Reed, Lou


Reed L BHMFReed L BHMF disc

This seems to have been the point where the infamous shipping problems started: “150 pressed from the original WRMB plates. Most were lost in shipping. Exm.”

Revisit the complete post for the Sydney recording under this link.


Pink Floyd 032 ptPink Floyd 032Pink Floyd 032 disc

“Roughly Half of the 200 run were lost in shipment.”

Bootleg background can be found here.



Flamin Groovies RoxyFlamin Groovies Roxy disc

“Although 200 copies were pressed on blue vinyl, this is an extremely rare record as most of the copies were lost in shipment.”

Bootleg background info to be found here.



Stewart R Net Wht 034Stewart R Net Wht 034 disc

“150 pressed on MCV & 150 pressed on black vinyl.”

Source: Dayton, OH – Hara Arena – 17 July 1971 [the band’s 4th American Tour following the release of their Every Picture Tells A Story album]


Side 1: Three Button Hand Me Down / Maybe I’m Amazed / Country Comforts / Love In Vain                 Side2:  Had Me A Real Good Time-Every Picture Tells A Story / Around The Plynth-An Old Raincoat Won’t Ever Let You Down-Gasoline Alley-Around The Plynth

Quality:  Decent, “Exm, vocals a bit weak”, according to Hot Wacks. The ROOTIE NEWTON ROLL PRESENTATIONS version is listed as “Exs”, probably incorrect.

This album had previously been released by TMOQ as and Dittolino/ROOTIE NEWTON ROLL PRESENTATIONS  #5407 and I suspect it’s a reissue from the TMOQ plates.

Performance was the last and is the rarest of the four TMOQ Rod Stewart & The Faces titles, It was never assigned a 710XX number and is only known by its matrix # 1867.  The other three are # 71016 Plynth, # 71052 Had Me A Real Good Time and # 1817 Dancing In The Street .

Date of release: 1974 based on the closest previous release, a reissue of Dylan’s Troubled Troubadour with four extra tracks not added to the newly created insert (showing images from his 1974 live dates) and with the matrix # 1865 B / D (see final image in this post).

Stewart R & Faces Performance 1867 bluStewart R & Faces Performance 1867 tan

In discussing the TMOQ catalogue dated July 1st 1973, the initiator of the 2006 thread “Homegenizing TMOQ” on wrote: “add to the previous booklet the statement “Be sure it’s a genuine “Trade Mark of Quality disc” (Dub’s?). […] Should this booklet be Dubs, according to the “genuine disc” statement, the common believe[sic] that credits the four-figures matrixes 18XX, 28XX to Ken’s records only should be revised.”

Ken: “Until [Dub] went to printed jackets I had everything he had, plus everything I was making. There were a few where I couldn’t get stampers off his mothers, either because the mother was damaged or he’d skipped that part of the process or he didn’t leave the mother at Lewis. Winter Tour and Stones at the Hollywood Palladium come to mind. But I might be wrong about those. In those few cases, my records would have a different stamper number. But for the most part, Lewis pretty much made me whatever I wanted of his.

Dub and I did not do the Greatful Dead Mammery [sic] record or the Buffalo Springfield or that Double ELP. They were done by my college pal Malcolm.

I don’t ever remember scratching out a stamper number, but I do know that some of my records had numbers changed. I had a series of different partners and pressed records in six different plants and oftentimes the same record would be given a new title and perhaps that’s why some of my stamper numbers got changed.”


Stewart R Net Wht altStewart R Net Wht alt 1

As can be seen in the detail above, the title “Performance”is quoted here, leading me to believe that the TMOQ version came out first. Also “Love In Vain” is correctly titled here, while it is listed as “It’s All Over Now” on the insert sheets for Performance.

Stewart R Net Wht 034 Ditto

Another version of this concert was released on this rare bootleg:

the cardboard cover using a unique folding design:


TMOQ 1865:

Dylan Troubl Trouba 1865

WRMB 330: Pink Floyd ‘The Screaming Abdab’ – previous review under the title link.

WRMB 331: Elton John ‘Ol’ Pink Eyes Is Back’previous review under the title link as well.


Reed L bhmf big

Excursion: The cover art does remind me a lot of this scarce Peter Gabriel bootleg produced years later:

Gabriel P I lost my teddy bear

Reed L BHMFun cv

Another colored wax release from Wizardo. Nothing to complain here though, as the quality is decent, even if it is a copy.

Reed L BHMFun 2

A copy of this rare Australian bootleg from 1975:

Reed L BHMF Sweet Bread

“Original First Press issue in color sleeve.


Extremely rare GENUINE original first pressing in stunning as new condition.  Definitely one of the scarcer Lou titles from the era.

This is the original issue from Sweet Bread came out in Australia, in 1975, released a year after the show. All other versions/pressings are copies of this.

Recorded at a Sydney, Australia show on either August 21 or 25, 1974,  Blondes Have More Fun is a live LP that came out on various underground labels in the ’70s. After coming out on Sweet Bread Records, Blondes Have More Fun was reissued by Wizardo a few years later. Unfortunately, the Wizardo version is problematic in a number of respects: Wizardo doesn’t tell you when or where the album was recorded and the songs aren’t listed in their correct order. As the  superior Sweet Bread version (which features a deluxe color cover) was near impossible to find, many collectors had to settle for the inferior Wizardo version. This recording is a great sounding record of Lou’s shows during the summer 1974.

Lou performed shows at this time with bleached blond hair, dark sunglasses and usually wearing a black T-shirt and black jeans. He was at the top of his game at this time, and the shows were superb.

The sound fidelity on this recording is excellent, and although it is a short show, it is a complete performance.

Side 1: Waiting For The Man / Sally Can’t Dance / Vicious / Lady Day
Side 2: Heroin / Walk On The Wild Side / White Light/White Heat / Goodnight Ladies

Recorded live at the Hordern Pavillion, Sydney, Australia, August, 21th, 1974 [date usually given as the 25th while ticket stubs say 13th]

Vocals – Lou Reed, Guitar – Danny Weiss, Bass – Prakash John, Drums – Pentti “Whitey” Glan, Keyboards – Michael Fonfara”

lou rockscene

Version # 3 (not by Wizardo):

Reed L BHMFun 1

Reed L BHMFun lbl

Reed L BHMFun neg

and version # 4:


Reed L BHMF disc

“150 pressed from the original WRMB plates. Most were lost in shipping. Exm.” – Hot Wacks comment

Reed Liquid Air

Source: The Bottom Line, NYC – June 3, 1979; with Don Cherry on trumpet.

Find more info here:

A1         Sweet Jane Medley         
A2         I’m Waiting For The Man Medley (Work With Me Annie/Sexy Ways/I Wanna Be Black)         
B1         I’ll Be Your Mirror         
B2         Perfect Day         
B3         Men Of Good Fortune

Quality listed as “Exm” – audience recording

Side 2 mangled on the cover to: 1) Eyes, 2) Perfect Day, 3) Your Going To Reap Just What You Sow, 4) Men Of Good Fortune

Notes.- “Sexy Ways” was written by Henry Ballard and was released as a 45 on Federal 45-12185, perfomed by The Midnighters. “Work With Me Annie” is probably from a similar source
This show was reviewed in Rolling Stone, 23 August 1979. Lou climbed up on to a table in the audience to sing the “Waiting For The Man” medley.

Reed Liquid Air b

Lou Reed did a number of shows at the Bottom Line as part of “The Bells” US Tour. More information can be found here:


The question is, which release was # 4519?