Rubber Dubber label

Another singer songwriter whose success led to a number of bootlegs in 1971 was James Taylor.

Taylor J Tailor Made A

Taylor J Tailor Made b

Compared with the label below, we can see a discrepancy that the insert claims “Steamroller Blues” was moved to the end of side A, yet the label doesn’t list it. This may just be a case of WCF not bothering to correct TMI’s running order. Please leave a comment if you can confirm the correct running order on the discs.

Taylor J Tailor Made lbl 734 A

Matrix / Runout: 734-A / B / C / D

Side A: Sweet Baby James (3:00) / I Feel Fine (3:08) / Hey Mister, That’s Me Up On The Juke Box (3:30) / Sunny Skies (2:46) / Chili Dog (1:51)
Side B: Riding On A Railroad (2:40) / Conversation (1:38) / Places In My Past (2:09) / You Can Close Your Eyes (2:25) / Soldiers (1:12) / Going To Carolina In My Mind (3:33) / Long Ago And Far Away (2:32)
Side C: Country Road (4:51) / Fire And Rain (3:46) / Sixteen Candles (1:46) / Love Has Brought Me Around (2:59) / Oh, Don’t You Know (2:42)
Side D: Steamroller Blues (5:08) / Come On Brother, Get On Up And Help Me Find The Screw (4:08) / The Promised Land (3:36) / Isn’t It Nice To Be Home Again (0:41) / “On Campus TV Special”: Fire and Rain; Country Road; Oh Susanna;  Sweet Baby James (9:30)

Track lengths, except for the very last item added to side D, which first appeared on the TMI Records version, are taken from “Isn’t it nice to be home again” and may not be accurate for the WCF copy.

Source: Live At The Anaheim Convention Center, Anaheim, CA, 21 March 1971; except for the On Campus special, Nashville Ryman Auditorium, broadcast 17 February, 1971.


The Original by Rubber Dubber (71-014), likely the follow up to their famous Neil Young double and likely their final product. RD was raided in L.A. on September 9th & 14th ’71. This makes me wonder how fast their “recording to vinyl” cycle was; if it was fast, i.e. a release soon after the concert date, were there any other projects they did not get around to release or had they stopped for the time being? If it was slow, it would have meant that this had a street date closer to the summer of 1971.

In addition, unlike the earlier Rubber Dubber titles, no ‘white stamped cover’ version of this release seems to exist despite someone connected to the label claiming that those were always done first.

Taylor J IINTBHA 3

Taylor J IINTBHA b 3

Taylor J inner L

Above: The inner gatefold right panel text. Below, the photo on the opposite side:

Taylor J inner R



HOTWACKS claims that Rubber Dubber also released this as TAILOR MADE but I believe they are mistaken.


The first copy on this no label name outfit:

This was likely the first version moving the position of “Steamroller Blues” to the end of side A and adding the “On Campus” TV broadcast capture. WCF and CBM’s copy originate from this version (alternatively, CBM copied WCF’s copy).

Taylor J TMI

Taylor J TMI b

A nice gesture among bootleggers: TMI thanking Rubber Dubber on the back cover.

Matrix / Runout: TMI-A / B / C / D

This was a short lived 1971 bootleg label that emphasized the quality of their cover art, down to what looks like gold-foil stickers.

Taylor J Tailor Made st

Their only other titles I am aware of are Janis Joplin – GET IT WHILE YOU CAN (JJ-4)

Joplin J Get it While You Can purple cover 2

and Carole King – FIT FOR A KING (KK-1/2):

King Carol Fit For A King

This version is known as the “Sound Underground” version, due to the name used on the back and the labels. It’s the same recording as California Concert on Carnaby/CBM and HOTWACKS states: “Also available as Fit For A King (Sound Underground). On this label S1 is better quality [than on Carnaby/CBM].


The CBM copy named IN DISNEYLAND (3272/3)

Taylor J In Disneyland

Taylor J In Disneyland lbl

CBM seems to have only done a limited run of this title in 1972 (number-wise, it preceded their version of Cat Stevens – CATNIP, which in contrast they must have pressed a few thousands of). popsike recorded just three past auctions for this title. That being said, while researching if I can find better images I came across a website offering a copy for an incredible $150).

It is a lot more common as this tripe set on their early sub label Carnaby Records. It combines the JT Anaheim 71-03-21 recording with Carole King’s CALIFORNIA CONCERT

Matrix: RI 3272/3

Taylor J AKATJ

The artwork uses elements of the IN DISNEYLAND and CALIFORNIA CONCERT inserts (or maybe it’s the other way around). Produced with Carnaby Records labels that are either half red & white or orange. Tries to pass itself off as a UK product with a Newcastle, England address but it was made in the US.

Below: The original version, the later reissue with pirate logo on the insert and labels is more common, of the Carole King album, showing the link between Carnaby Records and CBM:

King C California Concert 3



HOTWACKS claims a CBM version named LIVE AT THE ANAHEIM CONVENTION CENTER exists, apparently with an insert listing track lengths. Does this really exist or is it another HW mistake?


The Dittolino Discs single album version “FIRE & RAIN” with incorrect track list for side two

Apparently, the B-side does not have the five songs originally on side 3 of the double albums but the side two tracks (starting with “Riding On A Railroad”).

Taylor J Tailor Made Fire Rain 2

Taylor J Tailor Made Fire Rain

Matrix: TM-1-A / B

“Steamroller Blues” closing side A pointing back to the deluxe cover versions with TMI matrix.


Taylor J_1971-03-15-71

As always, any confirmations, corrections and general comments are welcome.



Russell Anaheim

Russell Anaheim 2

I don’t recall too many bootleg inserts/covers showing an official release – in this case his May 1971 release Leon Russell And The Shelter People but they obviously did not want to put a hole in this beautiful image they had selected.

Russell Anaheim lbl


Matrix: 725A /  725 B X


USA: Last quarter of 1971 / 1972

A copy of sides 3 & 4 of Rubber Dubber’s at anaheim 12-11-70 (70-010) with its pop art cover design:




John E Russell L

John E Russell L b

John E Russell L inner

Inside of the gatefold

John E Russell L lbl 2

John E Russell L lbl 4




‘TMOQ mk2’, i.e. Ken (due to the 4-digit matrix, here 1859 A/B) would later release their own version as well, making it the fourth title “borrowed” from a Rubber Dubber original, following their copies of the Rolling Stones – European Tour 1970, Jimi Hendrix –  Live At the Los Angeles Forum and Neil Young – Los Angeles Music Center – June 1971 :

Russel L Oakie from Tulsa

Shown here in what appears to be a first pressing, ca. 2nd half of 1972. It exists in many different cardboard & vinyl color and label variations.



Are there really two versions of “Find The Cost Of Freedom” on this version?


This insert was used by WCF and Contraband. Both bootleggers used almost identical numbers. The Contraband release comes (at least) with pirate or blank labels (shown below):

** back to WCF:

USA: 1971

Source: Second show at the L.A. Forum, 26 June 1970. Part of this show was released on the official live album 4 Way Street

This material had appeared first on this 1970 Rubber Dubber release:

It took CSNY and Atlantic Records nine months to compile and finish a live album from the shows they had recorded in June and early July of 1970. I bet Rubber Dubber’s much faster to market release did cause some ripples. Rolling Stone specifically mentioned it in a October 14th 1971 article titled “Feds Are Leaning On Bootleggers”: “CSN&Y’s 4 Way Street followed on the heels of a highly successful bootleg, which many argue was of better quality than the company released product.”

HOTWACKS were a bit sloppy when listing the different versions. Rubber Dubber’s has no quality rating but the CBM copy is rated ‘Vgm’ without any reference to it being a copy of the former. WCF’s version was not listed. I do believe that WCF’s copy came before CBM’s.


Other versions:

  • LID Records, which may also have been a WCF product:

  • the ABSTRACT RECORDS version:

  • the Japan JL series copy JL 506 with a printed cover:

Rolling Stones Goin BTtRoots shrink

Rolling Stones GBttRoots farbig

Rolling Stones Goin Back To The Roots AT 1972. II

Note the difference in the slip sheet image quality for this later pressing (yellow CBM label version also exists).

More label variations:

Rolling Stones Goin Back To The Roots AT 1972 alt label 1

Rolling Stones Goin Back To The Roots AT 1972 alt label 2

Source: The Scope, Norfolk, VA, July 5, 1972

Side 1:  Sweet Virginia / Brown Sugar  / Rocks Off  / Gimme Shelter  / Happy  / Tumbling Dice         
Side 2:  You Can’t Always Get What You Want / Band Introductions / Bye Bye Johnny / Rip This Joint / Jumping Jack Flash / Street Fighting Man                  

Matrix on original issue: (Scratched out)  08A1 BADAV   /  (Scratched out)  08B1 KYOTO plus “CATCH ME IF YOU CAN”
Matrix on later issues:  RI3508A1  /  08B1 KYOTO BADAV

This is usually credited to Rubber Dubber but that can’t be, since they were raided and closed down in September of 1971:

Ann Arbor Sun 1971

Ann Arbor Sun, 1971

Rolling Stones Goin Back To The Roots AT - July 1972

Can be found with different stamper colors: red & blue and double stamps.

Rolling Stones GBttR AT July lbl 72

Rolling Stones GBttR AT lbl 3

Rolling Stones GBttR AT CBM logo

Rolling Stones GBttR AT CBM logo large

So, who did this album? I would suggest that it was CBM themselves, pretending to be RD – raised out of the Ashes:

  • Concert recorded at CBM’s home turf, the Scope in Norfolk, VA
  • Rubber Dubber, with one exception (Rolling Stones  – EUROPEAN TOUR 1970), only released albums recorded in the L.A. area:

70-011 NEIL YOUNG  – “I’m Glad/Happy Ya’ll Came Down”  (The Los Angeles Music Center)
71-014 JAMES TAYLOR – Isn’t It Nice To Be Home Again      (Anaheim Convention Center)

  • same image used for the picture labels
  • matrix numbers are identical
  • Rubber Dubber stamp with the simpler design possibly copied from the Elton John & Leon Russell back cover:

John E Russel L Anaheim Convention Center detail b

  • Some RD covers exist with the CBM record logo (as seen above)

Really, who were they kidding?


Here is a detailed analysis of the different versions sent to me by an avid reader and supporter of this blog. Thank you very much!

# Version Cover Matrix S. 1 Matrix S. 2 Labels S. 1 Label S. 2
1 Rubber Dubber/ stamped white cover with type #1 title stamp (blue) and Rubber Dubber stamp (blue) ######08 A1  BADAV ### ##08 B1 KYOTO CATCH ME IF YOU CAN purple: Mick and Keith purple: Mick (microphone on right)
2 Rubber Dubber/ stamped white cover with type #2 title stamp (blue) and Rubber Dubber stamp (red) ######08 A1  BADAV ### ##08 B1 KYOTO CATCH ME IF YOU CAN purple: Mick and Keith purple: Mick (microphone on right)
3 CBM/ stamped white cover with type #1 title stamp (red) and CBM stamp (red/blue) ######08 A1  BADAV ### ##08 B1 KYOTO CATCH ME IF YOU CAN purple: Mick and Keith purple: Mick (microphone on right)
4 CBM/ stamped white cover with type #1 title stamp (blue) and CBM stamp (blue) B (mirror written) ######08 A1 (scratching different)    BADAV (at other place, bottom of letters to the label side) ### ### 3508 B1 KYOTO    BADAV red/purple: group shot on stage purple: Mick (microphone on right)
5 CBM/ insert orange cover with black & white insert

(small printing error right from Mick´s ellbow)

B (mirror written) ######08 A1 (scratching different)    BADAV (at other place, bottom of letters to the label side) ### ### 3508 B1 KYOTO    BADAV purple: Mick and Keith purple: Mick (microphone on left)
6 CBM/ insert white cover with black & white insert

(small printing error right from Mick´s ellbow)

3508 A (mirror written)     B (mirror written) ######08 A1 (scratching different)    BADAV (at other place, bottom of letters to the label side) ### ### 3508 B1 KYOTO    BADAV yellow with black Contra Band logo / D yellow with black Contra Band logo / C
7 CBM/ insert white cover with black & white insert

(no small printing error right from Mick´s ellbow)

######08 A1  BADAV ### ##08 B1 KYOTO CATCH ME IF YOU CAN light blue: Mick (microphone on right) light pink: Mick (microphone on right)

title stamp type #1 = group name larger, title in hyphens (size: 16,5 cm x 5,3 cm)

title stamp type #2 = no hyphens, (size: 14,1 x 4,8 cm)

matrix: assumption ### ## = WEC 35



A nod of acknowledgement for this old bootleg in the digital age:

“This is generally considered to be the best audience recording of the Rolling Stones 1972 US Tour. It’s been on numerous bootlegs since shortly after the concert. This is supposedly from the master tape. Lineage given is Aiwa mics->Marantz Superscope cassette recorder->cassette master->CDR1->CDR2->CDR3.  I was not not satisfied with that CDR, so I pitch corrected it -1.5%, slightly boosted the bass, and edited and re-indexed it. That’s what you have here.

The guitars, horns, and vocals are recorded fantastically well. Bass and drums are distant, as usual for 1972. Performance is excellent too. This originally came from a well know taper and collector, JT, who is now deceased. Supposedly he recorded the show himself but I was able to determine he was about 12 years old at the time. I believe he acquired the master after the event.”


Title: Rolling Stones Norfolk, VA 7/5/72 two source mix

This is a recording of the Rolling Stones at The Scope, Norfolk, VA, July 5, 1972, from two different sources.

The better recording is incomplete and does not circulate except on vinyl, so it is transferred from an old bootleg LP on the Rubber Dubber label called “Goin’ Back to the Roots.” I rate it as VG+ for side 1 and VG for side 2. The vinyl is not as well pressed on side 2, or possibly the taper changed location. The original LP fades out between some but not all songs.

01. intro
02. Brown Sugar*
03. Bitch
04. Rocks Off*
05. Gimme Shelter*
06. Happy*
07. Tumbling Dice*
08. Love In Vain
09. Sweet Virginia*
10. You Can’t Always Get What You Want*
11. All Down The Line
12. Midnight Rambler
13. band introductions*
14. Bye Bye Johnny*
15. Rip This Joint*
16. Jumpin’ Jack Flash*
17. Street Fighting Man*
18. outro

*partly or completely from better recording


“As the sine curve of offstage life reaches its low point, the music on stage peaks. In Norfolk and Charlotte and Nashville, the set seems to fly from beginning to end, the musicians completely locked into one another and on time, like a championship team in its finest, most fluid moments. But only people who listen, like Ian Stewart, and the Stones themselves and their supporting musicians, are aware of the magic that’s going down.”


RS Norfolk 72

The Stones onstage at the Scope

RS Norfolk 72 II

Taylor J In Disneyland

Side 1: Sweet Baby James (3:00)/ I Feel Fine (3:08) / Hey Mister, That’s Me Up On the Jukebox (3:30) / Sunny Skies (2:46) / Chili Dog (1:51) / Steamroller Blues (5:03)

Side 2: Riding On a Railroad (2:40) / Conversation (JT speaking to audience) (1:38) / Places
In My Past (2:09) / You Can Close Your Eyes (2:25) / Soldiers (1:12) / Carolina In My Mind (3:33) / Long Ago And Far Away (2:32)

Side 3: Country Road (4:51) / Fire and Rain (3:46) / Sixteen Candles (1:46) / Love Has Brought Me Around (2:59) / Oh, Don’t You Know (2:42)

Side 4: Come On Brother, Get On Up and Help Me Find the Screw (4:08) / The Promised Land (3:36) / Isn’t It Nice To Be Home Again (0:41) / ‘On Campus’ TV Special – 4 songs (9:30)                  HW rates this “Exs”

From an eBay seller not used to early 70s audience recordings: “1971 mediocre recording from the Anaheim Convention Center in Anaheim, CA on March 21, 1971. The band included Carole King (piano), Danny Kortchmar (guitar), Leland Sklar (bass), and Russel Kunkel (drums). This recording was re-released later (slightly reshuffled) as Live at the Anaheim Convention Center and Tailor Made.

From  “On February 17, 1971, Johnny Cash presented a special episode of his television program in which he traveled to Vanderbilt University to film a few scenes in which he talked with students, who also comprised the audience for him and other musicians in the performance scenes filmed in Nashville’s Ryman Auditorium. It’s sometimes forgotten that Cash featured a good number of rock acts on his show, and perhaps because of the “campus” theme,
his guests on this particular episode were from the folk-country-rock worlds rather than pure country circles. This bootleg DVD, On Campus, contains the episode, which features not only Cash but also James Taylor, Neil Young, Linda Ronstadt, Tony Joe White, and (doing comedy) a young Albert Brooks. […] it’s an interesting opportunity to see rarely screened footage of both Cash and the others. Neil Young is captured just at the time he was rising to solo superstardom, performing unaccompanied versions (on guitar) of “The Needle and the Damage Done” and (on piano) “Journey Through the Past.” Linda Ronstadt isn’t a big star yet, and is seen here doing a pretty good cover of Emitt Rhodes’ “You’re a Very Lovely Woman,” the lyrics changed to reflect a woman’s point of view. Cash also does a few numbers, including his first public airing of “Man in Black,” […].”

The Rubber Dubber issue had a different song line up (“Steamroller Blues” moved to side 2 and the ‘On Campus’ special is not mentioned).


Regarding the gatefold inside, a variant exists that has the text on the left and the photo on the right,



Although Hot Wacks states that the 2LP set TAILOR MADE is a Rubber Dubber release, this is actually not true. TMI Records may also have also been behind Janis Joplin – Get It While You Can and Carole King’s Fit For A King (and others).

Taylor J Tailor Made

Taylor J Tailor Made b


Dittolino Records copy (right down to the label) of sides 1 and 2 of the double albums only (the insert track list is incorrect here as it lists the side three songs of the Rubber Dubber and TMI versions):

Taylor J Tailor Made Fire Rain

Matrix: TM-1-A / B

Side 1: Sweet Baby James (3:00)/ I Feel Fine (3:08)/ Hey Mister That’s Me Up On The Jukebox (3:30)/ Sunny Skies (2:46)/ Chili Dog (1:51)/ Conversation (1:38)
Side 2 (actual songs): Riding On A Railroad (2:40)/ Fire & Rain (3:46)/ Sixteen Places In My Past (2:09)/ You Can Close Your Eyes (2:25)/ Soldiers (1:12) / Going To Carolina In My Mind (3:33) / Long Ago And Far Away (2:32) [times probably copied from the HW listing for the CBM album – may not be accurate]

Taylor J Tailor Made Fire Rain 2


I have revisited these releases in an updated post; click on this text to be taken there.

“It was the last night of his 1971 solo tour, and Neil Young walked onto the stage at the Dorothy Chandler Pavilion unaware that the mic of “Jerry Rigged” would capture the entirety of this sublime solo performance. As a result, bootleg LPs emerged en masse and were scooped up by thousands of hungry fans. The Harvest LP was still one year from release the new songs contained herein were (and still are) amazing, and the only bone Neil and the suits threw us that year was the 4-Way Street LP, as fine and LP as it was. If you were a Neil/CSNY fan in the early 70s, you owned this LP in one of its configurations. There was “I’m Happy Y’All Came Down” on Rubber Dubber with its black gatefold cover ready for rolling, a rare Rubber Dubber version with a rubber stamped cover, the TMOQ version upon which they squeeze the entire show on two sides of colored vinyl, the double Young Man’s Fancy on Zerocks and abridged versions like the Live on Sugar Mountain LP.

Besides the songs and wonderful performance, highlights include the unique snippet of “You and Me” that prefaces “I Am a Child,” and the response to the request for the song “Sea of Madness,” that prompts a Neil anti-bootlegging rap: “Wooden Nickel? Never heard of it. That’s a capitalist ripoff.”

Ramblin’ Jack Elliot opened this show, but no recordings of his set exist.

“Jerry Rigged” says that the original reel to reel master tape is long gone. All that remains are the LPs.”

01. On the Way Home
02. Tell Me Why
03. Old Man
04. Journey Through the Past
05. Cowgirl in the Sand
06. Heart of Gold
07. A Man Needs a Maid
08. Sugar Mountain
09. Don’t Let It Bring You Down
10. Love in Mind
11. The Needle and the Damage Done
12. Ohio
13. See the Sky About to Rain
14. I Am a Child
15. Dance, Dance, Dance


From a former Rubber Dubber “employee”: “That is a legit copy and was the original cover. I believe it was the first one without a plain white cover. I can’t remember how many were printed, but the manufacturing was not done in a semi-truck at first; it was done by “The Record Plant” in Grand Prairie, Texas. The jackets were done in a separate facility. When The Record Plant was busted by Rubber Dubber for selling unauthorized copies (go figure-they were all unauthorized), the LPs were produced by another facility in L.A., and I never bothered to find out where as I did not want to know too much information.”

“I helped record that album, and if my memory serves me well (sometimes it doesn’t at my age) we put out your cover first. The white covers, which were standard operating procedure for all the albums, came first for almost all the albums. [It is believed that the black printed cover actually came first]  We tried to spruce it up with this one and it was the first to use photos. When that got expensive, we switched back to the whites which already had gained in popularity. I lost my whole collection somewhere along the trail over the subsequent years. I was only involved in the operation for about three years, and then I left in 1972 for other pursuits. There were a lot of chemicals and smoke flowing through my veins during those years, and that is the reason my memories can be a little foggy at times. However, I do recall a lot of it. I handled the shotgun mic for that show as well as the Leon Russell/Elton John show with the two of them on back to back grand pianos. I smuggled the microphone in down my right pant leg, walking in like Chester from the Gunsmoke TV show for both shows. Those were the only shows I was involved in the actual recording process even though I was heavily involved in other aspects such as marketing.”

What puzzles me, is that Rubber Dubber earns only a “Gs” in HW, while CBM 3245 earns an “Exm”, as does TMOQ 71022. Certainly the first edition from the master should sound best but perhaps HW reviewed a bad pressing of the Rubber Dubber title.

I’m Happy That Y’All Came Down – 2 LP – (Rubber Dubber Records – b&W printed cover) – complete

Young N happy

Young N Ihtyacd b ss


Finest state of this album you will ever see. Usually, it looks more like this:

Young N happy b Young N happy inner

I’m Glad Y’All Came Down – 2 LP – (Rubber Dubber Records – white cover) – complete

Young N glad $3250 Young N glad 3 Young N glad lbl

White rubber stamped cover# 1, above, can be found listed as having sold for a staggering $3250 on eBay in September of 2010 – however, I have since been informed that this sale never actually went through.  Item # 2, which to me looks pretty much identical, sold for $15 a couple of years later…

I’m Happy That Y’All Came Down – 2 LP – (Smegma Records) – complete
I’m Happy That Y’All Came Down – 2 LP – (blank record label) – complete
In Concerto – 5 songs on an EP – (Gong Records)

Young N In Concerto EP

Neil Young At The Los Angeles Music Center – 1 LP – (Trademark of Quality 71022) – complete

Young N Los Angeles Music Center 2

Young N ATLAMCenter b
Neil Young At The Los Angeles Music Center – 1 LP – (Trademark of Quality – Holland pressing) – complete                                                                                                                                                              Neil Young At The Los Angeles Music Center – 1 LP – (LXXXIV Series # 52, 100 numbered copies on green vinyl) – complete
Neil Young – 1 LP – (Trademark of Quality) – complete

Young N Neil Young

Young N Neil Young
Neil Young – 1 LP – (Great Live Concerts) – complete
Glühend Morgendämmerung 1 – 1 LP – (blank labels) – complete

Young N Glühend Morgendämmerung

Seller wrote: “this is the rarest issue on Zerocks Records of that gig from original tmoq # 71022 press ; vinyl matrix is tmoq 71022; foldout deluxe cover”

Live At The Los Angeles Music Center February 1, 1971 – 1 LP – (blank label) (missing JTTP & CITS)
Live At The Los Angeles Music Center February 1, 1971 – 1 LP – (AER Records) (missing JTTP & CITS)
The Complete Neil Young – 1 LP – (Immaculate Conception Records) – complete
I.C. Records (Stereo)

Young N The Complete Neil Young ImConc 2

Young N The Complete Neil Young ImConc
Live On Sugar Mountain – 1 LP – (Blank Record label) – ( missing CITS, OTWH, TMW, DLIBYD, IAAC)
Live On Sugar Mountain Vol 2 – 1 LP – (Smegma Records) – (missing all of above plus ANAM & HOG)
Live On Sugar Mountain – 1 LP – (Berkeley Records) – (missing CITS, OTWH, TMW, DLIBYD, IAAC)
Live On Sugar Mountain – 1 LP – (Berkeley Records) – (missing CITS, OTWH, TMW, DLIBYD, IAAC) – (lighter colored cover)
Live On Sugar Mountain – 1 LP – (blank labels) – (missing CITS, OTWH, TMW, DLIBYD, IAAC)
Live On Sugar Mountain – 1 LP – (Sugar Mountain Records) – (missing CITS, OTWH, TMW, DLIBYD, IAAC)

Young N Live On Sugar Mountain 2 Young N Live On Sugar Mountain

Young N Live On Sugar M red

Niel Live (sic) – 2 LP – (Dittolino Discs) – complete, with curious (intentional ?) misspelling of his first name.

Young N Niel 2

Live At The Los Angeles Music Center – 2 LP – (blank labels) – complete
Live At The Los Angeles Music Center – 2 LP – (Great Live Concerts)

Young N LatLAMCenter blank lbl

Young Man’s Fancy – 1 LP – (Contraband Records 3245) – (missing DDD & IAAC) – (originally on blue wax)

Young N YMFancy blue

Young N YMFancylabel2 Young N YMFancy label1
Young Man’s Fancy – 1 LP – (CBM) – (missing DDD & IAAC) – (same as previous but subtitled ‘Los Angeles’

Young N YMFancy LA
Young Man’s Fancy – 1 LP – (CBM-labels usually blank) – (missing DDD & IAAC) – (insert is photocopied, logo added)
Young Man’s Fancy – 1 LP – (CBM-labels usually blank) –  (missing DDD & IAAC) – (insert is photocopied, no CBM logo)
Young Man’s Fancy – 1 LP – (CBM) –  (missing DDD & IAAC) – (insert is photocopy, different CBM logo)
Young Man’s Fancy – 1 LP – (CBM-labels usually blank) –  (missing DDD & IAAC) – (insert is red, blue or pink)

Young Neil Young Man's Fancy

Young N youngmansfancy

Young N YMF red

Young Man’s Fancy – 2 LP – (Zerocks Records) – complete
Young Man’s Fancy – 2 LP – (Zerocks) – (different insert) – complete
Young Man’s Fancy – 2 LP – (Blank Record Label) – labels say “Special Disco Mixer” – complete

Young N YMFancy Zerocks 3Young N YMFancy Zerocks lbl

Young N YMFancy Zerocks b

Young N YMFancy Zerocks 4 Young N YMFancy Zerocks 5
Listing taken from Bruno Fisson & Alan Jenkins’  Neil Young Appreciation Society published book

As the list focuses on labels and the image documentation for these is usually more difficult to find, it is much harder to match the images with the descriptions. This must be one the most widely copied bootlegs in 1971/2.

Band What'cha Want Mama!


Band What'cha Want Mama! 2

Band What'cha Want Mama! disc

Band What'cha Want Mama! 3

While the taped track list was certainly home-made, the rubber stamp title was probably not. So far, I have not seen this cover style before on a CBM release, definitely one of the early Contraband releases. Dated probably late 1970/1971. HOTWACKS claims this is from the Hollywood Bowl in 1970 but this is incorrect.

Source: Probably recorded at the Pasadena Civic Auditorium in 1969. “Poor quality, pretty distant.”

Side 1: This Wheels On Fire / Baby Don’t Do It / I Shall Be Released / King Harvest / Don’t You Tell Henry                                                                                                                       Side 2: Rocking Chair / Chest Fever / Jemima Surrender / Slipping And Sliding


This material was also released by White Cover Folks (early Berkeley label) as LIVE BAND (# 1) – this release has been reviewed in detail in this post

Band Live Band red st
“Various versions exist, at least three [I am actually aware of four] under two titles. All carry the number LS-1, also “Contraband LS1” and “Microgroove / A Jeff Charles Production LS-1” “














WHO Live in Munich

A copy of this European bootleg:

Who Is This

Who Is This b

Although “Mr. Rubber Dubber” traveled to Germany in the fall of 1970, recorded the Rolling Stones at the Essen Grugahalle and pressed the reels as the 2LP set EUROPEAN TOUR LIVE 1970 upon his return, I doubt he recorded this as well and stayed to have it pressed and distributed in Europe (but never in the US).

The Who Munich 72

who museum 72

As there were only 2400 seats, tickets were rather expensive (normal prices in the larger halls were 12,50 to 14 DM).

Notes from a remastering project of this LP done by “Prof. Stoned:”

THE WHO – Kongresssaal, Deutsches Museum, Munich – September 4 1972 [a fateful night, just hours before the attack on the Olympic Village]
“Who is This ?” Remastered From Original 1st LP Pressing

01. Can’t Explain
02. Summertime Blues
03. My Wife (tiny cut within)
04. Baba O’Riley
05. Behind Blue Eyes
06. Magic Bus
07. The Relay

Time: 47:06:56   Sound: B+/B

“It’s a good “stereo” audience source for this era. There’s a great balance between the instruments and voices and the energy of this show is very well captured. The recording starts out a little bassy, because the “mix” is like that, but improves quickly during the 2nd track.

Though not a sonic masterpiece, this new version is among the best sounding 1972 whoboots.
It’s comparable to the 21/08/72 KB Hallen, Copenhagen (DK) bootleg (a.k.a. Danish Treat).
This may sound a little “harsher”, but then again the vocals can be heard better on this one.

I’m aware that a completer source of this show available, compiled from 3 different sources.
This recording captures the best sounding source of those three in its entire, and is an upgrade to what’s out there until now. I leave it to others to splice the sources together again.

***About the LP ***

The original mastering of the LP is quite amaturistic [sic]. Inbetween songs, the volume was raised, and some weird panning was done. Probably to convince the listener that this was a “real stereo” live LP. The sleeve says the following about this: “world white super pop trade mark of peace quality hell and heaven STEREO records can be safely played on today’s monaural phonographs to the maximum sound capabilities of your equipment, yet will reveal full stereo listening”

There are two minor cuts in the original recording. One notably in “my wife”, resulting in a couple seconds missing. The other one is between “Summertime blues” and “My wife”, and abruptly cuts off the public response to the former song.

My copy visually strictly rates VG++. But it plays with more crackling than you might expect. This has probably to do with the quality of the pressing itself. […] I corrected the speed of the recording with +0.15 semitones. I tuned the music of “Can’t Explain” with great precision, comparing to an exact E (330, 660, 1320 Hz), bringing down the playing time from 47:31 to 47:06.” 

“I have the original bootleg too and The Professor’s version is really clearly superior to the album because he successfully eliminated the – occasionally – heavy surface noise that clearly does not derive from scratches (my copy is almost mint) but from an obviously sub-par pressing and/or mastering.

Just too bad that Rubber Dubber – or the bootlegger who may have used his label as a disguise – decided to cut down the show to a single album, as this is simply one of the best sounding shows of this tour.”

The Who Hamburg 72

The Who on stage in Hamburg, August 13th ’72. When Pete smashed his Gibson SG Standard at the end of the show, the photographer ended up getting hit in the face by one of the splintered parts.