Tag Archives: vinyl records cover art

“Vicki Vinyl began her apprenticeship as a junior partner to one John Wizardo, whose releases were the only serious rivals to the Kornyfone family of labels. Though he did not adopt his moniker until the mid-Seventies [1975, I would say], Wizardo had been a fanatical collector of bootlegs from the outset, and it was whilst attending the Orange drive-in swap-meet, that he met Vicki Vinyl, then girl-friend of college kid Jim Washburn, who was immediately impressed by ‘his wizard-like appearance and aviator shades, not to mention the boxes of ultracool bootlegs he was selling.’ Wizardo was, in fact, just 16 years of age, but had already been turfed out of high school for publishing his own underground newspaper. Washburn stood by while Wizardo and Vicki began to develop their fledgling interest into a full blown business.

   Washburn: While other kids their age were joining the Junior Jaycees [“a leadership training and civic organization for people between the ages of 18 and 41. Areas of emphasis are business development, management skills, individual training, community service, and international connections.”], the pair made bootlegs, beginning with two Pink Floyd albums and a recording of The Beatles at the Hollywood Bowl. They titled one Floyd album after an old Jan & Dean record Take Linda Surfin’ while naming the other Miracle Muffler … [this would prove my theory stated in my Pink Floyd at Hamburg’s Musikhalle post that these albums were the first ever Wizardo releases] Their Beatles album was packed with extras, such as a mimeographed paper insert with hair drawn on it – advertised as a ‘free Beatles wig’ on the cover – and a press release declaring: “Wizardo Records discovered The Beatles at the Hollywood Bowl in 1964. Knowing a good thing when we saw one, we took the liberty of releasing this record album. We hope you enjoy listening to it as much as we enjoy making money. [does anyone know which title this is? Does not seem to match any listed under Wizardo]”

Wizardo’s perverse humor and eclectic tastes were duly displayed by releases from […] Elvis Presley, Curved Air, Harry Nilsson, Alice Cooper, Lou Reed, Captain Beefheart, Roxy Music, Jan & Dean, Kiss and Rick Derringer, making the parameters of who could be bootlegged ever more elastic. However, The Beatles were Wizardo’s real love and the one area where he could compete with Ken in accessing material.” [Heylin in Bootleg: The Rise & Fall of the Secret Recording Industry, p. 88]

Larry Feign (born December 5, 1955), an American-born cartoonist and writer, is best known for his comic strip The World of Lily Wong. […] Later he co-created “Billy Wizard”, which began as a collaboration in high school with Jon Tschirgi, but he continued it alone throughout college. Billy Wizard was also the mascot of a bootleg vinyl record label, “Wizardo Rekords”. He and Tschirgi also formed a rock band which released one LP record in 1976 under the name The B. Toff Band, and a 45 rpm single in 1978 under the name Billy Wizard.” (from wikipedia)

B. Toff Band

I’ve been informed that Jon/John is actually on the left.

B.Toff Band 21 GG b

WRMB 373, released in 1976, not listed in Hot Wacks, as it is original music.

B. Toff 373-insert1-front

B. Toff 373-insert1-back

One track had been released before on a Wizardo Records bootleg: A year earlier they tried to “foole” Gentle Giant collectors by including their own “March of the Trolls” – see song # 5 on side 1 above – as a Gentle Giant studio outtake on WRMB 309 ‘Playing the Foole in Wonderland’.

Song # 11, “Honky Tonk Savior” is followed by a girl accusing Jon of being “really repulsive” … girl: “you make me sick!” – Jon: “why, doing what? What did I do wrong?” – “I don’t know, I just wanna go puke!” – “well, I’ll stop recording then…” – “yeah, that’ll be a good idea!”

One wonders how many were pressed … and how many were actually sold. The days when this LP sold for hundreds of $$$’s do seem to be over though. In April & May 2013, one copy has so far failed to sell in a number of successive eBay auctions where the minimum bid was lowered in steps of $25 until finally still not finding takers at $150.


Billy Wizard 45

The 45; a copy sold for $400 in November of 2012 and the seller had the following to say:

“Billy Wizard and the K-Mart Studio Orchestra recording of “Nazi Love” and the Monkees “Steppin’ Stone” (the first punkish recording of this soon to be punk staple), released in 1977 as Wizardo Bootleg Rekords SS-100.

Here’s the story on this: the Orange County record bootlegger known as Jon Wizardo and his friend Larry were among the first of the Southern California bootleggers, and had a sense of humor, such as releasing the first boot of the Beatles 1964 Hollywood Bowl concert with a Xerox insert of a cut-out paper Beatle wig to tape to your head.

The pair had always liked mischief—they’d put out an underground newspaper with Billy Wizard comics in high school—and they realized it was a short jump from making records of their musical heroes to putting out records of themselves.

So, on a home reel-to-reel recorder, they laid down these two tracks, never imagining that decades later it would become a collector’s item cloaked in mystery.

Released on the Wizardo label, and made in the same LA plant that pressed bootlegs for Wizardo, TMOQ and other boot labels, the record actually got some airplay on Dr. Demento, until the good doctor agreed with listeners that it was just too offensive and banished it from the airwaves.

There has been speculation over the years that “Nazi Love” was somehow a product of the So Cal racist skinhead scene. Nope. One of its makers was Jewish, and both were just having some juvenile fun, pushing the “Nazis are funny” ethos of “Hogan’s Heroes” one or two goosesteps further.”

As if the cover wasn’t offensive enough, it’s no match for the back:

Billy Wizard 45 b


J Wizardo Recently

Rolling Stones Remember the kind of

Rolling Stones Remember the kind of 2

Side 1: Cops & Robbers (3:38) (recorded 19 March 1964 for the BBC, taken from a rebroadcast in “The Rolling Stones Story”, BBC Radio 1, April, 1973 which served as the source for many other vinyl boots from the era as well                                                                                                                       Memphis Tennessee (2:18)  (recorded for BBC’s “SATURDAY CLUB”, taken from same rebroadcast date)                                                                                                                                                    Roll Over Beethoven (2:12)  (same as above)                                                                                          Fanny Mae (2:06)  (^ recorded 20 August 1965 for the BBC, taken from a rebroadcast in “The Rolling Stones Story”, BBC Radio 21, April, 1973)                                                                                           Let It Rock (2:32)                                                                                                                                                       Love In Vain (5:52)  
Side 2: Till The Next Time (4:34)/ It’s Only Rock ‘N’ Roll (3:24)/ Ain’t Too Proud To Beg (3:45) (soundtrack for promo films shown on “Don Kirshner’s Rock Concert”, 19 October, 1974, suffering from audible hiss)                                                                                                                              All Down The Line (4:00)/ Bye Bye Johnny (2:55)

Sound quality is listed as good and satisfactory stereo in Hot Wacks.

I would like to continue by presenting some rarer releases. First up, a look at the ‘Cream of the Crop’ label.

Cream o t Crop lbl

Cream_of_the_Crop_Records 2

Cream of the Crop Records were run out of Chapel Hill, NC, also home of the Pied Piper catalogue many of us remember:

Pied Piper logo

I only found three bootleg releases for Cream of the Crop, I differentiate between bootleg and official releases here, as they released at least one official album as well, an album called Store Bought by The Blazers that came out in 1977 (# 7956).


Dylan Nashville Sunset + pbl

Dylan Nashville Sunset 2

Image shot at 1974 Chicago Stadium show

Dylan Nashville Sunset b

Year of release: 1975  – Matrix:   BD #1 / BD #2  340

Source: Dylan/Cash sessions from 16 & 17 February 1969 at CBS studios, Nashville. This was the first release of this material. LP is rated as “a very rare piece” on, as well as “7 stars” for quality.

However, it would be improved upon by the better sounding Dutch bootleg The Dylan Cash Session just a few weeks later (“pressed from a very clean sounding tape source. It includes the track ‘Blue Yodel # 4’ not found on the former, but deletes ‘T for Texas’ “).

Dylan Cash Session 3

Originals have a laminated cover and blank labels.

In 1977, Vicki Vinyl copied the Cream of the Crop LP and reissued it on her Dragonfly label, with the cover of the Dutch original (causing a track list/LP content mismatch due to the two track difference described above). It also exists with Ruthless Rhymes labels, as many Dragonfly labeled releases do.

Dylan Cash Session 2 comments on the Dragonfly version: “The sound quality is inferior to the original. It uses the same basic cover, however, as the original Dutch version of the same name. The only cover difference is that the image on this front cover is slightly larger and much darker than the original.”

When this title was reissued again “from the press of GLC and TMOQ” the Dutch LP was used again as the original “pressed on all new master plates.”:

1979: On black and white floral design labels with a ‘I’ & ‘II’ designating each corresponding side.

1983: With a 10×12 insert and a purple smoking pig label.

Dylan Cash Session GLC

Dylan Cash Session GLC 2

1984: As LXXXIV Series # 34. The cover is a plain white jacket with a 10×12 insert of a photo of Dylan backstage in 1964 and the smoking pig logo. The back is stamped “ltd-100” with an individual number 1-100. The virgin vinyl is translucent green, pink, or splatter vinyl.

Dylan Cash Session


From wikipedia: “Sometime during that session, country legend Johnny Cash stopped by to visit. A friend and label-mate of Dylan’s as well as an early supporter of his music, Cash had been recording next door with his own band. The two wound up recording a series of duets, covering Dylan’s “One Too Many Mornings” and “Don’t Think Twice, It’s All Right” as well as Cash’s own “I Still Miss Someone”. None of these were deemed usable, but Cash returned the following day to record more duets.

The session on February 18 was devoted exclusively to duet covers with Cash. “One Too Many Mornings” and “I Still Miss Someone” were revisited, and rejected yet again. “Matchbox”, “That’s All Right Mama”, “Mystery Train”, “Big River”, “I Walk the Line”, and “Guess Things Happen That Way” — all made famous by celebrated Sun recordings performed by Carl Perkins, Elvis Presley, and Cash himself — were all attempted on February 18, but none of these were deemed usable. Covers of Jimmie Rodgers’ “Blue Yodel #1” and “#5” [missing on the Cream of The Crop LP], Cash’s “Ring of Fire” (written by his wife, June Carter, as well as Merle Kilgore), “You Are My Sunshine”, “Good Old Mountain Dew”, the traditional ballad “Careless Love”, the traditional hymn “Just a Closer Walk with Thee”, “Five Feet High and Rising”, and “Wanted Man” (a song written by Dylan specifically for Cash) were also attempted, but all were rejected. There was little enthusiasm for any of these tracks, but one duet of Dylan’s, “Girl from the North Country” (which originally appeared on The Freewheelin’ Bob Dylan), was ultimately sequenced as the album’s opener.”

Pink Floyd, recorded at Musikhalle Hamburg on Thursday, 25 February 1971

Sources 1: German original bootleg – M-502 copy – CBM release a. (Hamburger) – CBM reissue (Music Halle)

Pink Floyd Music Halle

Pink Floyd Music Halle 2

Pink Floyd Arab cover

Pink Floyd Live In Germany red stamp

The “Arab Family” insert. Extremely rare double LP, part of the 2LP reissues that Contraband is known for. A copy sold for over $1000 in 2004. Only ever seen with red pirate labels. This release has many ”ancestors” that I will try to add one by one.

Matrix: PF47094 A/D

Side 1: Green is the Color/ Careful with that Axe, Eugene/ Cymbaline                                                  Side 2: Embryo/ Set the Controls for the Heart of the Sun                                                                        Side 3: A Saucerful of Secrets                                                                                                                              Side 4: Atom Heart Mother suite

Quality rating: Good stereo on, where it says “A re-release of Hamburger from the same plates”, which is an “Excellent stereo” rated title.

Pink Floyd Live in Germany 1970

Pink Floyd Live in Germany 1970 2

Below: Rare alternate insert

Pink Floyd live in germany

Matrix: PF-47094 A/D

Other label variations:

A copy of:

Pink Floyd M-502

Matrix / Runout: -M-502-1-
    Matrix / Runout: -M-50 2-2-
    Matrix / Runout: -M-502-3-
    Matrix / Runout: -M-502-4-

German copy of original release. Much easier to locate than an original copy, so that “M-502” has been adopted as the name for the original 2 LP set.

Can be recognized by:  – Cover not laminated; front cover says “Pink Floyd” or “Pink Floyd Live”, lesser print & audio quality (distortion in louder passages); back cover may have track list using two different types of fonts.

First up, the more common version:

Pink Floyd M 502 b a

This is the rarer version:

Pink Floyd M 502 b b

Used label variations – the yellow one is most common – missing is white with silver text:


The mega-rare original:


Pink Floyd 1,2,3,4

Pink Floyd 1,2,3,4 inner

Matrix: The numbers 1 to 4 on each side

Can be recognized by:  – Laminated cover; no writing on front or back; track listing on inside panels; thin paper quality.

Found labels (some copies had none):

Pink Floyd 1,2,3,4 lbl a

Pink Floyd 1,2,3,4 lbl b


US/UK TMoQ copies: 1. Embrwo

Pink Floyd Embrwo 1

Pink Floyd Embrwo 2

Pink Floyd Embrwo 4

Pink Floyd Embrwo 3

The story behind this release goes like this: In late 1972 a copy of “M-502” had found its way to Britain and a bootleg dealer/distributor, who would leave his mark on the insert of a UK produced version of the TMoQ Rolling Stones bootleg Beautiful Delilah : Freddy Stomper “The Marked Hand”. Freddy did not only want to sell albums made by others, he wanted to sell his own product.

Shown here: A UK “Freddie” pressing of a Rolling Stones title:

Rolling Stones Beaut. D Freddy St UK

However, finding a pressing plant that would accept a ‘vinyl for cash’ after hours job with no questions asked and information passed on proved basically impossible back then, so Freddy decided to use his contacts in California, have the records pressed there and imported without covers, so customs would not be tipped off right away.

The discs carried the 1 to 4 large number labels TMoQ were using at that time and came in green, blue and bright red. The cardboard used on these is significantly thinner than the common US plain white sleeves. Freddy also ordered his own title stamps and I believe that this title ended up with the misspelling as his handwriting on the stamp order form must have been less than perfect. A small pink insert was pasted onto the rear as shown above. On this insert, the double LP is called “Embryo”, showing that the misspelling had not been made on purpose.

All known copies were bought in the UK. Not many were made and many of them were confiscated by the British Phonographic Industry when Richard Branson’s Virgin Records store at 24 Oxford Street in London was raided for selling bootlegs in March of 1973. 


Next up: “Wizardo Rekords” is born and learns the art of recycling.

“Some interesting facts for you about this release. I personally had something to do with the original American vinyl release of this show (as 2 LPs: Take Linda Surfin’ and The Miracle Muffler). This show was originally released in Germany, and the CD cover art that comes with this torrent is copied from the original German release, which had a fold-out double-LP cover. It was pressed with high quality vinyl, and was an excellent product all around.

At the time a group of us were heavy bootleg collectors in Los Angeles. We met a distributor who often imported European bootlegs. He said he had some original metal stampers for an unknown Pink Floyd bootleg which he offered to sell us. He was evasive about where he’d gotten them. He had no idea which Pink Floyd show it was, only that it was Pink Floyd. As a diehard Floyd fan, I bought them.

The stampers were very heavy-duty. Whereas American-made stampers were fairly thin and could be bent in your hands, these German ones were solid stainless steel and weighed several pounds each [These might have been the Embrwo stampers, I am not sold that they were the German M-502 stampers, see the matrix comparison below proving this].

Then we (I won’t disclose who the other people were) found a pressing plant in LA, Mobile Fidelity Sound Labs, which specialized in, among other things, making reference copies of LPs (i.e. the very highest quality pressings) [from Mofi’s website: “In 1977, he founded the renowned audiophile label Mobile Fidelity Sound Lab.” Obviously, these bootlegs were made around 1972, early 1973 at the latest, so this person is mistaken]. They were not a known bootleg maker, which was one reason we chose them. Had we gone to pressing plants in west LA which were known for making bootlegs, it was likely our stampers would have been stolen or “broken” by the established bootleggers. This had happened to a friend of ours.

We decided to go all out and make the highest quality pressing, to distinguish our product from the lower-quality vinyl on the market (all that colored vinyl stuff looked nice, but didn’t stand up to wear). We paid a premium to use the highest quality vinyl that was used for reference discs [I doubt that MoFi used multicolored vinyl]. We told the pressing plant that it was our band. They were suspicious, and asked us what kind of music it was. We fudged it and made up some stories. Remember, we didn’t even know which concert this was, whether it was AHM or something earlier.

When we showed up to pick up the discs, the managers took us aside in another room and said “Are you telling the truth that this is your band?” We confirmed that it was. Luckily these guys were obviously not into trippy psyched-out English bands, because they told us they’d all listened to the records to determine whether we were making bootlegs. None of them recognized the music! So we got away with it. This was around 1972. “Meddle” had recently come out, so it was pre-Dark Side and thus Pink Floyd was still somewhat lesser-known in America.

Of course I figured out the setlists, but we still didn’t know the actual source of the show. We hadn’t put 2 and 2 together regarding the German bootleg. When we asked the guy who’d sold us the stampers, he said he thought the show was from London. So that’s what we put on the covers [only TLS says “London concert” (see below), MM mentions “Hamburg, Germany” – so does this mean that TLS came out first?]. A graphic artist friend of ours designed the covers. It was another bootlegger who pointed out to us a couple years later about our mistake. When we compared the matrix numbers, we knew he was right.

Pink Floyd Take Linda Surfing fold over insert

Above: The “folded over” insert part for Take Linda Surfin’ mentioning “London concert” in the line above the track listing

Pink Floyd Miracle Muffler b

Above: Equivalent part of the insert flap for Miracle Muffler

Thus, Take Linda Surfin and The Miracle Muffler are from the identical stampers as the original European release. We later sold the stampers to another large-scale bootlegger. Wish I’d kept them as souvenirs.

It’s no wonder that the later CD remasters of these shows have no surface noise. The European pressings were good quality vinyl, while ours were the best quality available anywhere. Even after dozens of playings, it was rare to hear a pop on our versions. [I do not believe that these US versions sound better than the original German 1, 2, 3, 4 version. does not even rate them on the same level as “M-502” ]

As an aside, we put huge effort through our connections throughout the bootleg community around the world to find the maker of the German original, mainly because we wanted to find out if he had any other tapes. We couldn’t trace him. As far as I know, no one has ever discovered the original source tapes of this show.

I sold my entire bootleg vinyl collection years ago, and forgot to keep even a single copy of the original Take Linda Surfin and Miracle Muffler. So it’s cool, and nostalgic, to hear this again. Still my favorite Pink Floyd boot of all time.” [post made on a torrent site for live recordings]

Matrix comparison of side 3 of the double sets / side 1 on TLS:

Original “open legs” 2 LP: ‘3’

M-502 copy:                          -M-502-3-

Embrwo:                               PF RECORD – 3

Take Linda Surfin’:             PF RECORD – 3

Pink Floyd Take Linda Surfing mcv 2

Printed labels that look hand drawn, a specialty Wizardo would retain for their ‘dog & cat’ and ‘Old Glory’ labels.

*** I have been informed that this ‘purple insert’ version is actually a forgery/copy from the 1980’s (the one with the blue insert below is real). Oh my, counterfeit bootlegs… ***

Pink Floyd Take Linda Surfing mcv 3

Pink Floyd Take Linda Surfing mcv

Has any LP ever resembled a pizza more (in this case “Hawaii”)?

Hot Wacks wrote:First pressing consisted of only 300 copies. Second on black only. Third & fourth on CV.” So, what color was the first pressing? 

Jan & Dean Take Linda Surfin'

Wizardo’s album title inspiration.


Pink Floyd Miracle Muffler red 1

Pink Floyd Miracle Muffler lbl 1

Pink Floyd Miracle Muffler red 2

Pink Floyd Miracle Muffler lbl 2


The “Atom Heart Mother” Tour started in the summer of 1970 with festival appearances in Europe (Kralingen and Aachen), before starting the tour proper in North America in late September. Beginning of November saw the band start the European leg of their tour with gigs in Holland, Sweden, Denmark, Switzerland, Germany, France and the UK.

pink floyd Hannover 1970

Pink Floyd had already played to 4,000 at the barn-like Ernst-Merck Halle on 14 November ’70, nevertheless another return to the city by the North Sea was booked for 25 February, during leg two of the Europe tour. First planned for the Hamburger Staatsoper but had to be moved to the Musikhalle “proven ground for pop shows” as the equipment set up time could not be guaranteed at the opera house. Tickets were rather expensive as the band reportedly asked for a fee “close to DM 50,000”. A local concert promoter was quoted as stating rather bluntly “I don’t understand why this has to be so idiotically expensive”.


Pink Floyd Hamburg 71 d

Pink Floyd Hamburg 71 c


Ticket for next day’s show in Offenbach, note the price difference.

This LP is listed in Hot Wacks as “Chapter IV  CBM 681”. The only images I could find show an LP actually called Chapter 4-Live and not looking like a Contraband product at all – but this is only at first glance:

Stevens Cat Chapter 4 Live

The images below will blow up to full size when you click on them.

At a closer look, the use of the term “Compatible Stereo” and the font give this away as a Contraband release.



Rated “Exm”

The Dylan bootleg book Great White Answers mentions as gw 15 a 2 LP set also referred to as Great White Wonder II. It is a blank white gatefold album from 1970 that contains songs from the previous releases Stealin’ and John Birch plus seven Basement tape tracks (Matrix: DAB 614/615/616/617).

“The LPs were not merely copied from those releases, however, but from original, high quality tapes…. and are quite good quality.
There are a few package variations that include various combinations of the following:
The cover is a blank white gatefold. In Europe it was released with a small black title stamp on the front that reads ‘Stealin’. It is the same LP set, however. The labels are blank white, light blue, yellow, or black.
The vinyl is black. It was also released by CBM in an inferior copy that came in a yellow sleeve with a die-cut center hole.
It has large stickers front and back that title the piece ‘GWW-2’.  They also list the songs and ref. number.”

I have not been able to find images of this CBM double set.

bobsboots then states that the double set was reissued later by Contraband as two single LPs (without any apparent title) and these can be easily found:

Dylan GWW II

Matrix:  614/ 615

Side 1:  Can you please crawl out your window / It takes a lot to laugh / Love – 0/no limit / She belongs to me / It’s all over now, Baby Blue / That’s all right Mama (all preceding tracks: studio 1964/5) / Hard times in New York town */ Stealin’ * (* Minnesota hotel tapes)

Side 2:  I was young when I left home/ Percy’s song (take 2) **/ Corrina Corrina ***/ In the evening/ Long John/ Down in the flood *                                                                                                          Minnesota hotel tapes except for  * Basement tapes.  ** ‘Times’ outtake Oct. 63  *** B-side of Dylan’s first 45 “Mixed Up Confusion”, released 14 December 1962, alternate mono take (4) to The Freewheelin’ Bob Dylan version

“The cover is either a red and white insert, or a black and white xerox of it. The label is either blank or CBM.  Hotwacks, great white answers, and Paul Cable all refer to this un-titled LP as ‘Dylan’, although it is a near certainty that it was never released under that name.
Dennis Liff referred to it more accurately as ‘Bob Dylan’
It has also been incorrectly referred to as ‘Stealin’ due to the fact that the GWW-2 disc from which it was copied is mainly material from the ‘Stealin’ release. Whether you have heard it  called ‘Volume one’, ‘CBM 614’, ‘Dylan disc one’ or something else… This is the LP to which all are referring.”


Dylan Bob D

Dylan Bob 616 617 a

Dylan Bob 616 617 c

Matrix: 616/617

Side 1:  Wade in the water * / Cocaine * / I’ll keep it with mine / Talking John Birch paranoid blues / Who killed Davey Moore? * * / Eternal circle / Ramblin’ gamblin’ Willie                                                    ’62 & ’63 studio outtakes except for  * Minnesota hotel tapes  * * 10/26/63 Carnegie Hall

Side 4:  Million dollar bash / Yea! Heavy and a bottle of bread / Please, Mrs. Henry / Lo and behold / Tiny Montgomery / You ain’t going nowhere / Mixed up confusion* / East Laredo blues**    Basement tapes except for  *1962 mono 45 rpm ** ‘Another side of Bob Dylan’.. studio outtake.

It has also been incorrectly referred to as ‘John Birch’ due to the fact that the GWW-2 disc from which it was copied contained material from the ‘John Birch’ release. Whether you have heard it  called ‘Volume two’, ‘CBM 616’, ‘Dylan disc two’ or something else… This is the LP to which all are referring.”

Year of release is given as 1971 but I believe it may have appeared as late as 1973.

Presley E large

Source for side 1 is given as: “Sun tracks & outakes from ’54 & ’55” and for side 2: “(Jailhouse Rock) movie soundtrack” and a date for the interview as “September 22” (’58).

Presley Elvis

Presley Elvis yel lbl

Presley E

Presley E large 2

An Elvis site lists this LP as:

ELVIS [“The King-Kong LP”] [King Kong Records. 47109-KKLP-002]

And as one of the first 20 Elvis bootleg titles ever produced. Here is the list of Elvis vinyl bootlegs allegedly produced in the 1970’s:



PLEASE RELEASE ME [1st Records. 161]
THE HILLBILLY CAT LIVE [Spring Fever Record Club. SF LP 301] [2LP]


I WANNA BE A ROCK’N’ROLL STAR [Viktorie. NS 13026]


ELVIS LIVE ON STAGE-HILTON HOTEL 1972 [nessuna etichetta indicata]


THE MONOLOGUE LP [Bullet Records]


FROM HOLLYWOOD TO VEGAS [Brookville Records. BRLP 301]
GOOD ROCKIN’ TONIGHT [Bopcat Records. LP 100]
FROM LAS VEGAS TO NIAGARA FALLS [Live Productions. LVLP 1897-98] [2LP]
PRESLEYMANIA, VOL. 1 [Memphis King Productions. 2903]
THE HILLBILLY CAT 1954-1974 VOLUME 1 [[Brookville Records. BRLP 311]]
THE KING GOES WILD [Wilde Productions. PRP 207]


ELVIS [“The King-Kong LP”] [King Kong Records. 47109-KKLP-002]
KING OF LAS VEGAS LIVE [Hazbin Records. No. 351]
LOVING YOU [Gold Suit Productions. GSR 10001]
SOLD OUT, VOLUME 1 [EP Records. PRP 251]
THE KING YESTERDAY & TODAY [nessuna label e numero indicati]


DORSEY SHOWS [Golden Archives. GA-100]
ELVIS IS ALIVE AND WELL AND SINGING IN LAS VEGAS [1a edizione: nessuna etichetta indicata. 2a edizione: King’s Voice Records]
GOT A LOT O’LIVIN’ TO DO! [Pirate Records. PR-101]
JANIS AND ELVIS [Original Sound] 33 giri del formato 10″
ROCK MY SOUL [Teddy Bear Records. IMP 1108]
THE ’68 COMEBACK VOLUME 1 [Memphis Records. MKS 10]


COLONEL PARKER’S BOY [The Amazing Kornyphone. TAKRL 1816]
FROM THE WAIST-UP [Golden Archives 56-57. GA 150]
I GOT A WOMAN [Gun Toy. 1C-13002]
ROCKIN’ WITH ELVIS NEW YEAR’S EVE [Spirit Of America Records. HNY 7677] [2LP]
THE LEGEND LIVES ON [Presley Collection Series. PCS 1001]


ELVIS’ HAWAII BENEFIT CONCERT [Golden Archives Records. GA 200]
ETERNAL ELVIS, VOLUME 1 [nessuna etichetta indicata]
FROM THE BEACH TO THE BAYOU [Graceland Records. GL 1001]
FOREVER YOUNG, FOREVER BEAUTIFUL [Memphis Flash Records. JL 92447]
LIVE MEMORIES [Silver Productions]
MEMORIES [The Amazing Kornyphone. TAKRL 24911] [2LP]
SEASON’S GREETINGS FROM ELVIS [RCA Victor. EPC-1/2] 33 giri del foprmato 10″
THE BEST OF ELVIS [HMV. DLP-1159] 33 giri del foprmato 10″
THE BURBANK SESSIONS-VOLUME 1 [Audifon Records. AFNS 627868] [2LP]
THE ENTERTAINER 1954-1976 [Rooster Record Company. R LP 501]
THE LAS VEGAS YEARS: 1972-1975 [The Amazing Kornyphone. TAKRL 24913] [2LP]
THE LAST FAREWELL [E.P. Records. PRP 781] [2LP]
THE ROCKIN’ REBEL, VOLUME 1 [Golden Archives Records. GA 250]
THE ROCKIN’ REBEL, VOLUME 2 [Golden Archives Records. GA 300]
TO KNOW HIM IS TO LOVE HIM [Black Belt Records. LP 1]
TROUBLE BOUND [The Amazing Kornyphone. TAKRL 24912] [2LP]
VIVA LAS VEGAS [Lucky Records. LR 711]


A DOG’S LIFE [Audifon Records. 67361]
BEACH TO THE BAYOU [Moon Records. 8135]
BEHIND CLOSED DOORS [Audifon Records. AFNS 66072-4] [4LP]
CADILLAC ELVIS [TCB Records. 1-8-35]
ELVIS FRIENDS REMEMBER [Allied Productions. 4704] [2LP]
ETERNAL ELVIS, VOLUME 2 [Eagle Records. LPS 685]
ELVIS FEVER [nessuna etichetta indicata] [2LP]
GUITAR MAN [nessuna etichetta indicata. GM2] [2LP]
LEAVIN’ IT UP TO YOU [Audifon Records. AFNS 66173]
LIVE EXPERIENCE [A Presleyana Production. PRP-143]
LIVE IN ATLANTA 30/12/76 [TCB. J.F. 2001]
PLANTATION ROCK [Audifon Records. AFNS 67360]
RADIO THRILLS [Moon Records. 101]
SONGS HOLLYWOOD FORGOT [nessuna etichetta indicata. SHF]
SPECIAL DELIVERY [Flaming Star Records Co. FSR 3]
SPOTLIGHT ON ELVIS [nessuna etichetta indicata. SOE-2] [2LP]
STANDING ROOM ONLY, VOLUME 2 [Eagle Records Corporation. NOTN 3003]
STANDING ROOM ONLY, VOLUME 3 [Eagle Records Corporation. NOTN 3004]
THE AMERICAN DREAM, VOLUME 1 [Claudia Records. 197 79]
THE BURBANK SESSIONS-VOLUME 2 [Audifon Records. AFNS 62968] [2LP]
THE FINAL DAYS [nessuna etichetta indicata. FD2] [2LP]
THE GREATEST SHOW ON EARTH [Eagle Records Corporation. LSP 1832]
THE ROCKIN’ REBEL, VOLUME 3 [Golden Archives Records. GA 350]
THE TUPELO-MISSISSIPPI FLASH LIVE [nessuna etichetta indicata. TMF 2] [2LP]
TIGER MAN ON TOUR [nessuna etichetta indicata]
TROUBLE IN VEGAS [nessuna etichetta indicata. TV2] [2LP]
YOU AIN’T NOTHING BUT THE KING [King Record Company. LPS 2722]
YOU ARE THERE [nessuna etichetta riportata. JR E 168

Beatles Kum Back

Blue Slick

A 4 size again but from the “NOT FOR SALE” series.

Beatles Kum Back 2

Standard slip sheet size. Particularly poor image reproduction found on all of them. It was “inspired” by the earlier WCF release:

Beatles Kum Back!


Side A/ 1
Side B/2
Side 1
                                      DDSI #        
1 2:30     Get Back     23.30           
2 0:50     The Walk     27.10 (Edit)     Listed as “Can He Walk ”    
3 3:47     Let It Be     26.36           
4 5:30     Teddy Boy     24.22 (Edit)           
5 3:22     Two Of Us     24.39             
Side 2
                                                      DDSI #    
1 3:20    Don’t Let Me Down     22.49           
2 2:32    I’ve Got A Feeling     23.31         
3 3:24     Long And Winding Road     31.20           
4 1:42     For You Blue     25.24           
5 3:30     I Dig A Pony     23.35         
6 2:33     Get Back (Medley) 27.4      

Matrix: CBM 15 A-1/2

Also exists with pirate symbol and as a King Kong budget release.

Beatles Kum Back KK lbl

A little bit more info on the earliest Get Back session vinyl releases can be found here.

Hendrix Clapton Mayall Bruce

A1 STARS THAT PLAY WITH LAUGHING SAM’S DICE A2 HIGHWAY CHILE (JHE – supposedly live states Hot Wacks but in reality UK B-sides of the 3rd & 4th UK single by the JHE, not yet released in the US in 1971)                                                                                                                                                 A3 HEAR ME CALLING YOUR NAME  A4 CAMELS AND ELEPHANTS (A3 + 4: Graham Bond Organisation album tracks from 1965 UK LP There’s a Bond Between Us with Jack Bruce & Ginger Baker)

B1 NO REPLY (3:10) B2 I’M NO STRANGER [actual title = “I’m a stranger”] (5:14) (B1+ 2: Taken from John Mayall’s 1968 UK album Bare Wires featuring Mick Taylor) B3 SONNY BOY BLOW B4 DON’T KICK ME (B3 + 4: from John Mayall’s 1967 solo album The Blues Alone) B5 STAND BACK BABY (from the 1967 John Mayall & The Bluesbraker’s album Crusade, featuring Mick Taylor and John McVie) [It seems that there is no Eric Clapton contribution on any of these tracks]

This was the line up of the original release and as it is listed in Hot Wacks. Either, one song from side 2 is unlisted or it was left off CBM’s version.
Matrix XCQ-4A and XCQ-4B, Contraband copied this relatively common 1971 pirate release


Description of the above item read: “CBM XCQ4, USA, deluxe custom red cbm labels, rubber stamped cover, stamped on front and back.”


General information on the commonly found release on the Munia label:

“I bought a copy of this in Greenwich Village in spring ’71 & was disappointed to hear Jimi on only the first two songs (although it was cool to hear the songs as they hadn’t yet been on a legit US release). It’s the studio cuts–although maybe a different mix on STPLSD, as I seem to recall Jimi’s narration being much more prominent. “

From an eBay ad: Jimi Hendrix Experience — Eric Clapton – Ginger Baker – John Mayall – Jack Bruce LP Original 1970? US release on Munia Records (catalog # MBR-1/MBR-2 / XCQ-4, matrix # 707) .

Scarce Hendrix w/Cream LP. Red cover with green spine has ink-stamp, white Munia labels with ring (same as Rubber Dubber labels of that time.) XCQ version with 9 tracks, later XCR version only had 8 tracks.

“Stars That Play With Laughing Sam’s Dice” is an absolute killer of a song.”

“a mediocre collection of B-sides and obscure album tracks.” (Geldeart & Rodham, Jimi Hendrix – From the Benjamin Franklin Studios, p. 146)

“Highway Chile” was the B-side of “The Wind Cries Mary”, released 5 May 1967, and “The Stars That Play With Laughing Sam’s Dice” is found on the flip side of “Burning Of The Midnight Lamp” from August 1967.

JHE Highway Chile JHE The Stars That Play

VA California Jammin'

Side 1:  Space Truckin’ (Deep Purple)/ Pictures At An Exhibition (ELP)                                           Source: California Jam, Ontario Motor Speedway in Ontario, CA,  April 6, 1974.

Side 2:  Set The Controls For The Heart Of The Sun (Pink Floyd)  Source: “An Hour With Pink Floyd” broadcast, KQED Studios, San Francisco – 30 April 1970 (also available on the CBM titles Fillmore West and International Transmission)

Quality listed as “Gs”. The first release with the King Kong trade mark?