Bootleg Rarer Then The Original ?

[Premium Stuff]

Does anybody on here sell records and claim benefits???? Oh that can't be right it is an insult to hard working people I'm sure we would all agree that message.

Think you need to ease off a bit mate. You're just going to piss people off. Coming across like a 1-man onslaught at the moment.

Some of your points are also well off topic to do with work ethic, people's careers and claiming state benefits.

The topic is relative rarity of originals versus boots.

Richard

Edited September 13, 2013 by Premium Stuff

[Dean]

Just in from the pub, and to make it worse without glasses reading this . .. . . These threads can be very very frustrating BUT I have to say I do appreciate the paaion (just checking now sober and with glasses, that should be 'passion') on here.

I don't agree with some posts, but if i can take a step back I think it's a credit to all posting, including those I disagree with that this issue stirs such passions.

Most of "us" (perhaps) would prefer we didn't have boots but most of us have some.

NOW back on thread can we be specific which are worth more than orig so i can sell some of mine to clear my conscience.

In a drunken state I love you all . .. . . .

Edited September 14, 2013 by Dean

[Premium Stuff]

I'm with you on the original topic focus Dean.

I have bootlegs. Need to get rid. Bought them all as a youth. Had no idea about whether they were legit.

Not knowingly bought a boot for 40 years. When counterfeits have been supplied they have gone back - and I realised early on that if my collecting was to be authentic I needed to know the real deal from the fake.

Authenticity is something I have always valued and searched for in all aspects of my life.

Cheers

Richard

Edited September 13, 2013 by Premium Stuff

[Grayman45]

On the contrary, buying a fake item which is even on an inconvenient redundant format for £10 in order to free ride on the credibility of genuine record collecting is terrible value and precisely idiotic.

It's not evil and no one gets hurt I suppose, it's just a bit wank.

 

So, if I ever want to be able to listen to George Blackwell, in my own home, (or possibly ever again), I have to save £700 plus and buy an original copy because someone who collects records thinks I'm an idiot. Telling my son we can't afford his new football boots (no pun intended) - that's a bit wank. 

 

Graham (self employed, tax paying, law abiding citizen)

[Pete S]

Does he know that bootlegs are legal then?!

Come on, the legal issue is only a small part of it, there are plenty of laws that none of us give a f*ck about. The fact is that bootlegs just aren't cool and, with the odd exception like pete, who seems to buy them to satisfy some complex emotional nostalgia trip, they are bought by people who want to pretend to be collectors, most likely in order to dj cos it gets them some attention, but really just cant be arsed to put the hard work in, but are happy, in fact need others to do exactky the work they arent willing to do!

On top of that, they DO appeal to a buyer who would otherwise likely buy a legitimate reissue, if it came out.

There's no good side to their existance, something even rats and slugs can claim. And yes it's tedious to continue to recycle this argument but if people keep celebrating this completely crap phenomenon, it will continue to be addressed.

I understand them in a 60s - 80s context, when average buyers would only have record players, and I understand the relevance of these old pressings to the history of the scene, but that's not why people are buying them today ...is it?

What's weird is people arguing passionately FOR fake, illegal, superfluous items then making out that those who object are the cranks...

 

So just remind us how much money The Professionals made yesterday when Rod sold their record for £2000.  Or how much in royalties all of the artists got from the sales of their records on Soul Source and Ebay this week.

You seem to think everyone who buys records is a DJ.  They aren't.   You also seem to think everyone can afford to buy £500 originals. They can't. But they can buy a £5 version of it which sounds the same.  I don't know why anyone else buys them - I buy them because I like to play records at home now and again.  I cannot be the only person who buys records to play at home.  I also buy all the legal reissues I need as well.  And I also make my own records if they aren't available as reissues.  If people buy them to play out as imitation originals - that's up to them and the people who book them.  

I've had originals of probably 80% of every record ever bootlegged. If I'd kept them, I could sell them and buy a mansion somewhere.  If I hadn't sold them I wouldn't have had a job for the last 16 years.

Edited September 14, 2013 by Pete S

[Guest]

So just remind us how much money The Professionals made yesterday when Rod sold their record for £2000.  Or how much in royalties all of the artists got from the sales of their records on Soul Source and Ebay this week.

You seem to think everyone who buys records is a DJ.  They aren't.   You also seem to think everyone can afford to buy £500 originals. They can't. But they can buy a £5 version of it which sounds the same.  I don't know why anyone else buys them - I buy them because I like to play records at home now and again.  I cannot be the only person who buys records to play at home.  I also buy all the legal reissues I need as well.  And I also make my own records if they aren't available as reissues.  If people buy them to play out as imitation originals - that's up to them and the people who book them.  

I've had originals of probably 80% of every record ever bootlegged. If I'd kept them, I could sell them and buy a mansion somewhere.  If I hadn't sold them I wouldn't have had a job for the last 16 years.

 

 

Well said that man as has been said already 90% of the artists have never  seen there royalties they just get taken buy the likes of sony etc

Edited September 14, 2013 by Guest

[Grayman45]

As far as I can see bootlegs were a integral part of the scene. Just like badges, clothes and even drugs. Those at the top of the Northern tree were quite happy to make money from them. All the dealers who sell original records are quite happy to sell boots, and why shouldn't they. Some have made a decent living from this. It's a second hand market, always has been, and nobody gets hurt. 

[Guest penny]

So, if I ever want to be able to listen to George Blackwell, in my own home, (or possibly ever again), I have to save £700 plus and buy an original copy because someone who collects records thinks I'm an idiot. Telling my son we can't afford his new football boots (no pun intended) - that's a bit wank. 

 

Graham (self employed, tax paying, law abiding citizen)

Yeah, it really is...and I hate to have to be the one to break it to you, although the news might just change your life : they've invented this thing called the internet, hang on, you're on it now!, and just a click away is george blackwell, just waiting to sing just for you off youtube whenever you feel like it, 25/8, or if that's not legit enough for you, which it will be cos you're cool with bootlegs, there's stuff like I tunes etc.

Seriously brother, it's never been freeer to access great music, buying £10 pressings is a long, pointless way to a short cut. I dont mean to patronise you and sorry for the sarcasm but come on...

There's collecting records, records that came out when records were the best format - which is up to 2000 and later i suppose if you're a mix / scratch dj, then there's listening to and loving music, which we are all blessed in this era to be able to do very extensively and cheaply.

There's nothing in between, just superfluity and half measures.

[Pete S]

As far as I can see bootlegs were a integral part of the scene. Just like badges, clothes and even drugs. Those at the top of the Northern tree were quite happy to make money from them. All the dealers who sell original records are quite happy to sell boots, and why shouldn't they. Some have made a decent living from this. It's a second hand market, always has been, and nobody gets hurt. 

 

All the top dj's played them as well - one dj got a sound, another might also get it, the rest played off Emidiscs supplied by the other dj's.  I remember sitting on stage with keith Minshull one very quiet Wigan saturday night and practically everything he played was off an acetate (Tough Girl etc)

[Guest penny]

As far as I can see bootlegs were a integral part of the scene. Just like badges, clothes and even drugs. Those at the top of the Northern tree were quite happy to make money from them. All the dealers who sell original records are quite happy to sell boots, and why shouldn't they. Some have made a decent living from this. It's a second hand market, always has been, and nobody gets hurt.

Another compelling nugget of capitalist logic. If it exists it must be right that it exists...if no one gets hurt then it cant be bad...

The central principles of our current non-culture, and it's working too!.

I dont know why you're stuck on this bootlegs vs originals dichotomy. It's 2013, you dont have to buy vinyl! Why are you buying vinyl?!

Pretending no other format exists in order to justify buying fakes doesn't make it so. It's like buying fake armani and saying 'well I cant afford real armani'... but the reality is you dont need armani at all, you just want it, if you cant afford it then tough shit, buy george at asda...keeps you warm.

But with music it's a far better deal, chosing the budget option here doesnt leave you looking like a tramp in ill fitting casual wear...however little you spend, you can still hear more or less the same amount of amazing music as the most deep pocketed new york banker! Great deal I think, you just dont get to be a dj is all. I didnt get to be an international playboy, just tough shit isnt it.

Edited September 14, 2013 by penny

[Pete S]

Another compelling nugget of capitalist logic. If it exists it must be right that it exists...if no one gets hurt then it cant be bad...

The central principles of our current non-culture, and it's working too!.

I dont know why you're stuck on this bootlegs vs originals dichotomy. It's 2013, you dont have to buy vinyl! Why are you buying vinyl?!

Pretending no other format exists in order to justify buying fakes doesn't make it so. It's like buying fake armani and saying 'well I cant afford real armani'... but the reality is you dont need armani at all, you just want it, if you cant afford it then tough shit, buy george at asda...keeps yiu warm.

But with music it's a far better deal, chosing the budget option doesnt leave you looking like a tramp in ill fitting casual wear...however little you spend, you can still hear more or less the same amount of amazing music as the most deep pocketed new york banker! Great deal I think, you just dont get to be a dj is all. I didnt get to be an international playboy, just tough shit isnt it.

 

Why do you hate vinyl so much?

[Guest penny]

Why do you hate vinyl so much?

It's obsolete. I'm all for collecting old vinyl, for the cause that is the preservation of great music and culture, same as I'd support the preservation of anything well crafted and interesting from the past. This practise is often irrational but at least has a good net effect - the preservation of millions of records and tunes. Bootlegs neither preserve an artifact, an idea, or create a new one.

If you re-issuing a 60s e type for example, with all the effort that that would entail, you wouldn't replicate the bad steering and other faults, you would modernise it when appropriate. The equivalent development in music would be to keep the music but modernise the format.

I've seen records re issued complete with unlistenable b sides for christs sake.

Edited September 15, 2013 by penny

[Godzilla]

It's obsolete. I'm all for collecting old vinyl, for the cause that is the preservation of great music and culture, same as I'd support the preservation of anything well crafted and interesting from the past. This practise is often irrational but at least has a good net effect - the preservation of millions of records and tunes. Bootlegs neither preserve an artifact, an idea, or create a new one.

If you re-issuing a 60s e type for example, with all the effort that that would entail, you wouldn't replicate the bad steering and other faults, you would modernise it when appropriate. The equivalent in music would be to keep the music but modernise the format.

I've seen records re issued complete with unlistenable b sides for christs sake.

 

 

And I've seen beautifully packaged reissues on vinyl  - 45s, EP, LPs, box sets and so on that have been remastered and pressed on better quality vinyl than when they first issued. They often have a wealth of information including details of musicians, artists, producers, studios et al. They are aimed at people who prefer vinyl as a format. What's wrong with that?

[Premium Stuff]

And I've seen beautifully packaged reissues on vinyl  - 45s, EP, LPs, box sets and so on that have been remastered and pressed on better quality vinyl than when they first issued. They often have a wealth of information including details of musicians, artists, producers, studios et al. They are aimed at people who prefer vinyl as a format. What's wrong with that?

 

Right on bro 

 

Richard

[Premium Stuff]

I think new vinyl - if done professionally and legitimately in terms of meeting all copyright, IP and other requirements, is a great thing. Some people do prefer vinyl. Me for one - compared to CD, internet streaming etc.

 

The issue I have with bootlegs isn't really that old bootlegs pressed years ago are being re-sold, or recycled - whatever you want to call it. If people sell old bootlegs and counterfeits for high prices, and people pay those prices, well that is a feature of the market. No problem, as long as the items are described accurately (not necessarily with the term "bootleg" - but at least so that anyone who has the information should be able to find out whether an item is authentic using that info). Think about reproduction furniture, paintings, jewellery - and sometimes the need to ask an expert to help you tell the real deal from a fake (just look at the Antiques Roadshow and other programmes).

 

I do not agree with playing bootlegs or counterfeit records to an audience for the reasons I stated above.

 

What I don't like is people pressing up new bootleg stuff now (including counterfeits) - including because of the unprecedented level of access to music there is now through CDs, YouTube etc. I see this as no different to people who make money out of knock-off DVDs, fake casual sportswear, counterfeit alcohol, fake 'branded' watches or handbags. Some who buy them probably know they are fake, other people will not. That's life but that's why I disagree with it.

 

Cheers

 

Richard

[Grayman45]

Another compelling nugget of capitalist logic. If it exists it must be right that it exists...if no one gets hurt then it cant be bad...

The central principles of our current non-culture, and it's working too!.

I dont know why you're stuck on this bootlegs vs originals dichotomy. It's 2013, you dont have to buy vinyl! Why are you buying vinyl?!

Pretending no other format exists in order to justify buying fakes doesn't make it so. It's like buying fake armani and saying 'well I cant afford real armani'... but the reality is you dont need armani at all, you just want it, if you cant afford it then tough shit, buy george at asda...keeps you warm.

But with music it's a far better deal, chosing the budget option here doesnt leave you looking like a tramp in ill fitting casual wear...however little you spend, you can still hear more or less the same amount of amazing music as the most deep pocketed new york banker! Great deal I think, you just dont get to be a dj is all. I didnt get to be an international playboy, just tough shit isnt it.

 

Sorry, I'm starting to think I AM uneducated now. How come it is ok to listen to stuff via the internet and digital means, but not from a piece of vinyl that produces the same sound, but suits the equipment I have. (As stated  previously, speaking as someone on the brink of selling up). I don't buy Armani because I can't afford it. I don't but buy Armani counterfeit goods because it does people out of money. You can not say the same about the music we listen to. I have never seen a campaign from anyone to ensure all loyalties from records sold are passed on to those due. (I do take on board that people producing records here have endeavoured to pass them on, and I salute that).

On another note, the 'capitalist logic bit' is a little bit rich, given that we're talking about a buy and sell world here. 

Edited September 14, 2013 by Grayman45

[Grayman45]

It's obsolete. I'm all for collecting old vinyl, for the cause that is the preservation of great music and culture, same as I'd support the preservation of anything well crafted and interesting from the past. This practise is often irrational but at least has a good net effect - the preservation of millions of records and tunes. Bootlegs neither preserve an artifact, an idea, or create a new one.

If you re-issuing a 60s e type for example, with all the effort that that would entail, you wouldn't replicate the bad steering and other faults, you would modernise it when appropriate. The equivalent in music would be to keep the music but modernise the format.

I've seen records re issued complete with unlistenable b sides for christs sake.

 

You might be quite good at chucking a few poetic lines together, but I'm afraid your actual argument in full of contradictions. 

[Grayman45]

All the top dj's played them as well - one dj got a sound, another might also get it, the rest played off Emidiscs supplied by the other dj's.  I remember sitting on stage with keith Minshull one very quiet Wigan saturday night and practically everything he played was off an acetate (Tough Girl etc)

 

Bang on mate. I'm amazed at how people choose to forget his.

[Guest penny]

You might be quite good at chucking a few poetic lines together, but I'm afraid your actual argument in full of contradictions.

That isn't a contradiction. I might love 60s lambrettas but would be fairly disgusted if someone produced a modern copy which the same performance. You accept the inconvenient aspects of old vinyl because of the historical and cultural interest the same as you accept the limitations, relative to modern standards, of other antique items.

I love an old castle but wouldnt make a new one complete with draughts and earth floors.

Anyway I think this thread is dead, carry on adding more superfluous product to the world if you must, obviously the biggest problem we face is a shortage of man made junk

[Godzilla]

That isn't a contradiction. I might love 60s lambrettas but would be fairly disgusted if someone produced a modern copy which the same performance. You accept the inconvenient aspects of old vinyl because of the historical and cultural interest the same as you accept the limitations, relative to modern standards, of other antique items.

I love an old castle but wouldnt make a new one complete with draughts and earth floors.

Anyway I think this thread is dead, carry on adding more superfluous product to the world if you must, obviously the biggest problem we face is a shortage of man made junk

 

What's dead here is your argument. People listen to music essentially for enjoyment. By your logic no-one should hang-glide, row a boat or ride a horse for pleasure as there are much more efficient modes or transport.

Actually I think you're just being deliberately provocative. In which case carry on...

[Grayman45]

I'd also dare say that without the bootleg, this cult would never have grown to half the size it did. Kids buying bootlegs and playing them to others at home, and at youth clubs etc. Not everyone got to go to Wigan every week.

[Grayman45]

That isn't a contradiction. I might love 60s lambrettas but would be fairly disgusted if someone produced a modern copy which the same performance. You accept the inconvenient aspects of old vinyl because of the historical and cultural interest the same as you accept the limitations, relative to modern standards, of other antique items.

I love an old castle but wouldnt make a new one complete with draughts and earth floors.

Anyway I think this thread is dead, carry on adding more superfluous product to the world if you must, obviously the biggest problem we face is a shortage of man made junk

 

That man made junk is already out there, it's just being recycled, much like your Lambretta has been.

And yes, thanks to off topic comments, what started as an interesting thread, is now dead.

Edited September 15, 2013 by Grayman45

[MotownDave]

I am absolutely certain that when I started reading this topic it was about rare boots being rarer or not that the original . now it seems to have degenerated into a slagging match about why boots exist and why people buy them . it wouldn't be so bad if the discussion was about modern boots , I thought it was about boots from the dim and distant . as for any royalty issues I think you'll find that issue died many years ago after the first point of sale and any person buying them is only In all truth satisfying only there own desire . as for any dealer selling them that comes down to good old supply and demand

[Guest penny]

I am absolutely certain that when I started reading this topic it was about rare boots being rarer or not that the original . now it seems to have degenerated into a slagging match about why boots exist and why people buy them . it wouldn't be so bad if the discussion was about modern boots , I thought it was about boots from the dim and distant . as for any royalty issues I think you'll find that issue died many years ago after the first point of sale and any person buying them is only In all truth satisfying only there own desire . as for any dealer selling them that comes down to good old supply and demand

I dont think it's a slagging match. No one is being partiularly rude or personal. I believe were all adults on here, though evidently some sensitive flowers.

I also think that it's relevent to debate the ethics of look a like records and fakes on a thread about them.

The thread may be about old bootlegs but the next generation of old bootlegs are being made now, so I think the subject remains relevent.

Also, the thread is about the rarity of bootlegs which lead to values being mentioned which absolutely implies that there is a current demand for records that are illegally made fakes of original records, and not just from casual buyers who have some emotional attachment to vinyl. Is that something I'm not allowed to comment on?

Why is there demand now for a pretend eddie parker?

Why are there fake ernie washingtons and many others going for $100 on popsike?

If anyone can tell me a good reason why someone is buying a fake original record for serious money then I'll shut up on the subject and never mention it again. It isnt because they dont gave a cd player is it? What nonsense.

I think there is a conspiracy of silence on this subject because some central players make good money out of making or selling these things, despite having no respect for the product or those who buy it.

And its outrageous to claim that pretend records have done anything for the scene, they do something for jack, who earns money by making and selling something that he doesn't have any right to sell, and for john, who djs at one of the 675 do's that are on every saturday. The phenomenon is entirely parasitic.

By definition, the music is well known before the bootleg is made, as the producer obviously wants to sell an item which is demanded.

No music is saved and nowadays, no word is spread, the internet provides that without the waste of more petrochemicals.

Sorry if this offends, but this isnt an issue of the past, people are bootlegging now and i want to know why there us a market for them TODAY. I still havent read a reasonable explantion.

Edited September 15, 2013 by penny

[Pete S]

I dont think it's a slagging match. No one is being partiularly rude or personal. I believe were all adults on here, though evidently some sensitive flowers.

I also think that it's relevent to debate the ethics of look a like records and fakes on a thread about them.

The thread may be about old bootlegs but the next generation of old bootlegs are being made now, so I think the subject remains relevent.

Also, the thread is about the rarity of bootlegs which lead to values being mentioned which absolutely implies that there is a current demand for records that are illegally made fakes of original records, and not just from casual buyers who have some emotional attachment to vinyl. Is that something I'm not allowed to comment on?

Why is there demand now for a pretend eddie parker?

Why are there fake ernie washingtons and many others going for $100 on popsike?

If anyone can tell me a good reason why someone is buying a fake original record for serious money then I'll shut up on the subject and never mention it again. It isnt because they dont gave a cd player is it? What nonsense.

I think there is a conspiracy of silence on this subject because some central players make good money out of making or selling these things, despite having no respect for the product or those who buy it.

And its outrageous to claim that pretend records have done anything for the scene, they do something for jack, who earns money by making and selling something that he doesn't have any right to sell, and for john, who djs at one of the 675 do's that are on every saturday. The phenomenon is entirely parasitic.

By definition, the music is well known before the bootleg is made, as the producer obviously wants to sell an item which is demanded.

No music is saved and nowadays, no word is spread, the internet provides that without the waste of more petrochemicals.

Sorry if this offends, but this isnt an issue of the past, people are bootlegging now and i want to know why there us a market for them TODAY. I still havent read a reasonable explantion.

 

I think I feel the same way as you about these current day bootlegs.

But I'm really talking about the 'old days' and what I do find interesting is that you can trace the early days of the scene by bootlegs of the time.  Records which, in the main, are common nowadays were once upon a time as elusive as something like Mello Soul is today.  Especially in the first days of import 45's.  Can anyone believe that records like  'Discotheque', Earl Harrison, Tightrope, Tami Lynn etc, were once worth a week or two weeks wages?  I think it's fascinating to know that something like You Turned My Bitter Into Sweet was so rare and popular that it was bootlegged as far back as 1969/70.  We know exactly what our Wheel-attending ancestors listened to at the time via the Soul Sounds bootleg series, ditto the Torch 2 years later, all their top sounds bootlegged on the Out Of The Past label.  So there is a lot of history attached to these early bootlegs.  Much more than endless carver type pressings of Paul Anka etc etc which dominate Ebay UK nowadays.

[Guest penny]

I think I feel the same way as you about these current day bootlegs.

But I'm really talking about the 'old days' and what I do find interesting is that you can trace the early days of the scene by bootlegs of the time. Records which, in the main, are common nowadays were once upon a time as elusive as something like Mello Soul is today. Especially in the first days of import 45's. Can anyone believe that records like 'Discotheque', Earl Harrison, Tightrope, Tami Lynn etc, were once worth a week or two weeks wages? I think it's fascinating to know that something like You Turned My Bitter Into Sweet was so rare and popular that it was bootlegged as far back as 1969/70. We know exactly what our Wheel-attending ancestors listened to at the time via the Soul Sounds bootleg series, ditto the Torch 2 years later, all their top sounds bootlegged on the Out Of The Past label. So there is a lot of history attached to these early bootlegs. Much more than endless carver type pressings of Paul Anka etc etc which dominate Ebay UK nowadays.

Yes I totally appreciate that. They were a part of a vibrant culture back then, and people really did listen to their music on 45s back then, whatever style they liked. I guess if people collect artifacts from the history of the scene I can understand that, it's a very british thing to love the scene as much as what the scene is based on. The mod scene very much celebrates itself, hence the fascination with uk issues etc.

.

I suspect, however, that the majority market for all re-issue vinyl is djs, using a dodgy superfluous product to create a dodgy superfluous product.

Edited September 15, 2013 by penny

[SHEFFSOUL]

why has nobody commented on this?...now that's something i have never seen so i have to ask is this a case of a boot looking identical to the original, which IS megabucks?...besides which, a truly great tune anyway and,....one that should be spun at the various up & coming wigan tributes as, quote me if i'm wrong, it was a late era ricardo tune.....then again, it depends if any of the roster of djs who played there, actually own a copy and if so, more importantly if its not already in their playboxes, can they dig it out of their vast collections?...40th anniversaries DON'T necessarily have be about the obvious & blatently predictable.

 

there was an in-depth thread recently about this..and apparently an article in a soul mag ..many years ago..

[Guest noss]

What about Prince Phillip Mitchell 'I'm So Happy' c/w Benny Troy on Silver Top? I always thought that was quite a hard bootleg to find.

 

https://www.ebay.co.uk/itm/PRINCE-PHILLIP-MITCHELL-IM-SO-HAPPY-SILVER-TOP-103-EX-CON-/200986748727

[Mickjay33]

Haven't seen many copies of the Del-larks.. Job Opening.. Queen City boot, nor of Jackie Day .. Naughty Boy on Soul Spin(?).

Then again, I wouldn't expect to, and maybe they're just spun at home and don't see the light of day (like mine).

- Kev

got a copy of the Del-larks.. Job Opening on an emi disc brought it back late 70s paid 99p

[Nocker]

Just to chuck my two penath in, I go back to the Old days, ie the early 70ts, Youth clubs, local soul nights, nighters the lot, so i feel as a punter and sometime DJ over the years i have an opinion. Here goes

 

70ts pressings usualy bought due to availability/cost (remember in those days they were rare were originals) Bought i believe by aspiring young DJs and usualy replaced over the years with O.V.O. Or by people just to practice there dance steps at home. and to be differant from the pack.

 

Orginals in the 70s were not easily accessable to a teenager on apprentiship money, but some were willing to spend a week or two weeks cash on an orginal, thay are usualy still collectiong and usualy anti "pressing/bootleg"

 

"Dues to the singer etc" often one reason put forward by the OVO brigade against boots...well how many dues have been paid to the performer ect when a top rarety, or cheapy for tat matter, passes throgh any number of hands , most likely at a massive percentage more then it actually cost to make the track....answer, nowt.

 

Boot/Pressings today 70ts boots go for "X" amount due as per antique reproduction of anything that holds a nostalgic value and bring the going rate.

The new pressings that you see on eBay just now i dont get, how many people want a copy of Gloria Jones or Paul Anka, surely everyone must have a copy by now, it staggers me really that tracks pressed in the 70ts are getting "reissued" now,

 

My view, I look forward to the Kent etc singles, which in my opinion aren't reissues or pressings if they havent been released before, that goes for unreleased or one from small lable US released track.

I think of it this way. If its never had a UK issue before its an orginal british release, By my logic that makes the 70s Grapevine releases orginals and anything with the same track later is a reissue, or a pressing.

 

I am sure Ady etc is getting the "due's" to the people concerned, so don't feel guilty, (if anyone ever has) about buying or playing them.

Carvers, again no issue so long as its an LP track, or similar, DJ's playing these are to me akin to the lads at Dukinfield Rugby club back in the 70ts when i was a lad!! playing the most upfront track at time, before the pressiing became available, reissue or orginals were avialable.

 

PLEASE don't think i am saying pressings are OK, i am just putting a points over as i see it.

 

Buying vinyl now, well i still do it to play at home, I use an ipad in the car, but from a nostalga point i want on my deck at home a banging uptempo detriot sound a bit of space on the floor a scratchy start to the track, and memories flooding throuh my mind...love it

 

Cheers John

[Petedillon]

Was black mother goose going to be the first release on 444 label ??, love to see that

Dave Godin told me it was going to be the first release, yes..he even gave me a protype label without any song or artist on it..it was very similar to the Black Magic label with a Skyscraper skyline, but using the colours of the Right On label primarily.. I foolishly loaned the label to someone in the late 70's I foolishly loaned it out so a 'friend' could get a badge made of it, never saw it again..

[Tiberius]

Fairly confident that Sleddge - When She Touches / Very Strong On You is a boot & definately a far more scarce 45 than either Percy Sledge - When She's Touching Me or Cortez Greer - Very Strong On You.

 

https://www.popsike.com/php/quicksearch.php?searchtext=sleddge&x=0&y=0

[Sean Hampsey]

Benny Johnson - Stop Me - Today.

 

Was booted on another label, then hundreds of originals turned up.

 

Mmmmmmmmm Don't recall that Joe.

 

You don't mean Rosie Jones 'Have Love Will Travel' do you?

 

Came out on a Sound Gems boot and then the Today copies turned up in quantity.

 

Benny Johnson was never in demand, not for a minute, and was around in huge quantity, a solid 10p Soul packer, from the day it was released.

 

 

Confused of Chesterfield.

[pikeys dog]

Yep, you're right Sean.

 

Momentary mindslip.

[Carty]

I mildly enjoy the illegality of the bootleg.

[Sean Hampsey]

Yep, you're right Sean.

 

Momentary mindslip.

 

Know the feeling Joe.

 

Happens to me all the time.

 

Information overload.

 

 

Sean