HarvestmanMan
Ikon Class
- Joined
- Apr 25, 2011
- Location
- Cincinnati
The interest in the music is good...the reluctance to pay for it definitely isn't.
kick this wanker in the balls!
- Thread starter michaelvee
- Start date
Mario
Pharaoh Class
- Joined
- Dec 17, 2014
Yeah, I see what you're saying, but if they're REALLY INTERESTED they would buy it. Their intentions can't be all that good if they know they're going to get it without having to pay any money for it. It's better to have the actual product than to have some file on your computer. Most of these young newbies who discover 60's garage rely on youtube for their 60's garage lesson. Lame.
Go buy the stuff, show it off to your friends, so that maybe, just maybe.... they buy it for themselves. I mean after all, people ain't going through the trouble of putting these things out for nothing! There should be some reward at the end for (them).
HarvestmanMan
Ikon Class
- Joined
- Apr 25, 2011
- Location
- Cincinnati
Being realistic, though, it's easier to pick and choose on a site like that than to select one of the myriad garage comps and (possibly) end up disappointed with the results. If you're paying fifteen or twenty bucks for a CD or album that you only end up liking one or two tracks on, then what's the point in that?
I'm perfectly okay with trawling YouTube for new music, and what I do upload is mostly stuff that no one would bother compiling (which is also why I compile it myself). Seeking out free downloads of compilations, however, is a big no.
mansson66
Ikon Class
- Joined
- Apr 25, 2011
I don't get why it's lame to check stuff out on youtube - I think youtube is a pretty cool DIY channel for stuff as opposed to for example spotify who pretend to be legal but have dragged royalties to musicians back to a 20's/30's level again - total regression...
I do think it's lame when people think they have a 'record collection' in the phone like a lot of ppl seem to these days. But then again there are worse things happening around the globe than some lame hipsters who think they are rock journalists just because they have 5000 songs in their smartphone. Still I think anyone who really likes music should buy it. I've never downloaded anything but then again I guess I'm too old for that crap. I want my music on vinyl.
I do think it's lame when people think they have a 'record collection' in the phone like a lot of ppl seem to these days. But then again there are worse things happening around the globe than some lame hipsters who think they are rock journalists just because they have 5000 songs in their smartphone. Still I think anyone who really likes music should buy it. I've never downloaded anything but then again I guess I'm too old for that crap. I want my music on vinyl.
Outside_Lookin_in
G45 Legend
- Joined
- Jul 1, 2014
I've never understood why people settle for second best. I've always gone for the best sound quality whether it's free, whether I have to pay for it, or whether I have to "steal" it. All things being equal (sound quality wise) I will go for vinyl over digital for obvious reasons, and I will pay rather than steal, but if I can find a better digital copy than the vinyl, then screw it: I'll buy the digital or "steal" it if it's not offered for sale on reasonable terms. A youtube rip is usually not an option, but occasionally it's the ONLY option.
jerry dickens
Mark VII Class
- Joined
- Feb 8, 2014
Forums like this exist, to a large degree, because a few genuine enthusiasts appreciate the value of recorded music in its original distributed form.
Reissues, micro-groove 'retrospective' compilations, bootlegs, repros, cassettes, CDs, downloads . . . none of these gimcracks compare with an original pressing. When someone opines that 'It's the music that counts', you just know you're in the wrong company.
Reissues, micro-groove 'retrospective' compilations, bootlegs, repros, cassettes, CDs, downloads . . . none of these gimcracks compare with an original pressing. When someone opines that 'It's the music that counts', you just know you're in the wrong company.
Heitkotter77
Ikon Class
- Joined
- Oct 3, 2011
- Location
- the Woods of Briar
I'm a collector, but I don't agree with you, Jerry.
To me, it is the music that counts, first and foremost. I buy records based first on whether or not I like the music. It's also hearing it in the best possible format that you can. That does not always equate to the original pressing. See the Beatles mono box thread for a superb example of that. (For the record, I've listened through the later LPs and a few sides of the Mono Masters so far, and am pretty amazed by what I'm hearing.)
I sold my original copy of the Circuit Rider LP because the Rob Sevier/ Number Group related reissue was far sonically superior to the poorly recorded original. I could have kept both, but I didn't find it necessary to have both. That doesn't make me any less a collector.
To me, it is the music that counts, first and foremost. I buy records based first on whether or not I like the music. It's also hearing it in the best possible format that you can. That does not always equate to the original pressing. See the Beatles mono box thread for a superb example of that. (For the record, I've listened through the later LPs and a few sides of the Mono Masters so far, and am pretty amazed by what I'm hearing.)
I sold my original copy of the Circuit Rider LP because the Rob Sevier/ Number Group related reissue was far sonically superior to the poorly recorded original. I could have kept both, but I didn't find it necessary to have both. That doesn't make me any less a collector.
Heitkotter77
Ikon Class
- Joined
- Oct 3, 2011
- Location
- the Woods of Briar
And keeping relevant to this forum, I can attest to the love (dare I say deification/ and yes, I am one of the worshippers) for the Back from the Grave series as evidence that forums like this appreciate the value of music in more than the original distributed form.
- Joined
- Apr 20, 2011
- Location
- The shores of southern CT
I find this discussion to be most interesting and baffling at the same time...
For myself, I always want to own the original pressing. If it is unobtainable or beyond affordability for me, I still wish to have said recording in some viable format - vinyl reissue preferable, or a dub of the original onto a CD. Even cassette tapes. If I must settle for a digital file, I'll even accept that than go without it.
There is no way I could have accomplished getting TeenBeat Mayhem completed without the help of dozens of collectors who graciously obliged my requests over the years to provide copies of 45s on various media formats.
i can think of two long time, older garage / psych collectors who have built a pretty good collection of originals. However, they do not want anything but originals - not even to just hear something unfamiliar. No comps at all for them - they simply dismiss them outright. The only way they would know about a particular 45 or LP is to come across the original. What a sorry way to collect and deprive oneself of potential cool recordings.
For myself, I always want to own the original pressing. If it is unobtainable or beyond affordability for me, I still wish to have said recording in some viable format - vinyl reissue preferable, or a dub of the original onto a CD. Even cassette tapes. If I must settle for a digital file, I'll even accept that than go without it.
There is no way I could have accomplished getting TeenBeat Mayhem completed without the help of dozens of collectors who graciously obliged my requests over the years to provide copies of 45s on various media formats.
i can think of two long time, older garage / psych collectors who have built a pretty good collection of originals. However, they do not want anything but originals - not even to just hear something unfamiliar. No comps at all for them - they simply dismiss them outright. The only way they would know about a particular 45 or LP is to come across the original. What a sorry way to collect and deprive oneself of potential cool recordings.
Frantic
G45 Legend
- Joined
- Apr 20, 2011
So...let see if I got you straight. You'd rather have a common Lulu 45 than a killer unreleased track on cd by...ah...let's say....THE KEGGS? I'm not sure what a gimcrack is but I guess I'm one of them and proud of it
jerry dickens
Mark VII Class
- Joined
- Feb 8, 2014
Mr Frantic, I would suggest you look up the definition of 'gimcrack' before you admit to being one. From your authoritive posts on this forum I would imagine that you are the last person who could be described as a gimcrack.
If I collected Lulu 45s, then the chances are The Keggs would not be part of my musical universe; similarly, I suspect that anyone who was serious about The Keggs would tend to overlook a common Lulu 45 in favour of The Keggs in any format.
Speaking for myself - and only for myself - I find Mike's post above to be roughly in line with my own views, albeit mine are perhaps more restrictive. The original 45 if at all obtainable within a reasonable timescale; if not, a legal 45rpm vinyl reissue from an analogue master; next best for me would be a CDR transfer from a clean 45; finally, a 33rpm transfer from an analogue master.
When it comes to compilations, my experiences in general have resulted in disappointment. Of the several dozen LP compilations in my collection (rockabilly and R&B), I can't remember the last time I played one of them without being struck by their inferior sonics. Even those taken from master tapes often sound anaemic when compared to 45s. And there is also the nagging doubt when listening to previously unissued tracks, that what you are hearing is the original recording and not some doctored version, tailored to suit the whims of the compiler. Although it may mean little to members of this forum, it seems to have been a common practice in the 70s and 80s to dub in a prominent slap bass to the original mix of certain Sun and Starday recordings.
Mike's final observation is a good one any applies equally to many record collecting genres. The purist collectors who would rather do without than compromise their 'originals only' yardstick are perverse by general standards. However, they doubtless despise lesser mortals who do not share their hair-shirt standards.
If I collected Lulu 45s, then the chances are The Keggs would not be part of my musical universe; similarly, I suspect that anyone who was serious about The Keggs would tend to overlook a common Lulu 45 in favour of The Keggs in any format.
Speaking for myself - and only for myself - I find Mike's post above to be roughly in line with my own views, albeit mine are perhaps more restrictive. The original 45 if at all obtainable within a reasonable timescale; if not, a legal 45rpm vinyl reissue from an analogue master; next best for me would be a CDR transfer from a clean 45; finally, a 33rpm transfer from an analogue master.
When it comes to compilations, my experiences in general have resulted in disappointment. Of the several dozen LP compilations in my collection (rockabilly and R&B), I can't remember the last time I played one of them without being struck by their inferior sonics. Even those taken from master tapes often sound anaemic when compared to 45s. And there is also the nagging doubt when listening to previously unissued tracks, that what you are hearing is the original recording and not some doctored version, tailored to suit the whims of the compiler. Although it may mean little to members of this forum, it seems to have been a common practice in the 70s and 80s to dub in a prominent slap bass to the original mix of certain Sun and Starday recordings.
Mike's final observation is a good one any applies equally to many record collecting genres. The purist collectors who would rather do without than compromise their 'originals only' yardstick are perverse by general standards. However, they doubtless despise lesser mortals who do not share their hair-shirt standards.
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