Download Bootleg: The Secret History of the Other Recording Industry by Clinton Heylin PDF
By Clinton Heylin
In Bootleg: the key historical past of the opposite Recording undefined, Clinton Heylin examines the whole smooth background of this underground tradition: from what defines an illicit and its complicated and protean criminal prestige, to an entire background of bootlegs' creation and distribution, to what's contained on essentially the most infamous bootlegs and the way to discover them. in addition to many illustrations of the inventive applications, this can be the total tale of the $250 million that sustains itself at the nice figures of rock song and their greatest admirers.
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Extra info for Bootleg: The Secret History of the Other Recording Industry
W a g n e r - N i c h o l s maintained that they w e r e not competing w i t h t h e plaintiffs since they had n o t attempted to palm their r e c o r d s off either as Columbia R e c o r d s or official M e t recordings, and further held that e v e r y b o d y c o n c e r n e d had abandoned p r o p e r t y rights in the performances w h e n they w e r e broadcast. T h e N e w Y o r k c o u r t granted the injunction and in doing so set an important precedent because this interpretation of unfair competition has been v e r y useful to r e c o r d c o m p a n ies in combating pirates ever since .
His lack of knowledge of performers and conductors, plus the poor mastering and cheap pressings he used for the Golden Age of Opera series, suggested that his interest in opera was not entirely philanthropic. By the time Jones called it quits in the early sixties he had already been superseded by a second generation of privateers, 'younger men with greater technical knowledge who were more fastidious about the quality of the sound they would commit to records'. These bootleggers maintained a considerably lower profile and accessed their source material far more covertly.
There was a vast archive of radio performances by movie stars and crooners from the thirties and forties, singing their hit songs, telling favourite routines or re-enacting famous roles. Also, because of the contractual and logistical problems involved in issuing genuine soundtracks to famous Hollywood musicals, most so-called 'soundtrack' albums were re-recordings of the same material under studio conditions (often with an in-house orchestra). The results were usually unsatisfactory. Many collectors wanted the original film soundtracks on record.