new comp out

[M.T. Wallet]

MP3 sourced?" This has been a growing trend of late with some of the vinyl comps coming over from Europe and there's absolutely no excuse for it.

no problem for me as long as:
-the songs are really great and impossible to find except on the rare & ultra-expensive original 7"
-the lp comp is cheap (around $10-15 max)

 

[axel]

Consider the following hypothetical: Let's just say that, despite the outrageous asking price, this compilation does indeed sell out, and quickly. Those responsible for it may very well crow about its "success' and feel sufficiently emboldened to assemble a follow up somewhere down the road, to which they will affix the same high price tag, knowing that people bought the first one.

That's right. You've got a strong point here.

 

[EXPO67]

Can't tell you much about the origin of the tracks comped, but when compared to my old PUNK CLASSICS 7''s, they sound fine, if not better... despite they lack the dynamic of a 7'' format. Some of the tracks sound better than others, some probably MP3 sourced...

If any tracks are MP3 sourced that makes this release no longer essential if indeed it was in the first place.

 

[axel]

it's rather laughable to view them as personal statements on the part of the compiler. There was certainly no attempt at doing a Sgt. Pepper

I don't see what this subject has to do with Pet Sounds or Sgt. Pepper. That's mere polemic. Of course creating music is something else than compiling music. But that doesn't mean that the latter doesn't have any value.

 

[Mr.Segment]

What really f'in irks me about these new trendy repressings, and also mp3 sourced comps in general, is that it makes it nearly impossible to distribute free comps via download to forum members without risking that some leech uses them to press a new comp for his own profits.

I don't own the rights to the music on my 45s & I've got nothing against sharing it with those who have not heard it, but the thought of the bootleg crew profiting on it rubs me the wrong way.

Regarding the Punk Classics release, damn what an ugly cover. At least the recent Do what thou wilt lp brought something new to the table musical wise, in addition to the ltd packaging scenario. And they had a naked lady with big breasts on the insert. Big bonus.

 

[ian]

What really f'in irks me about these new trendy repressings, and also mp3 sourced comps in general, is that it makes it nearly impossible to distribute free comps via download to forum members without risking that some leech uses them to press a new comp for his own profits.

true and the whole idea is not new.

 

[Phil Istine]

and here was i thinking usa gg's had done away with the need for comps...of course people love comps, but to pay for such a thing in this day and age requires something a little bit extra. glow in the dark sleeve doesn't excite me. unreleased acetates do.

i tentatively got asked to be involved in helping a label put a garage comp together last year, and my first thought was 'what would I bringing to the table?' Do i own dozens of killer uncomped songs? No. Indeed who does?! 99% of the good stuff is out there. you need to put tracks together with a good flow and great packaging. Look at how Ace puts together their comps - often it's one or two real rarities together with 20 known songs. but what a package when you hold it! the stories, the photos...and that one rarity you've never heard before reels you in.

 

[sylvain]

What really f'in irks me about these new trendy repressings, and also mp3 sourced comps in general, is that it makes it nearly impossible to distribute free comps via download to forum members without risking that some leech uses them to press a new comp for his own profits.

As you've probably noticed, there's now very few new garage comps released on the market. The last wave when new garage comps were showing up every months (especially from Italy and Germany) was in the late 90s / early 00s, and then it stopped. The main reason is maybe that there's now not enough killers remaining to be unearthed. Even the heavy load of uncomped garage tracks provided by Gyro didn't lead to a new comp explosion, apart the crappy CDs released from Australia and featuring most of the "best" tracks from those comps. Two reasons IMHO:

first, I believe that we're now really scratching the end of the barrel of great 60s garage stuff that remain uncomped. Even when it comes to the acetate section: the last acetate comp issued by Norton was not as great as the first volumes. Proof maybe that the stock of quality was not that important (that said, if so many records remained at the acetate stage was also maybe because they were not *that* great).That said, I'm absolutly not in the "known" of what's great remained uncomped. I guess MM or Bosshoss will know better.

Secondly, I think that the garage market is not as large as it used to be. Nowadays, nobody still press garage reissues or comps at over 500 copies, whereas pressings of 600 copies were considered "extremely limited" back in the 90s. Seems like yougsters are not into those sounds these days, and that the market is limited to old timers still into vinyl. The last example of a garage comp issued at 1000 copies was Sundazed's one. And I guess they probably still have loads on their shelves. The bootleg label Past & Present is still pressing at 1000 copies I think, but its business plan is not the same. Dunno what's the situation for CD releases, such as Frantic's. I'd be surprised that he'd produce more than 1000 copies. The situation is the same for UK psych... tons of great comps released in the 90s, but it's over now. What's still hot however is the northern / soul releases, tons of new references each month.

 

[sylvain]

One of the first signs in the 00s that the comp market was already falling down back then: teenage shutdown series, that stopped at vol.16, whereas it was planned to be the definitive series when it comes to 60s garage, with 60 volumes initially planned.

 

[axel]

Consider the following hypothetical: Let's just say that, despite the outrageous asking price, this compilation does indeed sell out, and quickly. Those responsible for it may very well crow about its "success' and feel sufficiently emboldened to assemble a follow up somewhere down the road, to which they will affix the same high price tag, knowing that people bought the first one.

I gave this another thought and came to the conclusion that this isn't a real threat.
Comps are usually purchased through mailorders. Those have customers they don't want to repel with overpriced releases. And their shipping prices are fixed (considerably less than the shipping costs for this comp).
Maybe that's why the people who put out this comp try to do it on their own. Because they want to dictate their own price.
We (well me, at least) wouldn't even know about this comp if Sylvain wouldn't have told us. Everybody can decide for theirselves if they want to buy it. I don't, but I'm glad I was informed. I'm sure Sylvain hasn't got the slightest bad intentions (like promoting a dubious business or anything).
But it makes some sense to discuss these things, I think.

 

[axel]

The bootleg label Past & Present is still pressing at 1000 copies I think, but its business plan is not the same.

What does that mean? Does it mean they don't even want or have to sell their records?

 

[M.T. Wallet]

What really f'in irks me about these new trendy repressings, and also mp3 sourced comps in general, is that it makes it nearly impossible to distribute free comps via download to forum members without risking that some leech uses them to press a new comp for his own profits.

like ian said, nothing new, even though it's become easier with mp3s
but actually who cares if people out there spend $$$ on things they can download for free... I've bought some of compos available on the paradise of garage comps blog in spite the sound quality and the lack of information on them but that's my problem if it was a waste of money...
and I doubt it's a real source of profit, according to the cost of vinyl making nowadays (?)
I ain't got nothing against bad reviews on bad comps, I would even say that's really interesting, but complaining about releasing new comps is pointless to me
the true question here is: what's the use of releasing a comp including nothing new/already available? (and for some, the -eternal- implied debate: what about copyrights...)

And they had a naked lady with big breasts on the insert. Big bonus.

yep, cover art is really important on comps (then I would say this one is quite deceiving)

 

[MopTopMike]

Sorry, guys, but you're wrong about the USA based compilers of the 80s. I knew / still know most, if not all of them. I can tell you that at the time, it was nothing more than "let's put out what we feel are really top-shelf sounds". Most felt they could make comps that were better than the Pebbles series content. And that's all that was involved, really. There was no serious thought process other than the selection of songs. Open Up Your Door Vol 1 had songs that were originally on a cassette dub from the 45s - the running order was randomly put together, and when time came to do the comp, they kept the same running order. Chris Peake did not carefully plan out "Psychedelic Disaster Whirl" to the point of creating song flow. Maybe putting his favorite song 1st on the LP, I think that's what he said when I asked him about the comp. All these guys were feeding off one another to try and out-do one another's efforts. Peake said he wanted to do a BTFG type comp, only with more fuzz. He didn't have the resources to track groups and obtain photos - he just slapped the comp together with several BFTG rejects - songs Tim thought were too psych, I think that's what he told me at the time.

The only person I will agree 100% on the "soul of the compiler" theory - The guy whose "spirit" comes thru on any comp is that of Tim Warren, as he completely upped the ante within the '60s garage comp scene. For better, or worse, all compilation efforts done afterward were measured against the Grave ethos. BFTG established what the 'punk' tag signifies with regard to obscure '60s recordings, had impactful liners (whether truth or fairytale), pics of performers and high musical quality standards. Any repressings were done to upgrade the sound, if not to revise liners and add pix. And Tim was concerned with song "flow" more due to the fact that he set such a high standard for himself.

I personally think the song flow idea is over-rated and meaningless - I mean, if you are a fan of the music, shouldn't you be listening to each song as an individual entity? Does it really make a 'flow' difference if "Like A Rolling Stone" (Soup Greens) or "Crackin' Up (the Wig) was the kick-off song on side 1 of a Pebbles volume? No. They are not works of the same performing group - THEN song flow is a different argument. Song SELECTION, on the other hand is obviously the most important element in putting a compilation together, especially in modern times - why do you think Debris is a freebie download? The compiler knows he won't be able to sell them to anyone but comp die-hards, for starters.

During my younger days, I did not think of the comp before the song itself. The comp was a just a storage LP for the tune so I could find it easier. I wanted to hear everything (still do!) no matter how strong, weak or pedestrian, so I bought 'em all. But I also had randomly compiled cassettes, like the circulated worldwide Never-Ending Trip series. 95% of the time I ended up recording songs from various garage comps in random order so I could listen elsewhere. But my focus was to obtain the original 45 if possible for the sake of sound quality.

 

[ian]

oh no... please let us believe there is some romantic idea behind the comp thing.

 

[MopTopMike]

Sylvain is correct- Today's market for comps is tiny. Teenage Shutdowns sold pitifully low amounts, especially in the USA. I think we would have continued, but free downloads killed the whole idea. Most younger fans prefer MP3 downloads - it's the whole convenience thing. I still think there is an opportunity to issue a top-shelf compilation or two, simply because no one else is doing them anymore. But ya gotta do a lot better than a mere recycling of Dave Gibson's Moxie label Punk EP series. Most (all?) of those songs have been issued on assorted comps, in much better quality. If you wanna listen to the exact "flow", however, to reminisce about your 80s memories every time you play one of the songs, then you are no better than the 70 year old guy who listens to the same 50 top hit songs of his youth over and over again - personal memories are not more important than the music itself. That's the message Greg Shaw and his kin were trying to convey - not the oldies but goodies "malt shop memories"

 

[MopTopMike]

oh no... please let us believe there is some romantic idea behind the comp thing.

Your'e a funny guy, Ian!

 

[depravedskippy66]

I don't see what this subject has to do with Pet Sounds or Sgt. Pepper. That's mere polemic. Of course creating music is something else than compiling music. But that doesn't mean that the latter doesn't have any value.

Actually, it is the idea that '60s garage band comps are anything other than '60s garage band comps. Which Mike has expounded on far more eloquently than I could ever hope to.

 

[pfft]

But ya gotta do a lot better than a mere recycling of Dave Gibson's Moxie label Punk EP series. Most (all?) of those songs have been issued on assorted comps, in much better quality.

Just to clarify: this is not taken from the '60s Punk EP series on Moxie, but the Punk Classics EP's on Garageband.

 

[Frantic]

the true question here is: what's the use of releasing a comp including nothing new/already available? (and for some, the -eternal- implied debate: what about copyrights...)

DON'T YOU KNOW???!!! It's the flow man!:confused:

 

[pfft]

Speaking of re-issued comps:
Monsters Of The Midwest vols. 2 & 3 have both recently been reissued on vinyl - both (almost) exact replicas and available at a nice price.
Essential stuff!
I wish they could make a vinyl reissue of the cassette-only vol. 1 as well.