’s family and Wings in a pub singalong Songs: “April Showers”, “Pack Up Your Troubles in Your Old Kit-Bag”, “You Are My Sunshine”
Part 7 A Busby Berkeley style musical number, featuring dancers dressed in half-man/half-woman costumes. Song: “Gotta Sing, Gotta Dance”
Part 8 A music video segment were Paul introduces “Live And Let Die”, the title theme from the 1973 James Bond movie. – Song: “Live and Let Die”
Part 9 Beatles Medley: a filmed segment with street passers-by singing various Beatles songs (off key) to comedic effect. – Songs: “When I’m 64”, “A Hard Day’s Night”, “Can’t Buy Me Love”, “She Loves You”, “Ob-La-Di, Ob-La-Da”, “Yesterday”, “Yellow Submarine”
Part 10 Another live studio performance with Wings. – Songs: “The Mess”, “Maybe I’m Amazed”, “Long Tall Sally” (US broadcast only; the UK and other European market replaced this with “Hi, Hi, Hi”)
Part 11 A live acoustic performance of “Yesterday”. Credits roll over the performance. Song: “Yesterday”.
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The West coast Berkeley label released this title as well in their pre-Berkeley days (and removed the pig face from the circle):
Matrix number 2028
And one more time under this title with a b&w cover post-1975.
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Meanwhile, on the East coast:
Released in 1974; Matrix 4022 A/B
Contraband copied TMoQ’s cover art but they produced their own edit of the source tape (which then no longer matched the cover track listing), cutting down the number of pirated material significantly and making this the better version (unless you just had to have “Blackbird-Bluebird” and “Big Barn Bed”):
Side 1: Michelle/ Heart Of The Country/ Mary Had A Little Lamb/ Little Woman Love – C Moon/ My Love/ Uncle Albert/ Pub singalong scene (confirmed in the book Eight Arms To Hold You) Side 2: Gotta Sing Gotta Dance/ Live And Let Die/ The Mess/ Maybe I’m Amazed/ Long Tall Sally/ Another Day (pirated 45)/ Yesterday
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The producers of the JL series in Japan seemed to agree that this was the superior version as they selected this one to be released as JL 513
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In early 1976, Wizardo offered a third and perhaps least bang-for-your-buck version of this material:
Side 1: Big Barn Bed/ Little Woman Love – C Moon / The Mess/ Maybe I m Amazed/ Long Tall Sally/ Gotta Sing Gotta Dance / Live And Let Die Side 2: Now Hear This Song Of Mine-Let s Go; Woman Oh Why; The Mess (live); Country Dreamer; I Lie Around
Side 1 is parts 1, 4, 10, 7 & 8 from the TV special. Side 2 copies the Brung To Ewe by scarce 1971 promo vinyl with pirated Apple single B-sides (#s1829, 1861, 1863 and 1869); the official material earning the album an “Exm” rating in Hot Wacks. An ebay seller wrote: “In-between the studio tracks are short segments of a song Paul wrote to promote his “RAM” album.”
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In the 1980’s, this LP on a label that borrowed its name from the Wings fan club publication offered the most complete version of the event and is still listed as the recommended source in Eight Arms…:
Side 1: Big Barn Bed (4:45)/ Blackbird (0:37) – Bluebird (1:20) – Michelle (1:11) – Heart Of The Country (0:46)/ Mary Had A Little Lamb (3:43)/ Little Woman Love – C Moon (2:39)/ My Love (4:28)/ Uncle Albert (2:28)
Side 2: Gotta Sing Gotta Dance (4:10)/Live And Let Die (3:53)/The Mess (4:15)/ Maybe I’m Amazed (3:43)/ Long Tall Sally (2:19)/ Yesterday (3:14)
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If anyone has ever done a quality comparison of these titles or knows where I can find one, do let me know.
Matrix #s: TB-4020-A * TB-4020-B * TB-4020-C * TB-4020-D – released in 1974
Source: As the video release was still quite a few years away, this was either the attempt to extract the soundtrack off a 35 mm film copy or it was just a recorder running at a showing of the movie. Hot Wacks rated sides 1 and 2 as “poor mono” and the remaining sides as “Gm”.
Side 1: Get Back #s from D. Sulpy’s book
1 Adagio For Strings 3.1 2 Don’t Let Me Down 6.36 3 Maxwell’s Silver Hammer 3.97 + 7.58 + 7.46 4 George’s electric “shock” 3.73 5 Two Of Us 8.11 6 I Got A Feeling 9.32 + 9.33 + 8.15 7 John : “The Queen says ‘no’ to pot smoking F.B.I. members” 8.18 8 Paul : Snatch of “Oh Darling”, followed by talking about the writing of songs by slagging off school, in particular “One After 909”. 6.1 9 One After 909 9.36 + 9.37 + 9.38 10 Jazz Piano Song – “Morning Rich”, “Morning Paul” … and then Paul and Ringo boogie on a piano 14.4 + 14.10 11 Two Of Us 9.23 12 George and Paul argue 6.49 13 Across The Universe 7.83 + 7.78 14 Dig A Pony 7.85 15 Suzy Parker 9.31 16 I Me Mine (including John & Yoko waltzing) 8.1 + 8.63 + 8.81 + 8.82 17 For You Blue 25.23 + 25.24 + 25.20
Side 2:
1 John : “I dig a pygmy by Charles Hawtrey and the Deafaids, phase one….” 22.45 2 Da Doo Ron Ron + discussion about the Maharishi 22.5 3 Besame Mucho 29.12 + 29.13 + 29.14 + 29.15 4 Octopus’ Garden 26.7 + 26.9 5 John : “Isadora Duncan worked for Telefunken” 26.16 6 You Really Got A Hold On Me 26.32 7 Long And Winding Road 26.38 + 26.39 8 Shake, Rattle and Roll 26.29 9 Kansas City 26.30 10 Dig It 26.27 11 John : “That was ‘Can You Dig It’ by Georgie Wood …..” 24.73
Side 3:
1 Paul talking about live performances being crucial 29.0 2 Two Of Us 31.5 3 Let It Be 31.39 + 31.37 4 Long And Winding Road 31.22 5 Get Back 30.2 (Roof top performance starts here) 6 Don’t Let Me Down 30.3
Side 4:
1 I Got A Feeling 30.4 2 One After 909 30.6 3 Danny Boy 30.7 4 Dig A Pony 30.8 5 Get Back 30.13 6 Get Back (with laughter) 28.1
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As Japan copy JL 534. The owner stated he had bought this copy in January of 1977 in Japan, pointing to a likely release date of late 1976.
The above shows an original Contraband “dragon” label
Copied World Records label above.
Copy vs. original Wizardo label
