Operating out of Los Angeles, Dub & Ken, the people responsible for the 'Great White Wonder'
(see 'A Brief History Of Bootlegs' page) went on to produce the now famous TMOQ label.
All of their early releases appeared on coloured vinyl (at least for the first pressing)
with the band's name and album title rubberstamped on one side of the sleeve, along with a pig sticker,
and (slightly later) a xeroxed paper insert on the other. The early pressings had a large 1 & 2 on the labels
and later they went on to use labels with the famous pig logo's on them. Occasionally they used plain
white labels, and these are of course the least desirable. The early pressings are now highly prized by
TMOQ used the services of a brilliant young artist for many of their covers & inserts called William Stout. Unfortunately he never did any covers for TMOQ's Pink Floyd bootlegs but his work was amazing. Many of his covers featured brilliant (& sometimes cruel) caricatures of the bands who's bootlegs he designed, often using the labels pig theme on the artists themselves!. He was also responsible for the great Smokin' Pig Logo. We have been granted exclusive permission by William himself to dedicate a page to his bootleg artwork here on the site, and you can link to it HERE! Please remember that all the images in this section of the site are © William Stout 2006.
Whilst together Dub & Ken also released albums on....
.....After a couple of years the two characters behind the label, Dub and Ken went their separate ways.
Dub continued to produce the regular TMOQ product with the 'farm pig' logo (and the occasional release on the
'Pigs Eye' Label), whilst Ken, just to confuse matters, went on to produce a rival TMOQ which used the 'Smokin' pig' logo, often releasing albums which were exact copies of the original TMOQ releases but with his own logo in place of the 'farm pig' and sometimes with completely different artwork, and to confuse things even further Ken sometimes still used Dub's farm pig logo on his own releases. After a while Ken went on to release albums, in partnership with others, using a variety of labels. These are thought to include…..
The Amazing Kornyphone Record Label (TAKRL)
Ze Anonymous Plattenspieler (ZAP)
Full Tilt Records
Songs For Swinging Mothers
Singers Original Double Disks (SODD)
...and this is just a few of them. Ken had literally scores of labels and is the man behind many bootlegs in this guide.
Many of Ken's earlier labels used paper insert covers (eg. Aftermath, TAKRL & ZAP) and these came in either two colour or Tri-colour variations. It is assumed by many that the Tri-colour inserts are from the original first pressings, however there are no grounds to prove this and it's more likely that they used whatever was nearest to hand at any given time, and I believe the same applies to the TAKRL labels which are much more attractive than the more common plain 'side one' & 'side two' labels which Ken Often used. TAKRL also sometimes included generic back cover inserts for some of their albums, and so, for a collector, the rarest and best TAKRL editions have a Tri-colour insert, custom printed Takrl labels and a generic back insert. To see the difference between two and tri-colour inserts, see the entry for 'Raving And Drooling' (TAKRL 1973).
Similarly to TAKRL, Wizardo albums also had variations between pressings and Wizardo inserts came in the usual A4ish size and also a larger one (see entry for 'The Midas Touch'). Again, there is no evidence to suggest that the larger inserts were for first pressings. Wizardo also had custom printed labels and these are certainly more desirable to a collector than the blank white ones they also used.
CBM records was a US label masterminded by someone known as Dave D. who was said to operate out of Mid/East America (certainly he was outside of the circle of all the Californian bootleggers). CBM began well enough producing albums from their own original tape sources (eg.'Tampa') but soon became content with merely copying releases by other bootleg labels. The quality of their product also took a slide and their albums in terms of presentation and their actual vinyl pressings were notoriously poor. Many of the pressings did improve however, when they started to use a pressing plant in Fort Wayne Indiana around 1978, the time they introduced the Instant Analysis, Godzilla and King Kong labels. They were also responsible for releases on the Shalom, Carnaby, I.P.F Records and Wisconsin Cheese labels. Dave D quit bootlegging in the late seventies. For a while he was producing bootlegs and studying law at the same time. Maybe he became a copyright lawer? :)
K&S was a label started by Kurt Gleimser (who started the original 'Hot Wacks' bootleg guide primarily by copying the entries in John Tschirgi's notebook of his private collection), operating out of Canada they released a mixture of their own original titles and re-issues of other labels bootlegs, normally re-pressing them from the original plates in small runs on coloured vinyl. Their re-issue of the Floyd’s 'Libest Spacement Monitor’ is particularly rare.
In the past they have been unfairly written off as a copycat label, however they did release a fair number of original titles of their own.