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WCF releases

WCF # 39 should be their first copy of Ken & Dub’s Bob Dylan STEALIN’ release based on the matrix number but someone goofed and the number ’37’ was re-used in error on the label.

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Dylan GWW WCF 4

Dylan GWW WCF 5

 

 

USA: 1971/2

This WCF copy is not mentioned in HOTWACKS or bobsboots (and based on that in Roques’ book Great White Answers?) with the Contraband copy being singled out instead. In addition, the timeline in bobsboots is incorrect. There, just as in HW, they place Contraband’s version first and date it 1970:

http://bobsboots.com/boots/bt-g0091Ad.html

Dylan GWW CBM

  • I believe the blog has already shown convincingly that Contraband tended to copy WCF and its cover designs and not the other way around and that the catch phrase “compatable (sic) for STEREO” was WCF’s. The matrix numbering system originated with WCF as well and not the other way around as described in bobsboots. Overlooking WCF’s first version has led to this error.
  • I believe the correct year for this CBM copy is around 1972

bobsboots then makes a connection between the CBM copy and the next GWW release by WCF in a folder-type cover:

Dylan GWW outer

 

Dylan GWW inner

The comment on bobsboots is (my corrections in [ ]: ” In 1971 [ca. 1973/4], the U.S. Label ‘ Berkeley ‘ released one of the first bootlegs to have a full-printed cover. (a cover that was actually printed on the cardboard stock rather than being simply an insert. [bootlegs have had printed covers, even using color since 1970, see The Beatles – Shea The Good Old Days, for example ) (gwa 1Ae). It is a wraparound folder type cover. The front is a photo from the Isle of Wight 1969 . The back has four pictures from 1966 . It was pressed on black vinyl with white or various colored labels. The song titles on the back were reproduced from the ‘Contraband’ cover [incorrect, this had always been WCF’s track list], and the album itself was copied from this previous version [CBM copied from WCF]. (Pressed from the same master plates; or is possibly, in fact, the same album [a reference to the identical matrices, as they had been copied by CBM as well. It is correct that this is a repressing using the same plates of the original WCF 40 A/B, 41 A/B release) The sound quality is the same. ”  http://bobsboots.com/boots/bt-g0091Ae.html

Dylan GWW b

Dylan GWW

 

 

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Moody Blues Live On A Tuesday Afternoon 3

Moody Blues Live On A Tuesday Afternoon lbl A

Moody Blues Live On A Tuesday Afternoon lbl B

Seems to have been a very limited pressing for some reason as it’s fairly rare these days. Inserts are usually green or b&w.

USA: 1971/2

Until today, we still don’t know where and when this was recorded. HOTWACKS got it completely wrong when it claimed this was just a clone of Contraband’s october 1972 .

Recorded after the release their studio album A Question Of Balance (August 1970), the winter tour of 1970 seems like the most likely source. If anyone knows more, please leave a comment.

Moody Blues 1970 – ’71 set lists:

A NIGHT AT THE BOSTON GARDEN
BOSTON GARDEN, BOSTON, MA
MARCH 24, 1970

MOODY BLUES (51:36)
1-INTRO/TUNING
2-GYPSY
3-SUNSET
4-DR. LIVINGSTON I PRESUME
5-NEVER COMES THE DAY
6-PEAK HOUR
7-TUESDAY AFTERNOON
8-QUESTION
9-ARE YOU SITTING COMFORTABLY > THE DREAM > HAVE YOU HEARD

 

THE MOODY BLUES
LONG BEACH ARENA
APRIL 4, 1970

1. SUNSET
2. DR. LIVINGSTON, I PRESUME
3. NEVER COMES THE DAY
4. PEAK HOUR
5. TUESDAY AFTERNOON
6. QUESTION
7. ARE YOU SITTING COMFORTABLY >
8. HAVE YOU HEARD
9. NIGHTS IN WHITE SATIN
10. LEGEND OF A MIND
ENCORE:
11. RIDE MY SEE-SAW

 

Santa Clara Fairgrounds
Santa Clara, Ca.
April 5, 1970
1: gypsy 3:46
2: sunset 4:28
3: Dr. Livingston, I presume 3:44
4: never comes the day 6:03
5: peak hour 5:49
6: Tuesday afternoon 5:04
7: question 7:46
8: are you sitting comfortably > a dream >
have you heard > the voyage 14:11
9: nights in white satin 5:59
10: legend of a mind 7:09
11: ride my see saw (encore) 4:09

 

Winter 1970:

Moody Blues 1970-12-06 Will Rogers Auditorium Fort Worth TX

1. Gypsy
2. Tuesday Afternoon
3. Tortoise And The Hare
4. Question
5. Melancholy Man
6. Are You Sitting Comfortably
7. The Dream
8. Have You Heard part 1 / The Voyage
9. Have You Heard part 2
10. Nights In White Satin
11. Legend Of A Mind
12. (applause)
13. Ride My See-Saw

 

Moody Blues 1970-12-08 McFarlin Auditorium Dallas TX

1. Gypsy
2. Tuesday Afternoon
3. Tortoise And The Hare
4. Question
5. Melancholy Man
6. Are You Sitting Comfortably
7. The Dream
8. Have You Heard part 1 / The Voyage
9. Have You Heard part 2
10. Nights In White Satin (end cut)
11. Legend Of A Mind (beginning cut)
12. (applause)
13. Ride My See-Saw

 

1971 Fall Tour:

Cobo Arena
Detroit, Michigan
October 8, 1971
1: gypsy (fades in) 3:18
2: Tuesday afternoon 4:21
3: the tortoise and the hare 3:32
4: 3:53
5; after you came 4:50
6: melancholy man 6:32
7: 5:53
8: the story in your eyes 4:34
9: are you sitting comfortably > the dream 5:24
10: have you heard? > the voyage 9:53
11: nights in white satin 6:10
12: legend of a mind 9:37
13: question 7:04
14: ride my see saw (encore) 3:30

 

 

 

 

Dylan Stealin orig

Dylan Stealin orig b

Dylan Stealin'

Dylan Stealin' 2

Dylan Stealin' lbl 1

USA: 1971/2

Matrix: 39- A X  /  39- B X

’37’ on the labels vs ’39’ in the matrix, no wonder someone got confused.

This and the Hendrix insert are the first were WCF used the ” Compatable for   STEREO ” phrase.

STEALIN’, the 2nd rock bootleg ever produced, had originally been released by Ken & Dub in September of 1969.

WCF/Berkeley Records released this title two more times. First, ca. 1974 as part of their series of releasing albums in a wrap-around folder cover: “There was also a release that has an orange folder wrap-around cover with blank labels, & no matrix.” (bobsboots.com)

Dylan Stealin 2010 2

Where did the inner sleeve come from though?

Dylan Stealin 2010 3

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And in 1975, when they reissued many of their old stampers in b&w covers and branded as Berkeley Records (with a fake UK address):

Dylan Stealin 2010 b&w

Dylan Stealin 2010 b&w b

The matrix number was now ‘ 2010 A / B ‘ and bobsboots reports: “This Label had been been releasing titles by copying TMQ LPs and creating their own cover. The quality of the recordings was therefore less than the original TMQ. Since this LP has the same unique track order as the TMQ release, one would assume that this was a copy of it. However, the quality on this release is just as good as the TMQ version.”

 

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Hendrix Live In Hawaii 4

Hendrix Live In Hawaii lbl 37-A

Hendrix Live In Hawaii lbl B

The track names are all incorrect. When CBM released this album as Rainbow Bridge, they (re-)used the same track names.

USA: 1971/2 – TMOQ’s MAUI, HAWAI album (also a copy of INCIDENT…) was released in June of 1971, so WCF’s version likely came later.

If you know the matrix number, please leave a comment.

Just like STEALIN’ this was another title that was copied many times by different bootleggers. It goes back to this somewhat obscure US release on a label referred to as Dragon:

Hendrix Incident ARBridge cvr 2

Hendrix Incident ARBridge lbl A

Hendrix Incident ARBridge lbl B

 

Hendrix Incident ARBridge

The two inserts that came with the album were thankfully picked up by the copying labels and used for their own art work. WCF picked the left one and TMOQ the right one.

Hendrix Maui, Hawaii

Source: A fragmented audience recording from both free Hendrix and the Experience shows July 30th, 1970 , which became known as the “Rainbow Bridge Vibratory Colour-Sound Experiment”. 17 minutes of heavily edited live material appear towards the end of the film “Rainbow Bridge”. Hendrix’ performance was arranged to inject some much needed excitement into the floundering film project. The JHE had a show to play in Honolulu on August 1st anyway, so the timing fit. Less than 1,000 people saw the actual sets Hendrix played that day. The movie was released in the fall of 1971.

Disc two contains an audience source from this show but is far from complete. Its origin is unknown to me although it could be taken from Incident At Rainbow Bridge, Maui, Hawaii, a single LP on the Dragon label and contains only a few tracks from the show. It sounds like it is sourced from very clean vinyl and has commentary from someone during “Guitar Intro” which is really the intro to “Hey Baby” from the early set. The quality is fair to good and will appeal to serious Hendrix collectors. Jimi’s guitar is high in the mix with the drums almost nonexistent but it is still an interesting listen where Hendrix is in excellent shape and makes me wish I had the entire audience source. The third track is actually “Jam Back at the House/Straight Ahead” and not “Villanova Junction Blues” as listed. “Here My Baby Calling” is “Here My Train A Coming” from the early set and “Incident At Rainbow Bridge” is the proper “Villanova Junction Blues” which segues into a minute of “Ezy Rider” that has the drum intro edited with the tail end of the song. This audience source is very fragmented but still a nice inclusion in the set.” (from a review of the CD bootleg Maui Hawaii on the Scorpio label)

from an eBay ad: “The introductory minute of side one is an overview of what we are about to hear from who, I assume, is the person recording this concert. It’s an excellent tribute and introduction to a fabulous performance. The recording is very well done, and the playing is unlike anything you have ever heard. The track list is a little strange because, while there are only five tracks, you’ll hear pieces of “Red House” and “Hear My Train A’Comin”, as part of the noted tracks.
Rainbow Bridge Vibratory Colour-Sound Experiment, Haleakala, Kailua (Maui) (HI), United States. 30th July 1970, 1st show:
Side A 1. Intro / Hey Baby (New Rising Sun) (titled ‘Some Slow Thing’) 2:07 [“This track has a spoken introduction dubbed over by an unknown male voice. This was added later, not spoken at that time.” Geldeart/Rodham “From The Benjamin Franklin Studios Part 2]

Rainbow Bridge Vibratory Colour-Sound Experiment, Haleakala, Kailua (Maui) (HI), United States. 30th July 1970, 2nd show:
2. Red House (titled ‘Boogie It All Together’) 6:50
3. Beginnings / Instrumental Jam / Straight Ahead (titled ‘Guitar Improvisation’) 11:38

Rainbow Bridge Vibratory Colour-Sound Experiment, Haleakala, Kailua (Maui) (HI), United States. 30th July 1970, 1st show:
Side B 1. Hear My Train A Comin’ (titled ‘Get On Home Boogie’) 8:37

Rainbow Bridge Vibratory Colour-Sound Experiment, Haleakala, Kailua (Maui) (HI), United States. 30th July 1970, 2nd show:
2. Villanova Junction / Ezy Rider (titled ‘Stevie’s Walk’) 6:52
Total duration: 36:04

The Bootleg release history for this title, slightly amended from Geldeart & Rodham’s book:

B12a. INCIDENT AT RAINBOW BRIDGE MAUI, HAWAII (Dragon)
B12b. MAUI, HAWAII  (Trade Mark Of Quality JH 106) – released June, 1971
(Trade Mark Of Quality TMQ 71018) RE
B12c. LIVE IN HAWAII-1970 (WCF: Hen 37)
B12d. MAUI, HAWAII (no label listed, deluxe cover, see below)

Hendrix Maui, Hawaii orig

Hendrix Maui, Hawaii orig b

 

Sly & TFStone Greatest Hits Live

The label says “FAMILY”.

USA: 1971 – this seems to be one of the rarer WCF releases.

Source: Dutch VPRO radio recording of a live performance during their European tour recorded at Kasteel Groenevelt in Baarn, The Netherlands, broadcast in the last episode of a program called “Piknik”. The date is usually given as 1970-09-10.

The “Piknik” program shows were recorded in front of an audience and different parts of the shows were broadcasted on TV in mono and in FM stereo. As you can hear below, the audience sounds quiet and small.

 

“The current pride of VPRO-TV is Piknik, a bi-weekly show which broadcasts a live three-and-a-half hour pop concert from locations around Holland.

Piknik has to be the least structured television show on the air. About 400 Hollanders ranging from infants to senior citizens, but most of them between 15 and 24, are bussed to a secret location where stage and facilities are set up. The audience spreads itself across the terrain, talking, eating, sleeping, cooking on provided fires, making out and playing instruments. A certain amount of dope is smoked. At 7 PM, the cameras are turned on, and Piknik is on the air.

“Whatever happens, we film,” says Roelof Kiers, executive director and creator of Piknik. “The performers and the audience are equal parts of the show. We’re just here to communicate them to the viewers. No one is herded about or told what to do on Piknik. The five cameras just record without interfering. As on VPRO Friday, the Piknik microphones and cameras are open to individuals and groups who think they have something to say.

Piknik has attracted some of pop’s top talent. On the last show of the season (September 10), the first Piknik in color, Sly and the Family Stone, Canned Heat and Daddy Longlegs were featured. Frank Zappa made a big hit in June, and ended up playing overtime. With Piknik’s flexible structure, this was no problem, but when Traffic had to bow out after the show had started — their organ was broken — they had to ask another act to do a second set. The cameras keep grinding no matter what. In July, a freak cold front and rain storm hit the show, but audience, musicians and crew gritted their teeth and struggled through.

Some two million viewers, happy to escape from reruns, watch Piknik, and not all of them are young. The second biggest group of viewers are between 35 and 64 years old. Predictably, the biggest group are the teenagers.

And there are signs that Piknik viewers are fairly hip. On a recent show, a local topless dancer joined Doctor John in his act, but there was only one call of protest from a viewer. A couple of years ago there would have been a deluge.

One good aspect of Piknik is that performers mix with the audience before and after they perform. There are no dressing rooms. “Performers are not treated as stars,” says Kiers, “they’re treated as people.”

(Rolling Stone, October 15, 1970 issue in The Kabouters Are Coming! The Kabouters Are Coming!)

vpro_piknik_sm

Band Live in Cali # 2 c

Band Live In Cali # 2 detail

Band Live In Cali # 2 discs

WCF’s first version came with dark blue/purple labels with silver print and in a gatefold sleeve. Compare this with the reissue in the copied Rubber Dubber folder-style cover – last entry below).

Band Live in Cali inner

USA: 1971

The Band’s performance at Hollywood Bowl on July 10th, 1970, a VG to EX capture originally released by Rubber Dubber in two different versions under 70-006.

A deluxe one:

The Band Real Old Time 3

The Band Real Old Time b det

The Band Real Old Time b

And a simple b & w cover version:

The Band LatHollywood Bowl

Finally, around 1974, with Rubber Dubber long out of business, WCF reissued this title and copied their original deluxe cover design with the following differences:

  • While the front cover remained the same, the two circles on the back cover (“Rubber Dubber”and “$6”) were removed:

The Band Real Old Time b2

  • the label designed reversed back to the WCF original label design stating “Band” and “Rubber” but these were now turquoise:

Band Live in Cali # 2 RE lbl 34A

Band Live In Cali # 2 RE lbl 35A

  • Instead of a gatefold sleeve, the usual folder type outer sleeve construction was used:

Band ROTB RE folder.jpg

This much later version is the one listed in HOTWACKS, giving the impression of listing a Rubber Dubber title with a WCF matrix.

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The Band HB '70 ad

Rolling Stones Euro Tour 1970 Rope

The first appearance of the word “STEREO” on a WCF self-designed slip sheet (regardless of the fact that the recording you bought may actually have been in mono), which would later evolve into their trade mark phrase “Compatable for STEREO”.

Rolling Stones Euro Tour 1970 Rope lbl

Rolling Stones Euro Tour 1970 Live 32B

USA: 1971/2

While TMOQ decided to tweak Rubber Dubber’s original of the Stones recorded at Essen, Germany’s Gruga Halle on 7th October 1970 (47 years ago to the day, I just realized!) and release it as a single album,

Rolling Stones Euro Tour Live 1970 red lbl

 

Rolling Stones Europ Tour 1970 red c

(Ken’s story how Scott Johnson, the man behind Rubber Dubber reacted to this can be found here.)

the folks at WCF decided to keep it as a double album despite the rather short running times (side two not even reaching 10 minutes as shown above).

Dittolino’s copy the rolling stones in concert had previously been shown in this post.

HOTWACKS listed the ROLL & ROPE Records version as its master entry with Rubber Dubber having to make do with running under “Also available on…”. Their quality rating was only “Gm” but Rubber Dubber’s original release is better than that.

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Essen 1970.jpg

Essen 1970 – where a female audience member would steal Mick’s famous belt (seen here in this Essen photo) right of the stage floor (which he had taken out of its loops for the whipping act he performed during “Midnight Rambler”).

Led Zep BH

The insert is usually brown/rust colored.

Usually found with blue or yellow “LED” or blank white labels:

 

 

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discogs gives the impression that two different pressings can be found for copies with yellow labels. Those with RP 30 A/B 31 A/B matrices and those reading S-2549, S-2550, S-2551, S-2552. However, this may simply be a case of images and listing not matching. I suspect the S-25XX versions were not produced by WCF.

Shown here is a copy with confirmed S-25XX matrix, listed in HOTWACKS as Zeppelin Records version:

Led Zep BH S-25XX

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USA: 1971/2

HOTWACKS states: “WCF – recording runs into the labels on S3 and 4”

One of the many copies of this famous early TMOQ release. The insert copied straight from an early TMOQ reissue (1,2,3,4 labels with printed double ring/borders – version).

Led Zep BH 1st red bl b sm

 

Contraband would later copy this insert (before adding their logo) plus their matrix numbers were the same (30 and 31 A/B):

Led Zep Blueberry H 30 31 II

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Around 1974, Berkeley Records reissued this title in their folder cover series, which featured images of the artist(s) on the back panel. The matrix numbers were unchanged: 30 A-/30 B, 31 B-/31 A

Led Zep LOBH