The guy quoted at 28:00 is right. Artists and their managers used to talk a lot about money "lost" to bootlegs, but in the end, they probably profited from bootlegs existing. The people who bought bootlegs were the best customers any artist had, and the bootlegs made that bond between listener and artist even stronger. Bootlegs were the stuff nobody wanted to release, so the artist lost nothing. It was more like untapped income. But by feeding the fans' desire for deeper insights into their heroes' careers, they helped turn them into the lifetime buyers who now shell out big bucks for expansive archive releases. On a similar note, the most prolific illegal downloaders on bittorrent and the old Limewire were also the consumers who spent the most money on legally released music overall. In fact, the biggest bandits in the music industry have turned out to be the record companies (once again!) for licensing songs to streaming services for peanuts, depriving the artist.
One very interesting case is The Grateful Dead, who, faced with huge numbers of bootleg recordings of their gigs, decided to open the floodgates and openly condone fans taping their shows and trading tapes, effectively killing off "commercial" bootlegs...
In 1977 my best friend told me he bought a Led Zeppelin bootleg. I hadn't heard of them, but I was blown away listening to a somewhat distant and echo-y audience recording of the best parts of a show at Earl's Court. It transported me to a seat at a concert by my favorite band, and I've been collecting ever since on vinyl, cassette, and cd.
That very same bootleg started me off too. I believe it was the performance from May 24 1975. I still play the eerie No Quarter to this day. And what on earth was "Woodstock"? I was only 15 and I had no idea where it came from (it was quite cleverly cut so it seemed to be a track in its own right) it was so eerie...! Happy days!
Ha, I'm very much the same, ’77 and a cousin played me his copy of Mudslide. I went on to collect vinyl, cassette and cd. I now have around 260 live concert recordings and a good selection of studio outtakes :-)
as a digital bootleg collector this really connects the old to the new. all these dudes i know that put reel to reel tapes of live shoes to FLAC format and preserve it for the generations. It used to be so much easier about 10 years ago online you could download ANY bootleg or even obscure record through the "blogspot" connection. which led me to snail mail trading with old heads (I was 21 at the time) You can still do it, it just feels like less of a community now. Or maybe im just not on the in anymore... if you are... let me know! I have some great stuff to trade!
I feel this, I used to trade VHS tapes with dudes I found online when I was a teenager in the late 90's. Some stuff just isn't circulated any more/is not easy to find on any online trader lists but must still be out there somewhere... But I have no idea where to look! Also some shows that used to be online on private trackers are just.. gone. Idk what happened. Some super rare stuff that I digitised and put on a private tracker when I stopped trading for a while and didn't want to be a hoarder got put on YT with someone else's watermark on it! so I stopped sharing my stuff... But I probably don't have too much of the über rare left that I didn't already share before I noticed that and got surly lol.
In the day, I heard some artists sold bootlegs to boost their income when they were upset with the record companies etc etc. Some right off the stage mixer.
The first bootleg I was exposed to was The Who closer to Queen Mary on the trademark of quality label on red vinyl. I was 8 and blown away! It’s still one of my favorite albums.
Bluemooon Records! It was a "treat" to go to hot rocks in west Covina and ask the owner for some "import" material of NY favorite band... NIRVANA! $30 a CD... now, UA-cam has taken over
My record store was called The Last Unicorn in Utica, NY, they always had “imports” of my favorite band, Green Day. How I miss those days. I wish they were still open.
1st boot i saw was the who " closeer to queen Mary ' on blue vinyl. the cover was just a stamp on it, the 1st boot i bought was aerosmith " look homeward angel " live in boston ,76. it,s good on takrl.
I have a few floyd bootlegs. My top one is Embrwo. A fantastic live set, which didn't cost a lot at the time, but it is quite rare. The last known copy sold in Australia for approx £3,000 and it wasn't in the same condition as mine!
In the early 1990s in Australia I was listening to a reggae radio show as I'm a massive Bob Marley fan I caught this concert being played it sounded amazing Quiet knight club in Chicago june 10 1975 from a original vinyl boot Kept on ringing the station to play more tracks from it he did The correct name of the boot is called JAH JOYS AND THE RAINBOW ZAP BOOTLEG PRESSED IN 1976 I eventually got this original boot on vinyl I've had Reissues of it on vinyl and CDs over last 30 yrs but none come close to playing like the original just sounds and plays better I think this was one first boots on marley I heard u never forget your first
My late brother had a large collection of Deep Purple bootlegs. Unfortunately, most had horrible audio to them. But at the time it was something you never heard.
I have Hendrix, Little Feet, Steely Dan TMQ boots in bought in the mid 70's and have to say I treasure them... and the Pig smoking a cigar logo was certainly the coolest label logo out there.... till Stiff...
As for the the fate of Rubber Dubber [real name Scott Johnson], according to Clinton Heylin in his 1994 book "The Secret History of the Other Recording Industry": "Though Rubber Dubber never re-entered the bootleg biz - leaving the legend largely intact to this day - rock bootlegging was not to be his last brush with the authorities. After years of living outside the law, he is now languishing in a New Mexico jail on a trumped up Murder One rap, an unfitting end for the great Dubber."
what's funny is that just take a look at what's all over you tube of live shows. now a days, you don't even need to really have a copy in your hands. unless you are going hardcore and plugging this webpage into your recorder. you can build a huge amount of live concerts that you really wish you owned back when it was next to impossible to get.
Oh, the irony. Having made vast fortunes out of little plastic discs that had to be copied in realtime, the record industry would throw itself under its own bus by enthusiastically embracing little plastic discs that could now be copied in 30 seconds. Fast forward 20 years and you can get pretty much anything in recorded music for nothing. The PC industry _DID_ warn them that they were about to make home digital recording affordable and a piece of cake, but a lot of the labels actually bragged that ultimately they wanted a saleable music product you couldn't physically see. And then they went and digitised everything the Beatles ever committed to tape, and what do you know - it briefly appeared on our favourite auction site. Oh happy day!
Anybody else wonder which legit record label was started by the ex- TMOQ guy? I've wondered if it's Rhino. Dub Taylor designed their logo and they released a lot of stuff that looked like it was aimed at collectors who already were into bootlegs and unreleased material.
@@williamthompson5504 No, the guy who designed the logos and artwork for both TMOQ AND Rhino was a gentleman called William Stout: bleedingcool.com/comics/william-stout-career-envy/
22:13 i heard this story before about 10 years ago on Echoeshub. wheelchair was the human mic stand mike the mike 23.55 that what i would like to know ..
I have quite a few Led Zeppelin vinyl boot titles and many Dylan titles as well. I never could afford any of those crazy Japanese acetate Zeppelin boots. But I'd love to get one someday.
Sad that PFloyd were hardcore about bootleggers- try to find anything more than scraps of live video-GD (roadies-not Garcia)were actually unfriendly to some of this activity prior to the “after we’ve performed it,do as though wilt” attitude-eventually designating an area specifically for the tapers,another excellent evolution.
That guy knows nothing about "Great White Wonder". All his comments are totally inaccurate. Best to read Clinton Heylin's book and Ken Taylor''s blog for the real story.
I had the Beatles...A Dolls House... German Import...in the 70s.It was Great...now I bought the 50th Anniversary of the White Album....it has the Same One I Had...it sounds far Better..than the my Early Recordings...I wish Capital Made a Real Recording of it....It would of sold Millions!!!
bootleegers are my hero,s i fucking love you every one especially if a sony emi or universal rep gets real hot & sweaty lol.wow these suits actually send people to mess up dj,s playlists on you tube.they put bugs on peoples lists so each song cuts out & overdub a recording they arent making money from.so the way i look at it is the industry is full of egotistical power hungry people that block music even when its used for educational purposes...
Some artists, followed by their agents, labels and music publishers (and their attorneys) liked to whine about how bootlegs have caused them to be overexposed. Bullshit. Any overexposure an artist or group experienced back in the day - and even today - is at the hands of their handlers; indeed, most acts were overbooked into the ground and, as a result, a lot of nights weren't exactly their finest hours. Sure, I can understand that a label would prefer that the public not hear anything but the "genuine article" in order to keep selling concert tickets for shitty shows, and in some cases, performances by musicians who weren't even the original artists. It was not uncommon in the '60s for labels to tour as many as five bands under the same name across the U.S. in order to increase their cash grab; their thinking was, in essence, "Who even knows what these guys look like? Their faces aren't on the cover, and neither are their names. If they can play the song and hold a tune, nobody's gonna care!" And a good many concertgoers went, paid their money, and probably still don't know that the band they THOUGHT they were seeing bore no resemblance to the real thing. Fortunately, the only artists subjected to this scam were the one-hit wonders who walked unrecognized down the streets. Did the labels and agents forward any of the money from those bogus shows to the band? Are you kidding? Those groups were lucky to get paid anything in the first place for their legitimate, official work! Even in the studio, most of the hits recorded during the '60s and '70s were typically performed by session players such as The Wrecking Crew, who deserve a Grammy for their work along with the artists they pretended to be. I agree that the completists who really loved their artists bought everything, including the official later releases made from the same bootleg albums they owned for years. Other well-known bands such as The Grateful Dead made a special place for the tapers, who made it possible for many of the concerts you can now listen to on www.archive.org,, provided that you have about 25 years to set aside for listening. Deadheads are aware that there is a difference between the group's official releases and those live recordings and buy 'em all, which was not detrimental to the players. Jerry Garcia captured their sentiment so well when he said that once they're done playing a show, they're done with it. And now there's a wealth of material available for people with 25 years of nothing else to do. There's a certain listening value that bootlegs provide, even for someone like me who was recorded on some nights when the band least expected it. So if anyone ever comes across The Grandmothers at the Cubby Bear Lounge, Chicago, Mother's Day 1990, I'd love to hear it.
I once had a bootleg copy of the beatles first lp. Made in the 60s. The American first lp had the wrong tracks and fewer tracks too. Many bootleg lps are shite quality.
@@redhouscv2792 Actually it wasn't to bad but some are really bad like the new yardbirds final live performance before becoming Led Zeppelin. Worse is Byrds live at Lincoln.
Tyrone, I hear there's people who can't even stand official live albums. When it comes to vinyl bootlegs, you just need to do a bit of research and listen to them with your "bootleg ears" on. Most who are into them value the chance of hearing a certain concert that otherwise would not exist over quality standards.
The guy quoted at 28:00 is right. Artists and their managers used to talk a lot about money "lost" to bootlegs, but in the end, they probably profited from bootlegs existing. The people who bought bootlegs were the best customers any artist had, and the bootlegs made that bond between listener and artist even stronger. Bootlegs were the stuff nobody wanted to release, so the artist lost nothing. It was more like untapped income. But by feeding the fans' desire for deeper insights into their heroes' careers, they helped turn them into the lifetime buyers who now shell out big bucks for expansive archive releases. On a similar note, the most prolific illegal downloaders on bittorrent and the old Limewire were also the consumers who spent the most money on legally released music overall. In fact, the biggest bandits in the music industry have turned out to be the record companies (once again!) for licensing songs to streaming services for peanuts, depriving the artist.
One very interesting case is The Grateful Dead, who, faced with huge numbers of bootleg recordings of their gigs, decided to open the floodgates and openly condone fans taping their shows and trading tapes, effectively killing off "commercial" bootlegs...
In 1977 my best friend told me he bought a Led Zeppelin bootleg. I hadn't heard of them, but I was blown away listening to a somewhat distant and echo-y audience recording of the best parts of a show at Earl's Court. It transported me to a seat at a concert by my favorite band, and I've been collecting ever since on vinyl, cassette, and cd.
That very same bootleg started me off too. I believe it was the performance from May 24 1975. I still play the eerie No Quarter to this day. And what on earth was "Woodstock"? I was only 15 and I had no idea where it came from (it was quite cleverly cut so it seemed to be a track in its own right) it was so eerie...! Happy days!
Ha, I'm very much the same, ’77 and a cousin played me his copy of Mudslide. I went on to collect vinyl, cassette and cd. I now have around 260 live concert recordings and a good selection of studio outtakes :-)
as a digital bootleg collector this really connects the old to the new. all these dudes i know that put reel to reel tapes of live shoes to FLAC format and preserve it for the generations. It used to be so much easier about 10 years ago online you could download ANY bootleg or even obscure record through the "blogspot" connection. which led me to snail mail trading with old heads (I was 21 at the time) You can still do it, it just feels like less of a community now. Or maybe im just not on the in anymore... if you are... let me know! I have some great stuff to trade!
I feel this, I used to trade VHS tapes with dudes I found online when I was a teenager in the late 90's. Some stuff just isn't circulated any more/is not easy to find on any online trader lists but must still be out there somewhere... But I have no idea where to look! Also some shows that used to be online on private trackers are just.. gone. Idk what happened.
Some super rare stuff that I digitised and put on a private tracker when I stopped trading for a while and didn't want to be a hoarder got put on YT with someone else's watermark on it! so I stopped sharing my stuff... But I probably don't have too much of the über rare left that I didn't already share before I noticed that and got surly lol.
In the day, I heard some artists sold bootlegs to boost their income when they were upset with the record companies etc etc. Some right off the stage mixer.
Grateful Dead did that all the time, you're absolutely correct
Being bootlegged was the ultimate compliment.
I am a bootleg collector and this is GREAT STORY
The first bootleg I was exposed to was The Who closer to Queen Mary on the trademark of quality label on red vinyl. I was 8 and blown away! It’s still one of my favorite albums.
Yeah' Closer to Queen Mary Also One Of My Favourite Who Bootlegs..👍
Bluemooon Records! It was a "treat" to go to hot rocks in west Covina and ask the owner for some "import" material of NY favorite band... NIRVANA! $30 a CD... now, UA-cam has taken over
My record store was called The Last Unicorn in Utica, NY, they always had “imports” of my favorite band, Green Day. How I miss those days. I wish they were still open.
1st boot i saw was the who " closeer to queen Mary ' on blue vinyl. the cover was just a stamp on it, the 1st boot i bought was aerosmith " look homeward angel " live in boston ,76. it,s good on takrl.
I have a few floyd bootlegs. My top one is Embrwo. A fantastic live set, which didn't cost a lot at the time, but it is quite rare. The last known copy sold in Australia for approx £3,000 and it wasn't in the same condition as mine!
In the early 1990s in Australia I was listening to a reggae radio show as I'm a massive Bob Marley fan I caught this concert being played it sounded amazing Quiet knight club in Chicago june 10 1975 from a original vinyl boot
Kept on ringing the station to play more tracks from it he did
The correct name of the boot is called
JAH JOYS AND THE RAINBOW ZAP BOOTLEG PRESSED IN 1976
I eventually got this original boot on vinyl
I've had Reissues of it on vinyl and CDs over last 30 yrs but none come close to playing like the original just sounds and plays better
I think this was one first boots on marley I heard u never forget your first
My late brother had a large collection of Deep Purple bootlegs. Unfortunately, most had horrible audio to them. But at the time it was something you never heard.
It's all on film. The Bob Dylan movie .
I have Hendrix, Little Feet, Steely Dan TMQ boots in bought in the mid 70's and have to say I treasure them... and the Pig smoking a cigar logo was certainly the coolest label logo out there.... till Stiff...
Swinging Pig Records. I have a bunch by them
I would imagine that Del-boy might be someone who would sell bootlegs.
These beautiful girls are all in their mid 70's to 80's nowdays..
I still own the first bootleg I ever got - KISS Destroys Anaheim, 1976. Single disc. I couldn't even tell you how many vinyl boots I own now.
mine was the who " closer to queen Mary " on TMOQ. blue wax.
As for the the fate of Rubber Dubber [real name Scott Johnson], according to Clinton Heylin in his 1994 book "The Secret History of the Other Recording Industry":
"Though Rubber Dubber never re-entered the bootleg biz - leaving the legend largely intact to this day - rock bootlegging was not to be his last brush with the authorities. After years of living outside the law, he is now languishing in a New Mexico jail on a trumped up Murder One rap, an unfitting end for the great Dubber."
what's funny is that just take a look at what's all over you tube of live shows. now a days, you don't even need to really have a copy in your hands. unless you are going hardcore and plugging this webpage into your recorder. you can build a huge amount of live concerts that you really wish you owned back when it was next to impossible to get.
That's one blessing about the internet
Oh, the irony.
Having made vast fortunes out of little plastic discs that had to be copied in realtime, the record industry would throw itself under its own bus by enthusiastically embracing little plastic discs that could now be copied in 30 seconds. Fast forward 20 years and you can get pretty much anything in recorded music for nothing.
The PC industry _DID_ warn them that they were about to make home digital recording affordable and a piece of cake, but a lot of the labels actually bragged that ultimately they wanted a saleable music product you couldn't physically see.
And then they went and digitised everything the Beatles ever committed to tape, and what do you know - it briefly appeared on our favourite auction site. Oh happy day!
It was fun !!!
_The_ Led Zeppelin 😂
Anybody else wonder which legit record label was started by the ex- TMOQ guy? I've wondered if it's Rhino. Dub Taylor designed their logo and they released a lot of stuff that looked like it was aimed at collectors who already were into bootlegs and unreleased material.
You are correct sir. It was Rhino. Warner Brothers owns it now, They put out some AMAZING recordings.
@@williamthompson5504 No, the guy who designed the logos and artwork for both TMOQ AND Rhino was a gentleman called William Stout: bleedingcool.com/comics/william-stout-career-envy/
@@williamthompson5504 How did he go from Bootleg to legit like that? That's interesting.
@@alexhowe9783 stout has written a book about this. Check out his website
Ahh the good ol days...
Event Horizon by The Sisters of Mercy is the best bootleg I ever heard.
It effectively renders their studio albums obsolete.
I want a bootleg of this Bootleg show
This was really good
22:13 i heard this story before about 10 years ago on Echoeshub. wheelchair was the human mic stand mike the mike 23.55 that what i would like to know ..
Id be willing to bet some artists produced and sold them, believing they hadn't made the money they thought they deserved
I have quite a few Led Zeppelin vinyl boot titles and many Dylan titles as well. I never could afford any of those crazy Japanese acetate Zeppelin boots. But I'd love to get one someday.
Bootlegs...used to have a lot of Beatles...Dylan/Band recorded two nights after I saw him for the first time 🎶🎶🍏🎶🎶☃️
Not to forget the official Aerosmith Live Bootleg double album.
Did Alan Partridge narrate this? :)
Sad that PFloyd were hardcore about bootleggers- try to find anything more than scraps of live video-GD (roadies-not Garcia)were actually unfriendly to some of this activity prior to the “after we’ve performed it,do as though wilt” attitude-eventually designating an area specifically for the tapers,another excellent evolution.
Rolling Stones Liver than you ever be
That was my first bootleg!!!
That guy knows nothing about "Great White Wonder". All his comments are totally inaccurate. Best to read Clinton Heylin's book and Ken Taylor''s blog for the real story.
Dub taylor has a blog?
Sorry, Ken Douglas. It’s called “It Coulda Happened This Way”. Last seen on his photography website.
When was this first broadcast and on what radio station??
B. Mitchell Reed!!!!!! 31:49
I had the Beatles...A Dolls House... German Import...in the 70s.It was Great...now I bought the 50th Anniversary of the White Album....it has the Same One I Had...it sounds far Better..than the my Early Recordings...I wish Capital Made a Real Recording of it....It would of sold Millions!!!
bootleegers are my hero,s i fucking love you every one especially if a sony emi or universal rep gets real hot & sweaty lol.wow these suits actually send people to mess up dj,s playlists on you tube.they put bugs on peoples lists so each song cuts out & overdub a recording they arent making money from.so the way i look at it is the industry is full of egotistical power hungry people that block music even when its used for educational purposes...
41:47 Hailee Steinfeld
at 26:00 that looks totally like a young Joe Elliot
Mike Millard nicknamed "Mike The Mic" um famoso pirata..
This is interesting.
Swinging Pig Label Put Out Alot Of Great Titles But Like Alot Of Them Things Changed Esp The Bust of 98 in Florida Record Meet Alot Got Closed Down
Has this been cut down as i`m sure it used to be an hour on the radio
Some of the music is edited out
Bob Zimmerman owes his career to Columbia records.
look up Master Tape Network
The First Amendment means freedom of the press and should protect pressing vinyl records as well.
Record companies were idiots for not allowing the market dictate their actions and efforts.... Look a the Grateful Dead for chrissakes.
I have 16 copies of the great white wonder
I have one. I bought it by accident too. A guy ripped me off on ebay, haha.
@@bertroost1675 show me
Peter Grants story about Blueberry Hill is wrong on so many fronts.
Some artists, followed by their agents, labels and music publishers (and their attorneys) liked to whine about how bootlegs have caused them to be overexposed. Bullshit. Any overexposure an artist or group experienced back in the day - and even today - is at the hands of their handlers; indeed, most acts were overbooked into the ground and, as a result, a lot of nights weren't exactly their finest hours. Sure, I can understand that a label would prefer that the public not hear anything but the "genuine article" in order to keep selling concert tickets for shitty shows, and in some cases, performances by musicians who weren't even the original artists. It was not uncommon in the '60s for labels to tour as many as five bands under the same name across the U.S. in order to increase their cash grab; their thinking was, in essence, "Who even knows what these guys look like? Their faces aren't on the cover, and neither are their names. If they can play the song and hold a tune, nobody's gonna care!" And a good many concertgoers went, paid their money, and probably still don't know that the band they THOUGHT they were seeing bore no resemblance to the real thing. Fortunately, the only artists subjected to this scam were the one-hit wonders who walked unrecognized down the streets.
Did the labels and agents forward any of the money from those bogus shows to the band? Are you kidding? Those groups were lucky to get paid anything in the first place for their legitimate, official work!
Even in the studio, most of the hits recorded during the '60s and '70s were typically performed by session players such as The Wrecking Crew, who deserve a Grammy for their work along with the artists they pretended to be.
I agree that the completists who really loved their artists bought everything, including the official later releases made from the same bootleg albums they owned for years.
Other well-known bands such as The Grateful Dead made a special place for the tapers, who made it possible for many of the concerts you can now listen to on www.archive.org,, provided that you have about 25 years to set aside for listening. Deadheads are aware that there is a difference between the group's official releases and those live recordings and buy 'em all, which was not detrimental to the players. Jerry Garcia captured their sentiment so well when he said that once they're done playing a show, they're done with it. And now there's a wealth of material available for people with 25 years of nothing else to do.
There's a certain listening value that bootlegs provide, even for someone like me who was recorded on some nights when the band least expected it. So if anyone ever comes across The Grandmothers at the Cubby Bear Lounge, Chicago, Mother's Day 1990, I'd love to hear it.
Is this a bootleg of the story of bootlegs.
I got a copy of Buddy Rich bitching out his band (your playing like children) (I’m gonna get a new band in Detroit)
Emard Bypass
Now almost everybody is bootlegger with their smartphones.
Cassette revolutionized this nich rackett.
I once had a bootleg copy of the beatles first lp. Made in the 60s. The American first lp had the wrong tracks and fewer tracks too. Many bootleg lps are shite quality.
If it was a copy of their first album it’s a counterfeit not a bootleg
@@redhouscv2792 Only the record was a counterfeit the cover was completely different no names just that black silhouette of the four members.
Tuten Vanman oh I see and from your first comment I’m guessing that LP sounds bad??
@@redhouscv2792 Actually it wasn't to bad but some are really bad like the new yardbirds final live performance before becoming Led Zeppelin. Worse is Byrds live at Lincoln.
@@tutenvanman2715 That's called a pirate.
This program isn't about stealing officially released material.
so, the only boots were of rock bands? who wrote this crap? boots are only of unreleased music? really!
This is all old news. Nothing new-or interesting--here for bootleg fans. All ancient stuff that I've heard many times before. Yawn!
Most bootleg are 🗑
Tyrone Epps you’re crazy
Tyrone, I hear there's people who can't even stand official live albums.
When it comes to vinyl bootlegs, you just need to do a bit of research and listen to them with your "bootleg ears" on. Most who are into them value the chance of hearing a certain concert that otherwise would not exist over quality standards.
They are history. They are a time capsule.