The Beatles

USA: 1971

Side 1 matrix: <– RP 24-A –>

It appears that for the Beatles side two different versions may exist: Copies with a “24 X X” matrix seem play the 1965 Ed Sullivan show as listed on the label while “RP-24-B” copies play songs from their 1965 Shea Stadium soundtrack instead: Twist And Shout / I Feel Fine / Dizzy Miss Lizzy / Ticket To Ride

It appears that a mistake was made and the RP-24-B version came first after the art work and label for the six Ed Sullivan tracks had already been printed, causing a discrepancy.

On the Rolling Stones side one, the track list contains many mistakes. Track 1 is “Looking Tired” from the 6 September 1965 RCA Studio Hollywood sessions an four tracks from their Chess Studio Chicago session, 11 June 1964: Tell Me Baby / Down In The Bottom / Stewed And Keefed / Hi-Heel Sneakers

The quality is excellent. Most collectors know this material from TMOQ’s Bright Lights Big City album, which was still years away at this time (released: July 1973).


This title was copied as part of Japan’s ‘JL’ series around 1976-7 as JL 512:


The font used for the numbers, side markers and running time give this away as a WCF copy.

The handwritten matrix

USA: 1971

The original version of GET BACK TO TORONTO were taken from an acetate compiled by Glyn Johns in late January 1969 (compilation 1) which was only meant to give everyone involved a chance to hear what some of the songs would sound on record; it was not meant to be mock up for a future release. This same source was used for the very first beatleg KUM BACK and Get Back (Lemon Records). These songs were broadcast on radio station WBCN in Boston on 22 September ’69.

“NOTE: it hasn’t been determined if all the early releases are sourced from the same original tape of the broadcast. Due to the amount of releases which featured this material in the early 1970s, it seems possible that other folks might have recorded the broadcast. It could even be possible that some of the early bootlegs might source from WBCN’s tape or the original tape of the acetate.” [source, see link below]

Track list, using info from the above link:

Side A:

“Peace message” – Likely recorded in Canada after December 15th, where John & Yoko unveiled their War Is Over If You Want It campaign plus plans for a big festival around the July 4th weekend in Mosport, Canada. John & Yoko proclaim 1970 as “year one” – quite a start for a Beatles bootleg.

Get Back
This is the only place to hear this performance and mix of this song and the snippets of “I’ve Got A Feeling” and “Help” which follow it.

Teddy Boy
This mix adds an additional 1:16 of performance between the breakdown at the beginning and the start of the song. which is not heard on compilations 2 and 3.

Two Of Us
This mix includes a snippet of another performance [24.48] (probably a remnant of an earlier, discarded mix) and a false start not heard on compilations 2, 3 or 4.

Dig A Pony
Strangely, although this is a different mix, it features the tape-start sound heard at the beginning which is heard on compilations 2 and 3 but not on compilation 4.

I’ve Got A Feeling
This mix includes an additional :10 extended ending after John’s comment “Not bad though” not heard on compilations 2, 3 or 4.


The Long And Winding Road (not included)

Let It Be
This begins with what is probably a remnant of an earlier, discarded mix. None of this performance or mix appear anywhere else.

Don’t Let Me Down
With the exception of John’s comment about “give me the courage to come screaming in” being a bit more clear, this mix features nothing not heard on compilations 2, 3 or 4.

For You Blue
This mix features a five second longer outro which includes guitar chop not heard on compilations 2, 3 or 4.

Get Back
This performance would form the basis of both the single and Let It Be album versions. The performance, itself, appears on all versions. The spoken intro is heard on compilation 2 and the Let It Be album. The post-song dialog is extended on compilation 2. The single version, which also appears on compilations 3 and 4, omits the spoken intro and adds a coda (taken from another performance) to the end, eliminating the post-song bits.

The Walk
This is the only place to hear this performance and mix of this song.

“Christmas Message” is a copy of the 1967 fan club flexi best known for the improvisation “Christmas Time Is here Again”. I guess this was included as out of all their Christmas recordings it comes closest to an actual (beginning of a) song or outtake.



Tracing the different versions of the GET BACK TO TORONTO album is not easy, as there are so many. Starting with the stamped covers, we have the following:

  • A HA HA / B HO HO
  • IPF .1 A / IPF. 1 B
  • IPF-1-A S-2142 / IPF-1-B S-2143
  • LOEB side 1 / LOEB side 2


First released early 1970.


Then there are the versions with the blue ‘peace sign’ cover:

Like the stamped cover version, they can be found with I.P.F. 1A / I.P.F. 1B and IPF-1-A ST S-2142 / IPF-1-B S-2143

I believe it’s this reissue of the original I.P.F. release that was copied by WCF (and Contraband – folded down to mono).


(I was not able to find a good quality image where CBM copied their round logo right onto the I.P.F. design.)

Matrix: 3519 A/B or WEC-3519 A/B


If you have any further details, please leave a comment.


Beatles LIB - LIVE

Beatles LIB - LIVE b&amp;w



Matrix: LB11-a / LB11-b

The insert is usually found in black & white, green or red. It also exists with blank white labels.

To be distinguished from the later Japan copy JL 1006(LB-1) with matrix ‘LB 11’:


USA: ca. 1970

WCF’s version was listed in HOTWACKS all these years but the rare original beatlegs this material was copied from passed under HW’s radar.

According to the beatlesource website, the second ever ‘beatleg’ (after Kum Back! ) was a now extremely rare album called O.P.D.. It presented the 2nd Glyn Johns compilation culled from the dozens of multi-track tapes recorded during the part of the Get Back sessions held at Savile Row and a first real attempt to shape the material into a commercial release.

This 2nd Glyn Johns compilation ended up being played on US radio station WKBW in Buffalo, NY from a reel to reel tape on September 20th, 1969 (the details as researched by John Winn, can be found in a series of articles starting with this installment). However, it appears that the two bootlegs now described in detail were not the result of someone taping the WKBW broadcast.

More details can be found here:


O.P.D. 2

A: The 2nd Beatles bootleg containing the 2nd Get Back compilation; released January 1970 on the West Coast. Matrix: OW LIPSON A 12958 / OW LIPSON B



1. One After 909
2. Rocker-Save The Last Dance For Me-Don’t Let Me Down
3. Don’t Let Me Down
4. Dig A Pony
5. I’ve Got A Feeling
6. Get Back


1. For You Blue
2. Teddy Boy
3. Two Of Us-Maggie Mae
4. Dig It
5. Let It Be
6. Long and Winding Road
7. Get Back (Reprise)

This compilation contained two unique song differences that were preserved thanks to the bootlegs:

  • “Get Back” is the same take as the 45 version but without the coda and we can hear the song ending as it did in the studio plus we get to hear a few precious seconds of sounds and chat never included on any other source or version
  • “Dig It” is presented here in a unique edit lasting 4:57, a full minute more than on the more common third Glyn Johns compilation.


O.P.D. b



B: That same month on the East coast saw the release of the third beatleg: The “Silver Album”.

SAotWG 1

Matrix: JARRIS 0020 A/B

SAotWG matrix

C: Other/subsequent editions included first a full-size blank white label and then a printed label stating what appeared to be the album’s title.

SAotWG 1 pr lbl

The printed label version was likely already a copy produced by someone else. It replaced the official version of “Don’t Let Me Down” and “Two Of Us” with the versions from the first beatleg, Kum Back! – which was based on Glyn Johns 1st compilation, which used a unique version of the latter track not heard on compilations 2 to 4.

D: A final cover variation used blank white covers this time and the word “SILVER” stamped on:

SAotWG st

It appears that at this stage the insert appeared. The matrix for this version shown here was still JARRIS 0020 A/B

E: The insert combined with a silver or grey sleeve

Beatles LIB - LIVE grey 2

Beatles LIB - LIVE grey


While LET IT BE LIVE used the same source tape as O.P.D., there were significant differences:

  • a number of tracks included on O.P.D. were left off
  • a higher tape generation had been used
  • “Get Back” on side 1 had been replaced by the official 45 version (US stereo single, collapsed to mono)
  • “Across The Universe” from an airing of the Nothing’s Gonna Change Our World WWF album version (just released in the UK on 12 December 1969) was tacked on at the end of side 2


1. Don’t Let Me Down (3:31) – single B-side
2. Dig A Pony (3:51)
3. Get Back (3:09) – single A-side
4. For You Blue (2:30)                                                                                                                                5. Two Of Us (3:18) 


1. Dig It (5:02)
2. Let It Be (3:59)
3. The Long and Winding Road (3:43)
4. One After 909 (2:43)
5. Across The Universe (3:17) – from WWF LP



F: The WCF version with the printed labels shown at the start should be placed here. “Silver Greatest” then serves no other purpose than to point out that WCF had copied this album from someone else (since bootlegs were sold shrink-wrapped and the labels could not be used as a means of sales, pointing out to potential sellers that this was another version of the famous “Silver Album” they might have heard about). This also does not appear to be a reference that the band used be known as the Silver Beatles at one time.


G. Around 1974, WCF reissued this album with inserts printed in much brighter colors and in a (sometimes recycled) fold out sleeve using blank white labels:

Beatles LIB - LIVE RE gr

Beatles LIB - LIVE RE red

The matrix is now LB 11-A x  /  LB 11 B x    (these ‘added x’ matrices seem to have indicated a reprinted title)

I have found two auctions that state that the fold out sleeve was created by reversing a Berkeley 1974 Dylan printed cover of Dylan and the Band Return (# 2039/40). Here is a photo of what lurks behind the cover of the red insert copy shown above:

Beatles 64 65 Ed Sullivan S.JPG

Beatles 64 65 Ed Sullivan S b

USA: 2nd half of 1980

Going out with a bang: Melvin’s 5th release ED’s REALLY BIG BEATLE BLASTS was one of their – if not the – best, offering an upgraded to the artificially extended versions of the songs from the 1964 Ed Sullivan Show on RENAISSANCE MINSTRELS volume I.

According to the book WAY BEYOND COMPARE, this album contains their complete second appearance on the show on February 16th (although not in chronological order), leaving “Twist And Shout” and “Please Please Me”, which were not performed on the ’64 Ed Sullivan Shows unaccounted for. Leave a comment if you have a copy of this album and know where they were sourced from.

The last track on side 1 and the first on side 2 are from their third broadcast on the show, which was recorded first and then held until February 23rd, giving the USA three solid weeks of total Beatles immersion.

HOTWACKS’ quality rating of “Exm” was an upgrade from its first inclusion on this 1973 Contraband title:

Beatles POM large


Shout 45 frontSHOUT! MM 6-2,3. b

SHOUT! MM 6-2,3. lbl 1

SHOUT! MM 6-2,3. lbl 2

USA: ?

Melvin’s numbering system becomes a bit hard to follow at this point. If I am missing any of their 7″ releases, please leave a comment.

One topic were bootleg producers and Beatles fans always saw eye to eye was the desire for rare unreleased tracks and this 45 aimed to hit that spot.

The Beatles’ cover of the Isley Brothers 1959 first gold single Shout! was included in their TV special Around The Beatles on April 19, 1964. John’s introduction during the rehearsal was “a number we haven’t recorded … and we’re not likely to.” but that was not used in the broadcast version, in which they mimed to the pre-recorded songs to ensure a degree of control over the audio quality.

“While Shout! begins with a trio of B7 guitar chords on the broadcast version, the master tape must have been damaged in the intervening years, as all bootlegged versions only contain the last two of these. even Anthology 1, which went back to the multi-tracks, had to use fakery by repeating the second chord (listen for Paul’s two identical intakes of breath)! That’s hardly the extent of the oafish butchering done to the Anthology version, which makes The Beatles sound incapable of performing a simple repeating two-chord ostinato.” (Way Beyond Compare, Winn, p. 182)

This Melvin 45 was at the least the fourth time this track had been made available to the Beatles’ bootlegs buying public:



1975 on King Kong/Contraband (1020) – it closes side 2 here:

Beatles First US Performance 80s

1976 on Wizardo’s Around The Beatles (wrmb 349):

Beatles ATB 349



The country number “I Forgot to Remember to Forget” written by Stan Kesler and Charlie Feathers is most well known in the Elvis Presley version recorded in 1955, released as a single and also included on his first LP. George Harrison / The Beatles picked it for their third appearance on their From Us To You radio program, recorded May 1st, 1964. After the broadcast on Whit Monday bank holiday, May 18th, it was forgotten until 1972 when the BBC radio The Beatles Story series included about a minute of the surviving mediocre quality recording but misidentified the lead vocalist as Paul.

A tape of the documentary found its way to the US and the excerpt was promptly included in the line up of this Contraband LP (# 3624), released in February of 1973:

Beatles Have You Heard The Word

Five years later, there was an upgrade on Audifön’s Youngblood album, which had located an almost complete copy of the track.

Beatles Youngblood b




You will recognize the silly “NOT FOR SAIL” comment as also found on their Visit To Minneapolis EP.

USA: ?

“In the late Seventies, the programme Top Of The Pops was independently rereleased by two different manufacturers on 7″ EPs. One of these versions, in excellent quality, was on matrix 45×45000/45001 and bore fake “Capitol” P-9431 labels; the other one, from Brown Cloud Records (a name for a Melvin Records issue), had worse sound.” (from: “A History of the Beatles’ BBC Bootleg Releases”)

Above; The better sounding (and looking) Top Of The Pops EP, released ca. 1978

Having survived on an overseas BBC Transcription Disc that was part of a series labeled Top Of The Pops, excerpts of The Beatles appearance on the radio series Top Gear # 1, recorded 14 July ’64 and transmitted on the 17th, have been included on Beatles bootlegs since 1971’s The Beatles Last Album, shown below. So, that explains why all these bootlegs are called Top Of The Pops.




VtMinneapolis S2 lbl

USA: 1979

“In 1979, Melvin Records released a bootleg EP entitled Visit To Minneapolis, which claimed to contain three songs from The Beatles’1965 Minneapolis concert. Closer inspection proved them to be excerpts of a Houston performance…” (Way Beyond Compare, Winn, p. 370)

If I could interview Eddie from Melvin, questions about this release would be at the top of my list. were they given these tapes and told this was all from Minneapolis? Or was this an “in house” joke? … Fact is that the three song fragments were altered to sound much worse than their originals in order to obscure that they really came from the Houston performances on August 19th ’65 and a Beatles bootleg sensation since their 1978 release on audifön:

Beatles LftSamHoustonC b


  • The Minneapolis press conference excerpt – 4:51

The Beatles are closely miked but the reporter questions spoken into a mic that’s passed around are sometimes hard to hear.

The clip found on YouTube includes material not found on the EP and vice versa. Over 26 minutes exist from a broadcast on WDGY-A covering more topics


  • She’s A Woman – Someone was trying hard to emulate the windswept sound of an outdoor stadium while working with a soundboard recording  2:51
  • Twist And Shout – Paul’s shout at the end is clearly the same as during the afternoon concert in Houston on August 19 ’65, as is the mix/ambiance of the Houston soundboard tapes  1:34
  • The interview that gave the EP its title, the interview with police inspector Donald R. Dwyer – 4:06 (while the YouTube clip is longer it is also out of sequence with the proper start being at 2:44)

“Police Inspector Donald R. Dwyer did not mince words expressing his disdain for the mop tops, calling them a “typical traveling troupe,” akin to circus performers.  He claimed he’d found a girl in Paul’s room and charged him with making a “false hotel reservation.” Fortunately, the girl was able to prove that she was 21 (and from Cleveland). Dwyer told the Minneapolis Star that “Those people are the worst I have ever seen visit this city,” and in a press conference said “if they did not come [back] it would be too soon for me.”

But [Bill[ Diehl [of WDGY who MC’d the show] says that he was up there with the Beatles, and that there was no way that, with all the money invested in them, that Brian Epstein would allow them to be involved with the scandal of having girls in their rooms, and that the police lied about what went on.  Diehl said that the whole thing was blown completely out of proportion, and when the Beatles said they’d never come back to Minneapolis, Bill said he didn’t blame them.”

While the Beatles never did make a return visit to Minneapolis, as someone in their touring party stated (Neil Aspinall?) the guilty party here, Paul, has returned three times (1876 with Wings and 1993 + 2014 as a solo act).

  • Everybody’s Trying to Be My Baby (2:32) – the introduction was edited from the afternoon show in Houston

Ironically, an audience recording was made that night at Metropolitan stadium – sounding nothing like the fake tracks on this EP – finally surfaced in 2002 and disproving the forgeries even more as “Twist And shout” had not even been performed that night (likely to give John’s throat a rest). By the way, with just under 30,000 out of 40,000 tickets sold, Minneapolis was the only tour stop on their 1965 North American tour that was not a sell out.

Their lowest stage set up since early 1963?


All you would ever want to read about their visit to Minneapolis: