WCF releases

Starting around 1974 and until about 1976/77 U.S. made bootlegs by mostly TMOQ and Contraband, with the occasional other label release thrown in, were issued in Japan looking like budget editions of the originals. Any further information is, as always welcome. Most of them had the letters “JL” added to the copy of the original artwork (with the exception of a few pictured in this first post). The following order is not meant to be chronological as I do not have that exact knowledge.

The originals of the titles shown here appeared between 1971 and 1974.


JL 11 / 12: The BEATLES – YELLOW MATTER CUSTARD  [no JL #, textured cover]

Beatles YMC J 11 12

Beatles YMC J 11 12 detail


[No matrix #? – 108 mentioned in an eBay ad] The only Japan copy I have found so far that was pressed on colored PVC:

Stewart R Plynth J copy


The JL 100X Series:

Some have “JL” printed on the cover and some don’t; examples are shown below.

JL 1001  Kum Back  (WCF version)
JL 1002  Complete Christmas Collection  (TMOQ stamped/stickered)
JL 1003  In Atlanta Whiskey Flat
JL 1004  The Beatles On stage in Japan  (Pig’s Eye version)
JL 1005 Yellow Matter Custard  (CBM)
1006  Let It Be – Live  (Silver’s Greatest)
1007  Back in 1964 at the Hollywood Bowl  (Comic insert)

Thanks to Karl for the list and the two ‘side by side’ images from his huge collection.

JL 1001:

Beatles JL KB 1001Beatles KB 1001 lblMachine stamped matrices.

Beatles JL 1001 lbl 2

JL 1002:

Beatles JL 1002

beatles JL 1002 2


JL 1003:

Beatles JL 1003

Beatles JL 1003 detail


JL 1004:

Beatles JL 1004

Beatles 1004 lblBeatles (JL) 1004


JL 1005 Yellow Matter Custard  (CBM)

Beatles YMC 1005Beatles YMC 1005 bBeatles YMC 1005 lblBeatles (JL) 1005


(JL) 1006:

Beatles Let it be Live 1006

Beatles Let It Be Live detail

Beatles Let It Be Live lbl detail


(JL) 1007:

Beatles Bi64HoBo 1007Beatles Bi64HoBo 1007 det

Beatles Bi64HoBo 1007 lblAbove: The copied Shalom label vs an original below:

Shalom lbl

This is all I have found so far. Were there more in this series?


Moody Blues october 1972 5Moody Blues october 1972 lbl A

Moody Blues october 1972 blu

Release date: late 1972/early 1973

Moody Blues october 1972 2


Moody Blues october 1972 lbl

Above, alternative (non-CBM) label, possibly related to WCF releases.


The best analytical notes of these three titles are still the ones written by bootleg needle dropper “doinker”: “The recording “October ’72” is supposedly from the Nassau Coliseum in 1972 [They did not play there in ’72, see tour schedule at the end].  According to the Hot Wacks discography, the recording “Live On A Tuesday Afternoon” is the same show. Sorry guys, it isn’t. The recording is somewhat similar, the performances are not.

LOATA, along with its even rarer identical companion “Moody Blues Alive”, are perhaps the rarest of the Moodies live vinyl. LOATA was probably limited to under 200 copies, and only came out once, a very long time ago. To those who understand the following lingo, it’s an East Coast WCF pressing, made in either North Carolina, or Flushing, NY. I have no information about “Moody Blues Alive”, except that the pressing may be European. The cover was a small insert with a stoned-out face floating in a blue starfield.


Moody Blues Live On A Tuesday Afternoon

WCF cover and label design, similar to Bob Dylan Isle Of Wight


Moody Blues Alive

Moody Blues Alive b
Both pressings are quite good, but the production values were not. Some idiot added echo during the mastering process, and stopped and started the tape, producing a loud “thwack!” each time. It seems the tape was fast-forwarded and stopped to make the transfer as quick as possible.

“October ’72” came out more than one time. It’s probably best to call it a Berkely Records production (also East Coast, somewhat later than LOATA [I believe Berkeley Records was definitely a West Coast operation]). Most of the pressings were terrible, and this one is no exception. There are a few good pressings of this show by the way, but they all suffer from speed problems.

The real treat here is the impromptu version of “Oh! Suzannah!”. It’s great, short as it is.

Hope you like the shows! Many thanks to MoodySMB for help doing research.”


Live On A Tuesday Afternoon

Tuesday Afternoon
The Tortoise And The Hare
Melancholy Man
Are You Sitting Comfortably?
The Dream
Have You Heard? Pt 1
The Voyage
Have You Heard? Pt 2
Nights In White Satin
Legend Of A Mind

October ’72

Melancholy Man
Living In The Land Of Make Believe
Nights In White Satin
Are You Sitting Comfortably
The Dream
Have You Heard? Pt 1
The Voyage
Have You Heard? Pt 2
Oh! Suzannah!

Moody Blues 1972 US Tour dates:

MARCH 1972
22    Chicago, IL    International Ampitheatre  
23    Champaign, IL    UICU – Univ. Assembly Hall   
25    Detroit, MI    Cobo Arena   
26    Syracuse, NY    Onondaga Memorial Auditorium   
27    Baltimore, MD    Baltimore Civic Center   
28    Toronto, ON    Maple Leaf Gardens   
30    Boston, MA    Boston Gardens   
31    Buffalo, NY    Memorial Auditorium   
APRIL 1972
2    San Antonio, TX    Convention Center Arena   
3    Fort Worth, TX    Tarrant County Convention Center   
4    Oklahoma City, OK    Oklahoma Fairgrounds Arena   
5    Houston, TX    Sam Houston Coliseum   
7    Orlando, FL    Sports Stadium Arena   
8    Miami, FL    Hollywood Sportatorium   

21    Hampton, VA    Hampton Roads Coliseum    
22    Baltimore, MD    Civic Center    
23    New York City, NY    Madison Square Garden    (2 shows)

24    Philadelphia, PA    Spectrum  
25    Boston, MA    Boston Gardens  
27    St. Louis, MO    The Arena    
28    Milwaukee, WI    Arena    
29    Bloomington, MN    Metropolitan Sports Center  
31    Salt Lake City, UT    Salt Palace    
1    Los Angeles, CA    Forum
3    San Diego, CA    Sports Arena    
4    Long Beach, CA    Long Beach Arena

Dylan Isle Of Wight

This release went through many different issues released by different people in Europe and in the US. Most common are the TMoQ’s releases of this material (BD 521; 71050 & 1855). I will not document all of these variations, as they are already on bobsboots, I just want to mention the likely original issue. At the beginning, we find this 1970 British bootleg. “As with most early bootlegs, it was released with several packages that  varied slightly from one  another.  The first version  has an extra flap on the front.  It had a small blank black label and black vinyl.  It was issued with and without the title stamp. 

Dylan IOW orig

There was also a version issued that first year that had a small yellow sticker on the front cover with the title and a drawling of an island. “

Dylan Isle of Wight drawing

“The jacket of this 2nd run was either white or yellow.  The matrix on all pieces is C-7 A/B . In 1972 Contraband music released the same album with the same matrix and an additional ‘BEAVER REC. 104701/2’ and a very small ‘MOTION’.  It had a white jacket with a red and white insert, black vinyl, and the standard variety of blank or CBM labels [with or without] the pirate logo.  Copied from the original, but not in as good a quality. Matrix:  10470 1/2” [from]

Side 1: Highway 61 Revisited/ One Too Many Mornings/ I Pity The Poor Immigrant/ Like A Rolling Stone+/ I’ll Be Your Baby Tonight (not mentioned, later fixed on the CBM inserts)/ Mighty Quinn+/ Minstrel Boy+

Side 2: She Belongs To Me+/ I Threw It All Away/ Maggie’s Farm/ Wild Mountain Thyme/ It Ain’t Me, Babe/ To Ramona/ Lay Lady Lay

Tracks marked ‘+’ appear on Self Portrait

Dylan IoWight

WCF version.

Dylan IoW Isle lbl

Allman Brothers Nassau Col

Side 1: Wasted Words (6:05) / Done Somebody Wrong (3:40) / Statesboro Blues (4:01)
Side 2: One Way Out-> Stormy Monday (17:15)
Side 3: Midnight Rider (3:16) / New Instrumental (10:37)
Side 4: In Memory Of Elizabeth Reed (15:00)

Vol. 1 was rated “Poor mono” in Hot Wacks

Allman Brothers Nassau

Sides 1-2: Trouble No More->You Don’t Love Me->Les Bres (31:60)
Side 3: Whipping Post (18:30)
Side 4: Mountain Jam (17:00)

Vol. 2 was rated “Satisfactory mono” in Hot Wacks

Allman Brothers Nassau inner

Allman Brothers Nassau 3

Allman Brothers Nassau 4

As I have been informed, these copies pictured here are not CBM releases but second generation WCF releases before they evolved into Berkeley Records:

1. First, there was WCF.
2. Then, no name Berkeley releases in gatefold sleeves.
3. Berkeley Records was born.
4. And finally the Black Gold label.

Allman-Bros Nassau Coliseum Apr 30 73

The band’s second night at the Nassau Coliseum in Long Island, NY was officially released in 2005.

Review from ” The Allman Brothers Band Recording Company, founded in 2002 to issue archival live recordings, began by focusing on what most fans would consider the group’s peak period, its earliest phase, when guitarist Duane Allman was in charge. The first release, American University 12/13/70 (2002), and the second, S.U.N.Y. at Stonybrook 9/19/71 (2003), both prominently featured Duane Allman. But the third release, Macon City Auditorium 2/11/72 (2004), was drawn from a concert held a few months after the guitarist’s death, and this, the company’s fourth album, takes a further leap by chronicling a show held after the death of bassist Berry Oakley and the reconfiguration of the band to include new bassist Lamar Williams and pianist Chuck Leavell. When the Allman’s arrived at the Nassau Veterans Memorial Coliseum on Long Island, NY, for two concerts in the spring of 1973, they were, as annotator John Lynskey notes, moving into larger venues to accommodate their much increased audience, playing two shows at a 15,000-seat sports arena rather than theater dates. Even as tragedy threatened to overcome it, the Allman Brothers Band had become a very successful act by 1973. In the midst of the turmoil, the group was also trying to finish a new album, and, indeed, singer/organist/guitarist Gregg Allman announced to the crowd that the LP, Brothers and Sisters, would be out in two weeks. (It actually appeared three months later.) In anticipation, the band played “Wasted Words,” “Jessica,” “Come & Go Blues,” and “Ramblin’ Man” from the forthcoming album during the first set. The obvious difference between this lineup and the previous ones was in the changed arrangements due to the different instrumentation. Leavell covered for Gregg Allman on keyboards when he picked up a guitar, as on “Wasted Words,” but much of the time this version of the Allman’s was a two-keyboard/one-guitar unit rather than the two-guitar/one-keyboard configuration of Duane Allman’s time. That difference was particularly notable during the long jams on “In Memory of Elizabeth Reed” at the end of the first set and in virtually the entirety of the second set, as lengthy performances of “Les Brers in A Minor,” “Whipping Post,” and “Mountain Jam” succeeded each other. Guitarist Dickey Betts had turned to slide work in emulation of Duane Allman, and he was highly proficient, but the twin-guitar lines of old were gone, and the improvisational sections took a jazzier turn. the Allman Brothers Band remained a formidable performing unit in 1973, but it was a less directed effort than it had been in the past. (Typical of the sound of concerts at the time, the sound quality is muddy at first as the mixing board is adjusted, then improves. But it never achieves 21st century standards. “We hope the performance more than makes up for these flaws,” a sleeve note reads. For most Allman Brothers fans, it will.) “


Allman Brothers CtC

Sides 1-2 Macon Georgia segment of ‘In Concert’ October 1973
Sides 3-4 San Francisco Cow Palace, broadcast December 31 1973
Side 1: Done Somebody Wrong / Southbound / Midnight Rider / Ain’t Wasting Time No More
Side 2: Might Be Your Man / Ramblin’ Man / Whipping Post
Side 3: Statesboro Blues / Southbound/ Jessica’s Song
Side 4: Stormy Monday / Midnight Rider / Blue Sky / Ramblin’ Man

Rated “Gm”


Thankfully, at least the San Francisco broadcast exists in much better quality and complete:

Allman Brothers Band
Cow Palace 12/31/73
San Francisco CA.

01. Wasted Words  6:04
02. Done Somebody Wrong  6:02
03. One Way Out  9:50
04. Stormy Monday  8:59
05. Midnight Ride  5:00
06. Blue Sky  7:45
07. Elizabeth Reed  17:37
Set 2: (Happy New Year)
08. Statesboro Blues  6:58
09. Southbound  7:22
10. Come & Go Blues  5:27
11. Ramblin’ Man  8:06
12. Trouble No More  4:22
13. Jessica  12:59
13. Les Brers in A Minor > 6:09
14. Drums > 11:12
15. Les Brers in A Minor 14:34

Allman Brothers ctcoast ripped

Design-wise, a clear break and big change in direction from the previous CBM titles in the 3000 series – Dylan’s Help!, Tull’s Baltimore And Around and the Beatles’ The Never Released Mary Jane and these Allman Brothers doubles. They almost do not look like CBM releases at all [Update, that is because the first two aren’t – they are second generation WCF/pre-Berkeley Records]. These last two images ensure us that these are true Contraband releases after all. The artwork for all three titles was obviously prepared around the same time. Year of release: 1974

Band What'cha Want Mama!


Band What'cha Want Mama! 2

Band What'cha Want Mama! disc


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)

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” “













Dylan GWW 2

Shown here is the WCF version that CBM took the cover design and release numbers from (see the CBM matrix #s below).

Dylan GWW red lbl

Dylan GWW red lbl 4

From “In 1970, the U.S. Label ‘Contraband’ … also known as ‘CBM’ ; released what is possibly the first bootleg to have a printed cover  (gwa 1Ad).  It is a glue-on insert with a 1965 Daniel Kramer photo along with the song titles.  It was pressed on black vinyl with yellow CBM labels [I actually do not think that this was the original first CBM version but the one shown here but I may have gotten mislead by two listings who in turn based their identification on the labels saying 40-A/B & 41-A/B, so take this with a pinch of salt, as it may turn out to be yet another version CBM only copied the cover from, as the missing record symbol in the lower right corner of the cover above indicates. bobsboots does not list this version at all.].  There was also a version released that had a picture of King Kong on one label, and a dragon on the other.  Unfortunately, all of these copies of the original gwa 1Aa are very poor quality. 

3 stars     NMP175 [I doubt anyone would pay that much for it these days]

Matrix: LP one: 1 40 A / 2 40 B   LP two: 1 41 A / 2 41 B

There are no fewer than fifty separately identifiable albums that have either copied this material directly, or have released this material in varying qualities under the same title.” So, no wonder that things are a little cloudy.

From an eBay ad: “Purchased by me at Reznick’s Records in 1970.”

There are the usual cover stock and label variations (I will not show them all as I have a limited image upload quota and imho showing the pirate logo on a yellow and green background, etc. plus the King Kong variations gets tedious when there are 100+ listings to do this for) as the album went through several re-pressings:

Dylan GWW 1

Dylan GWW 3

Dylan GWW 4

Dylan GWW 5