Archive

TMOQ (smoking pig)

 

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

http://lostlivedead.blogspot.com/2014/09/july-2-1971-fillmore-west-san-francisco.html

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:

https://archive.org/details/gd71-07-02.sbd.backus.11798.sbeok.shnf/gd1971-07-02d3t03.shn

***

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 Popsike.com 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.”

 

 

 

2299 THE WHO – collector’s item -> this can now be found in updated form as part of this collector’s item label summary post

2235 JIM HENDRIX – ‘SCUSE ME WHILE I KISS THE SKY -> I was not able to find an image for this. If you have one, please leave a comment.

***

 

Matrix: 6969 A/B (the included Donovan label was only included to show where the mirror image on the Dead label originated from)

The insert cover version above and the folder cover reissue from around 1974/5 below:

 

 

Source: Soundboard, recorded on 02 May, 1970 at Harpur College in Binghampton, NY, on half track 7½ ips analog tapes. “In a 1993 poll of Grateful Dead tape traders, the 5/2/70 show was ranked #6 on the list of all-time favorite Dead concert tapes.” The complete show, including the second and third sets (in mono) was officially released as Dick’s Picks Volume 8 in June of 1997 as a 3-CD set.

https://archive.org/details/gd1970-05-02.138227.sbd.miller.flac1648

 

Above: Other versions/later reissues:

  • Nepalese Productions / Har-Glo Records JCS-7001 version advertising the “Crateful Dead”
  • Black Gold Concerts was the new label name Berkeley Records used in the second half of the 1970’s (BG 6969)
  • (not shown) Version with “Karma City” labels
  • Side 1 of Ken’s SILENT DEAD – (smoking pig) TMOQ 73010 used four tracks from this date.

****

More material from this date appeared on this title, shown here with all three slip sheet variations (black & red; orange and b&w):

Although the 803-A/B matrix looks like a WCF release not much else does. The insert design has none of the WCF-typical features and the record label has an inner ring, never seen with WCF pressings. On the other hand, there is also a gatefold reissue that does look very much like it may be part of their 1974 reissue series that placed an image or drawing of (one of) the artist(s) on the back panel.

If you know more about this release, please leave a comment.

Matrix: 752 SIDE I / 752 SIDE II

Released ca. 1972

Source: Audience recording from the L.A. Forum on 10 March, 1971 (not 3rd of October as everyone assumes; a listing of their 1971 tour dates & the ticket stub below prove this).

In the UK, the album was released as “faces”, in the US both the album and the concert tickets say “small faces”.

Small Faces LA F t

Side A: (I Know) I’m Losing You / Love In Vain / Turn Me On (Dancing In The Streets)
Side B: Maybe I’m Amazed / It’s All Over Now / Country Comfort

The recording only received a very low “Gs”  rating in HW. I did not find any description or sound sample on the net. Obviously, there are better sounding captures like the one below.

For comparison:

The Faces
Sports Arena, San Diego, California
March 18, 1971

01. You’re My Girl
02. I Want To Be Loved
03. Maybe I’m Amazed
04. It’s All Over Now
05. (I Know) I’m Losing You
06. Love In Vain
07. Plynth > Three Button Hand Me Down > Gasoline Alley > Plynth
encore call
08. I Feel So Good
[63:21]

***

A copy of this title by the Immaculate Conception label, released in 1971 (CMBR-11):

 

The bootleggers had simply copied the art work of the official album First Step that was promoted on this tour, while WCF in turn ripped off I.C.’s design.

Immaculate Conception Records were very active in 1970 – 71 and their use of a generic album cover for a number of its releases and the constant “Best of”naming make them look like the K-tel of bootleggers (if you remember that official budget label from the 70’s & 80’s hawking an endless stream of compilations).

VAR-101 – Get Back (Beatles)
CBMR-3 – The Best Of The Who Live In Concert
CMBR-4 – The Best Of The Rolling Stones Live In Concert
CBMR-5 – Live In Concert – The Best Of The Rolling Stones, Led Zeppelin, Jimi Hendrix, The Who, Crosby, Stills, Nash & Young, And Jethro Tull
CBMR-6 – The Best Of Led Zeppelin Live In Concert
CBMR-7 – The Best Of Jimi Hendrix: Live In Concert
CMBR-8 – The Best Of Crosby, Stills, Nash & Young Live In Concert
CMBR-9 – The Best Of The Band And Jethro Tull Live In Concert
CBMR-10 – “Experience” (The Jimi Hendrix Experience)
CMBR-11 – Live At The Forum 3/10/71 (Faces)
CMBR-12 – Christmas Message (Beatles)
CBMR-13 – The Complete Neil Young Live At The Los Angeles Music Center February 1st, 1971

***

Around 1973/4 TMOQ released their version of this recording and this looks like a ‘Ken job’ to me (matrix: 1817 A / B):

 

 

Released ca. early 1973

About two years to 18 months after having copied pre-TMOQ’s The Stones LIVER under the title Gimme Shelter (click on the link for that post), WCF felt the need to repeat it all, this time using the original’s name and with basically an identical insert.

This new pressing came from new pressing plates – 4045-A / B

When WCF finally chose the name Berkeley Records, they reissued this album with the same matrix number as part of their b&w series ca. 1975/6 as in concert:

***

History of the original TMOQ plates (if you can contribute, please leave a comment). It looks as if several safety copies were kept and used in rotation.

First matrix claims:

  • X-4172 4328 / 1X 241 X1 4237 with LURCH Records labels. Discs have no song separation and the stamp is blue.
  • The TMOQ Record Collectors wiki claimed it was X14327 / X14328 with either Lurch or Oakland Records labels.
  • There’s another claim stating: “matrix number S-2110/1 was the first pressing available to the public“.
  • 1971 – ’72: All the early reissues I reviewed – colored cardboard cover and sticker, with or without insert, large 1/2 labels (w. or w/o outer rings), often on colored wax – have the new matrix RS 510 A/B

 

  • “Made In Holland” versions: I have found one copy with a 14327/14328 matrix and another with 1X 241 14327 / X-4172 14328

 

  • 1972 – ’73: Farm pig labels and silver/gold stickers have either the RS 510 matrix or:  1X 241 14327 / X-4172 14328

Rolling Stones LiveR ora bl lbl

  • The generic cartoon cover reissue has the RS 510 matrix as well

Rolling Stones LiveR cartoon lbl

  • Smoking pig versions have Ken’s trademark 1811 A/B matrix or is detail: ‘1X241’ scratched off followed by 1811A / ‘4172’ scratched off followed by 1811B A14328

 

Online, the following statement can be found: “”LIVEr Than You’ll Ever Be” was originally remastered by David Axelrod, according to William Stout. ” If he really meant ‘remastered’, which stamper has this new version/are there audible differences between them?

***

Two & half sets of RS 510 stampers sold in April of 2009:

a. All three auctions ended 04/17. This pair sold for $298. Envelopes are stamped “Aug -9 1972”

Rolling Stones RS 510 stampers II

b. Sold for $325:

Rolling Stones RS 510 stampers

c. Stamper for RS-510 B only: $169

Rolling Stones RS 510 B

***

Background info about how Dub Taylor recorded the Stones on tour in ’69 can be found in this previous post.

 

Released ca. 1972/3 (if one believes that 4011, 4022, 4033 & 4044 were released without large time gaps between them as 4033/44 was only recorded in November of ’72)

Matrix: 4011 I / II x

 

And WCF’s 1973/4 folder style cover reissue.

**

The original:

The second Rolling Stones by Ken & Dub (that was not a copy), released around June of 1971 with the ‘no border’ 1/2 labels, matrix: RS 507 A / B

Different labels and stickers came later. This is probably the first time the term “out take” was used on a record cover to refer to unused takes during a studio recording:

 

01. Memphis, Tennessee [02:13] 1963-09-23: Saturday Club, London, UK (tracks 01. – 02.)
02. Roll Over Beethoven [02:17]
03. Down in the Bottom [02:47] 1964-05-25: Saturday Club, London, UK (tracks 03. – 07.)
04. You Can Make It if You Try [02:13]
05. Route 66 [02:30]
06. Confessin’ The Blues [03:03]
07. Down The Road A Piece [01:43]
08. High-Heel Sneakers [02:38] 1964-04-13: Saturday Club, London, UK (tracks 08.-09., 10.-11. + 16.)
09. Beautiful Delilah [02:12]
10. Carol [02:25]
11. I Just Want to Make Love to You [02:12]
12. (I Can’t Get No) Satisfaction [04:00] 1965-08-20: ‘Saturday Club’ BBC, London (tracks 12. – 15.)
13. The Spider And The Fly [03:28]
14. Cry To Me [03:20]
15. Fanny Mae [02:18]
16. Walking The Dog [03:16]
17. Jumping Jack Flash [03:31] 1968-04-20: Olympic Sound Studios, London, UK, Studio Session

TMOQ re-pressings:

 

Reissues under a different label name:

  • with Dragonfly or Ruthless Rhymes labels and a different insert in the mid 70’s made by Vicki Vinyl using the 1835 TMOQ plates (a mcv version with grey labels and using the standard insert also exists)
  • Repressed as part of the The Black Box 3 LP set
  • A rather ugly picture disc made in the 90’s adds “Come On” (from SC 1963-09-23) and “I Wanna be Your Man” (from SC 1964-02-03) as the closing tracks on sides 1 & 2 (not shown).

***

All of these tracks were finally officially released in December of 2017 as THE ROLLING STONES ON AIR

 

 

 

Jethro Tull Flute Cake WCFJethro Tull Flute Cake lbl

Released around 1972 – 73

Source: Anaheim Convention Center, 19 October 1970 (often mis-dated to 1972, despite this being a 1970 set list, due to an error on the insert of a reissue – see below)

Track list:

A1 Nothing is Easy  (07:44)
A2 My God  (10:30)
A3 We Used to Know   (03:07)
B1 With You There to Help Me / By Kind Permission Of  (12:20)
B2 Song for Jeffrey  (04:56)
B3 Sossity, You’re a Woman  (05:20)

Typical Set list on this leg of the tour:

Nothing Is Easy
My God
With You There To Help Me/By Kind Permission Of…
A Song For Jeffrey
Sossity: You’re A Woman/Reasons For Waiting
Dharma For One

Encore:
We Used To Know
Guitar Solo
For A Thousand Mothers

**

A copy of this release:

 

 

Matrix: S-2585/S-2586

**

Two further releases that seem to be linked are the Freebooter and the TMOQ versions:

 

Silk-screened cover art.

The letter/number combination on the label is KW 215344, which happens to be the matrix for the TMOQ release. Based on TMOQ’s habit in ’71/’72 of giving their original releases a matrix consisting of initials identifying the artist and a 3-digit number, I tend to believe that this is a copy made by TMOQ. Their version dates to July of 1972.

 

And later editions:

 

Some of these copies with (smoking) pig labels have the new matrix 1828-A / B

Ruthless Rhymes/Vicky Vinyl re-issued this album from the TMOQ plates (Matrix KW-215344-A / B) in two different versions:

  • on mcv but using the “plant & cake” insert of the FC-888 version but with an added stamp
  • re-titled as JETHRO TULL MESS on black PVC with Ruthless Rhymes labels

 

 

In 1983, someone in Italy produced 300 red vinyl copies and about 50 in green with blank white labels, claiming TMOQ’s original pressing plate. The concert date was incorrectly stated as 1972.

 

Finally, in the late 1980’s, there was this rather tacky reissue:

From an auction description: “Cover is a black with xerox copies attached to front and back. The back of it has a xerox of Lady Di when her top fell down during some event, it doesn’t show anything, but the shock and horror of her expression says it all. The front has Ian backstage with 5 lovelies in female tuxedos with a plastic breast piece on each of them, one of the ladies appears to be Pamela Debarres (of 60’s rock groupie fame), but not positive on that. One of the back pics on the back is of Ian in make-up with the words “Jethro Tull Might Do Something Weird” on the bottom. Above that pic on the back is of 2 women where one is licking the others breast(whoever put this record out liked breasts apparently). I believe this is a reboot of the TMOQ release of Flute Cake. I like this one better personally.

Jethro Tull Di, Di, My Lovely 2

 

If you know the matrix number for this version or have any further info on any of the other versions, please leave a comment.

 

 

 

 

I would date this version to 1972/early 1973. However, there is another version with this matrix; it does not really look like a WCF product though:

 

***

The origin of this album is well known. Following the success of LiveR Than You’ll Ever Be, Dub recorded Jethro Tull at the Long Beach Arena on 19 April 1970 and the performances of Sossity, You’re A Woman / Reasons For Waiting / My God (no exclamation mark) were mastered into the pressing plate for one side of Dub & Ken’s fifth ever production.

Tull Long Beach 1970
LONG BEACH ARENA ,CA.
APRIL 19, 1970

1 – TALK/TUNING
2 – NOTHING IS EASY
3 – TALK
4 – MY GOD
5 – TO CRY YOU A SONG
6 – WITH YOU THERE TO HELP ME
7 – SOSSITY, YOU’RE A WOMAN > REASONS FOR WAITING > SOSSITY, YOU’RE A WOMAN
8 – DHARMA FOR ONE
9 – WE USED TO KNOW > GUITAR SOLO > FOR A THOUSAND MOTHERS

Side two was filled with five pirated UK 45 B-sides. It was released around May of 1970 using colored vinyl and square labels with stamped covers.

At this pre-TMOQ stage, they still invented a new label name for each release and this was going to be Athapascan Records (the term originally refers to “a large family of indigenous languages of North America, located in western North America in three groups of contiguous languages: Northern, Pacific Coast and Southern (or Apachean)”. The matrix number was 20 1 / 2

The release was very successful and there were many copies, including on 8-Track. For some reason, most copies moved the live tracks to the second side.

Jethro Tull MY GOD!

Early CBM copy with matrix MG1

Dittolino renamed the album.

Here we have copies with matrix markings: MY GOD SIDE A / B

There are copies with Rutgers University labels adorned with a large stamp:

and a printed covers version with yellow labels bearing the number 63 122 (matrix markings: EL-A / B), which manages to misspell the name of the band:

**

Back to TMOQ versions:

Ken reissued the album ca. 1973/4 with the matrix numbers  1819-1 70-246-M / 1819-B 1/2-2 70-247-M

Jethro Tull My God ins

These can be found with farm or smoking pig symbols. This is one instance where Ken’s claim that that ‘farm pig = not always a Dub made LP’ and ‘smoking pig = not always a Ken made album’ holds true, as the 4-digit prefix gives it away as a later Ken pressing. This title can be found as part of the generic cartoon reissue series as well.

When Dub reissued this album together with his other Tull release Nothing Is Easy, the matrix numbers were ATHAPASCAN RECORDS IN CONCERT 20½ A / B  -or- 20½ – 1 70-246 M / 20½ – 1 70-247 M

Jethro Tull MG NIE red blu

 

 

 

 

Grateful Dead Live DeadGrateful Dead Live Dead 2

The Dead played two sets at the ‘Closing of the Fillmore West’ five day concert series. Their performance took place on July 2nd, lasting into the early hours of the 3rd.Same source as Dittolino’s Creedence Clearwater Revival release featured on this blog recently.

“This was an FM broadcast. I heard it live on KMET FM in Los Angeles. I was a lifeguard in Newport Beach at the time. My friends and I were all pumped up to hear this show since KMET was building it up all week long. We gathered around the stereo and listened, and I remember the NRPS show too. It was also broadcast. I remember wishing I had a recorder, but it was 1971, I was a poor just graduated high school kid and, oh well, hey, I just found the show again when I was 53. Not bad! This show was also available a few months later on a bootleg vinyl that I bought and wore out on the old phonograph device.”
“This is from the KSFX-FM broadcast the night of the show.KSAN in SF and KMET in LA also aired the live broadcast.”

Read more: http://www.deadlistening.com/2009/04/1971-july-02-fillmore-west.html#ixzz382BoxzSC

Set 1:

1 Bill Graham Introduction 00:53
    2 Bertha 06:01
    3 Me And Bobby McGee 08:01
4 Next Time You See Me 05:13
    5 China Cat Sunflower 07:25
    6 I Know You Rider 06:01
7 Playing In The Band 09:00
    8 Loser 10:12
    9 Ain’t It Crazy (The Rub) 05:36
    10 Me and My Uncle 04:16
    11 Big Railroad Blues 03:49
    12 Hard To Handle 08:03
    13 Deal 07:20
    14 Promised Land 03:20
    15 Good Lovin’ 18:25

Set 2:

1 Sugar Magnolia 07:12
    2 Sing Me Back Home 10:42
    3 Mama Tried 04:01
    4 Dedication to Owsley 00:54
    5 Cryptical Envelopment 02:06
    6 Drums 05:16
    7 The Other One 16:18
    8 Big Boss Man 06:14
    9 Casey Jones 06:39
    10 Not Fade Away 04:11
    11 Goin’ Down The Road Feelin’ Bad 08:39
    12 Not Fade Away 09:26
    13 Johnny B. Goode 03:57

It seems that many of these performances made it onto the double set but I am not enough of an expert to confirm what is missing.

 

Grateful Dead Mystery of the

This auction from February of 2013 called the album mystery of the dead but this was most likely a made up title but this is obviously a copy of LIVE DEAD, visually enhanced by a former owner with the added photos.

“this is a mysterious looking album […] on dittolino label, the cover has a picture of garcia on the front and the band on the back, i hav’nt seen the garcia picture before the back one looks like it may have come off historic dead? i do not know,  the songlist side 1. 1. bertha 2. bobby mcgee 3. lied, cheated 4. china cat 5. i know you rider side 2. 1. playing in the band 2. loser 3. aint it crazy 4. me and my uncle 5. railroad blues 6. sunshine daydream side 3. 1. sing me back home 2. mama tried . casey jones 5. johnny b. goode side 4. 1. sugar magnolia 2.uncles john’s band 3 the other one, dedicated to owsley “in jail”, this is an album i have not seen before, i believe it to be very rare, this is a soundboard recording, live from somewhere, bill graham does an intro,”

***

This was a popular bootleg due to its excellent sound quality and was issued by many bootleggers. Who was first? I actually do not know in this case.

Grateful Dead live Dittolini b

Available in blue and pink. The front covers are identical but the back covers are not.

Grateful Dead Live Fillmore pink

Referred to as a Dittolino release at auction, this version looks like an early Berkely release to me, presented by “Record Revolution”. Hopefully, nobody happened upon this cover art while under the influence of a bad LSD trip – I’d hate to have this crowd come to life and jump off the cover.

Grateful Dead Live Ditto Inner

Grateful Dead live Dittolini

***

Grateful Dead F West HH 2

***

Grateful Dead F West HH

Matrix: HH Dead Fillmore

***

Grateful Dead Fillmore West g r

Grateful Dead Fillmore West cv

Garteful Dead Fillmore West mcv

Strange labels on these colored releases with the smoking pig logo.

***

Grateful Dead Fillmore W 2805

TMOQ 71014 – one of Ken’s releases and mentioned in the recordcollectorsguild.org TMOQ – 2 wiki but without a release date.          I would pinpoint the year to 1973 as ‘smoking pig’ 72012 – Alice Cooper – You’re All Crazier Than I Am  [to be distinguished from Dub’s # 71012: The Beatles Vancouver 1964 ] was released in that year. 

***

The TMOQ / mammary presentations MM 4 release recorded LIVE in concert – matrix: MEL (later editions with the printed Kama Sutra cover had DEAD-2/1), seems to derive from a radio broadcast from the Winterland in 1970 (October 4th?) and not from the last night at the Fillmore West as listed in HOTWACKS.

 

Fillmore West Closing

Two tracks – “Casey Jones” and “Johnny B. Goode” were officially released in 1972 on the 3 LP set Fillmore – The Last Days

031:

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.

032:

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.

****

033:

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.

****

034:

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]

710717_Dayton

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 recordcollectorsguild.org 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

LIVE AT HAMMERSMITH ODEON

Springsteen atHammersmith

A) Ruthless Rhymes labels. Orange/Blue/Yellow insert. Matrix BS 1975 (same for all versions)
B) Slipped disc labels. Various insert colors
C) Blue blank labels. Deep Yellow/Orange inserts
E) Raring Records label – first time with wrap-around insert ca. 1981                                                                 D) Smoking Pig labels with wrap-around insert

The bootleg section of brucespringsteen.it reports that the inserts used for C) & E) show signs of having been copied (I will spare you the discussion of shadows between monkey legs… ). More importantly, two types of inserts exist: The standard single sheet version and a slightly re-designed wrap around version with a Bruce-Landau meeting story on the flip side, reminiscent of of a lot of Vicky Vinyl product 1976-77 (see below):

Springsteen Hammersmith Odeon it

This live recording from 18 November 1975 has since been officially released in 2005 on the Born To Run: 30th Anniversary 3-Disc Set .

****

“E” Ticket

Springsteen E Ticket 6

Springsteen E Ticket

Springsteen E Ticket bBack of the LP track listing, obviously not written by a German native speaker

Springsteen E Ticket b2The number shown on the top right hand corner of the LP is identical with the matrix number. Also available with blank white and green “hörweite stereophonie” labels, as expected.

Side 1:

Rosalita (Come out tonight)      New York,NY,914 Studios(USA) 01-Jul-1973/1        Instrumental  
Kitty’s back                                                                                                    ”                            –         
Thunder road                               New York,NY,Record Plant(USA) 01-Mar-1975/1        –       
4th of July, Asbury Park (Sandy) New York,NY,914 Studios(USA) 01-Jul-1973/1     Instrumental

Side 2:
Walking in the streets          New York,NY,Record Plant(USA) 01-Mar-1975/1                     –   
She’s the one                                                                                                ”                                    –   
A love so fine              New York,NY,????(USA) 16-Oct-1974/1                                        Instrumental
Born to run                  New York,NY,914 Studios(USA) 01-Aug-1974/1                                    – 
Thunder road              New York,NY,Record Plant(USA) 01-Mar-1975/1                       Acoustic  
Jungleland                                                                                           ”                                   ending w. chorus

***

Then there were two advance copy versions that might not actually be genuine – confirmation needed:

Springsteen E Ticket adv

“A blank-cover pre-release is rumored to exist, and it should be a white stamped and hand numbered white sleeve with the same matrix and labels. It’s unclear the role of the so-called ‘advance pressing’ stamped cover edition with custom green labels(ST/MX1), since this circulated massively and at low cost in late ’80, and it seems a modern reprint, carrying an evident reprint of the ‘head’ variant of the label.” [brucespringsteen.it, from where I also borrowed a few images]

Springsteen E Ticket adv.png 2

In the 1980’s also reissued as a picture disc.

***

The book Warman’s American Records includes a picture of this bootleg with the caption “Bruce Springsteen was very upset when he saw this album “E Ticket”, available in independent record stores – with early rough mixes of songs from his Born To Run album.

****

BORN TO ROCK

Springsteen Born T RkSpringsteen Born T Rk bObviously not a genuine Ruthless Rhymes product. Also found with “Guilty” labels (another clue) and usually on black PVC.

Tower Theatre, Philadelphia (Upper Darby), PA, USA – December 31, 1975

“This show was the last of a four-night stand (27, 28, 30, 31 December) at the Tower Theatre. Recent events had given Springsteen much publicity and a national profile. Ninety thousand people consequently applied for tickets to see him at this three thousand seat venue. The first thirteen of the eighteen songs played appeared on the double LP Born To Rock (Ruthless Rhymes).

Mike Appel, Springsteen’s then manager, wanted to capitalise on the success of Born To Run with a double or triple LP of live performances. Accordingly, the Tower Theatre shows were recorded, along with concerts in Greenvale, NY (12 December) and Toronto, Canada (21 December), using the Record Plant’s mobile unit with Jimmy Iovine responsible for the recording. Songs from the now-legendary shows at the Bottom Line and the Roxy Theatre earlier in the year were also under consideration for the album. A live album would have been a good idea. Springsteen had already built up a formidable reputation as a live performer, enhanced by radio broadcasts of live shows and cemented by the production of bootlegs of these performances. In particular, Springsteen fan Lou Cohan had produced LPs of the Bottom Line and Roxy shows. As Clinton Heylin writes in his bootleg history, The Great White Wonders, this “was clearly one instance where bootlegs were helping to establish an artist rather than riding on the back of his success.” A live album would also presumably have been much quicker to produce, avoiding the excruciatingly prolonged process that had finally resulted in Born To Run, and getting another album into the record shops while interest in Springsteen was still considerable.

The reason that this live album failed to appear is bound up with the power struggle between Appel and Springsteen’s future manager, Jon Landau. According to Dave Marsh, in his book Born To Run, Springsteen “felt that the band’s onstage excitement wasn’t ready to be captured yet.” Marc Eliot’s The Making Of Bruce Springsteen tells a different story, suggesting that Springsteen initially favoured a live release but was dissuaded by Landau. Landau had been brought in to co-produce Born To Run. He had not only handled production duties but had done much to sort out the impasse and get the album released. Appel, seemingly wary of Landau’s influence, told Landau that he would, of course, work on the next studio album, but that he would not be required for the live LP. In a seeming attempt to marginalise Landau, Appel also pointed out to Springsteen that “it would be foolish to have Jon Landau as a producer of a live album where he had no experience.” As is well known, Landau supplanted Appel as Springsteen’s manager and no live album appeared.” [collectorsmusicreview.com]

****

SMALL TOWN BOY

Springsteen ST Boy bSpringsteen ST BoyMatrix: 24473

The back cover mentions ‘Contessa Records’, so this was clearly produced by someone else. Later repressed and now more commonly known as the Swingin’Pig release under the same title from the second half of the 1980s.