NEW COMP: REVENGE '66 lim. edn (300) 60s garage LP

I know Sundazed uses the full analog process - they are willing to spend whatever it takes to get the sound exactamundo. So I do not hesitate buying vinyl from them. If and when CDs ar eno longer a viable commodity from reissue labels, and vinyl is the format, I'll buy reissues on vinyl, tho it isn't my usual preference.
If I'm gonna be listening to something repeatedly, I'll just burn a duplicate to disc, and save the "master" copy, so that I don't ruin or degrade by rough handling in the car player, for example. With vinyl, I will have to make time to record it to disc, so I can take it elsewhere outside of the record room.

It's the digital downloads that have killed CDs. And now with Spotify, for instance, just about everything imaginable from big name to ultra- obscure is up in the "cloud" for streaming. Starts at $9.99 a month and you can listen to anything, if it has been uploaded. You can also opt to download but there are limits depending on the price range you choose. They claim to pay royalties, tho I wonder if Joey D is gonna see a check anytime soon. When my pal and I were hangin in our hotel room last weekend at the Norton Records festival, he hooked up Spotify to a pair of speakers (like an i-pod type pair) and we were listening to lots of great stuff - garage, girl groups, soul...who needs CDs or records anymore? HA!
 
I found a dash mount 45 player at a yard sale once, still in the box unmounted. It didn't seem practical or stable. It seemed more like something you could only use if the car was parked. I'm not quite that impractical, though I'm sure all my above posts painted a picture of a vinyl nazi. Apologies to Joey. Which he should not feel the obligation to accept in any way. Clearly some other bug was up my ass. And I in turn made an ass of myself. Back to CD's briefly, my usage of the word "detest" was clearly stupid. I use them all the time. In the car. Like a cassette that fast forward's and rewind's at the speed of light! And sorry to Ace. A really great label with a great catalog. My intent was not to slander yet that was the exact effect. My apologies. As you were.
 
legbarecords said:
I found a dash mount 45 player at a yard sale once, still in the box unmounted. It didn't seem practical or stable. It seemed more like something you could only use if the car was parked. I'm not quite that impractical, though I'm sure all my above posts painted a picture of a vinyl nazi. Apologies to Joey. Which he should not feel the obligation to accept in any way. Clearly some other bug was up my ass. And I in turn made an ass of myself. Back to CD's briefly, my usage of the word "detest" was clearly stupid. I use them all the time. In the car. Like a cassette that fast forward's and rewind's at the speed of light! And sorry to Ace. A really great label with a great catalog. My intent was not to slander yet that was the exact effect. My apologies. As you were.
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Apology accepted. I can be a big pain, but I'm very protective of my label buddies who work 24/7 to release this stuff with little reward...Our G45 community should try to play by the rules and out labels who release illegal product. And be happy knowing that Norton, Ace, Big Beat, Sundazed, Crypt etc. are working on releasing cool stuff as I/we type. Keep rockin';)
 
Frantic said:
Like I said IT'S A 50-50 WORLD.
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Yeah, but not a black & white one.
As great as the labels you mention are. They certainly have more muscle and financial sources than some of the small labels, as you certainly know. It's highly honourable that you try to be as "legitimate" as one of those "big" labels. Not every label can (or is willing) to take that challenge.
Mark's comments about the legitimacy of releases are very interesting and the bottom line is:

The point of all this is simply, comp-making fans are generally not equipped with the legal resources to ensure that everything (or anything) they do is above board. In most cases, they just own the rare discs, and that's about it. Some may argue they should never have done it, but the fact is, most of the great comps we know and love have been produced this way.
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In case of Revenge '66 you are totally right, of course. This doesn't show any love for the matter nor for the product. It's a mere rip-off.
Other releases may not be legitimate either, but they show that people care for the music (and are not necessarily taken from mp3s). FOSSIL, LANCE and STROKE are great labels in my book. To a point where I want to have all of their releases.
 
axel said:
Other releases may not be legitimate either, but they show that people care for the music (and are not necessarily taken from mp3s). FOSSIL, LANCE and STROKE are great labels in my book. To a point where I want to have all of their releases.
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I believe all those three labels are run by the same guy(s). And they have been known to use mp3's as source as well, or, in the case of Yesterday's Dawn, real player files taken from MTM's spins...
 
pfft said:
I believe all those three labels are run by the same guy(s). And they have been known to use mp3's as source as well, or, in the case of Yesterday's Dawn, real player files taken from MTM's spins...
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Are you sure? I asked Wolfgang Voelkel about this. He was rather positive that they are not taken from mp3s.
What I know is that they sound good to me.
And: the art work shows a taste that appeals to me.
And: they are cheap!
And: they have a load full of great sides which are otherwise not available for me.
And: they're on vinyl. Any other format is a MAKESHIFT. If anything.
 
axel said:
Are you sure? I asked Wolfgang Voelkel about this. He was rather positive that they are not taken from mp3s.
What I know is that they sound good to me.
And: the art work shows a taste that appeals to me.
And: they are cheap!
And: they have a load full of great sides which are otherwise not available for me.
And: they're on vinyl. Any other format is a MAKESHIFT. If anything.
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I'm not saying they're all taken from MP3's, but I know some of them are. Yesterday's Dawn is the most obvious example, where it's very easy to hear on a lot of the tracks. I mean, where else would they find for instance 'Ice Cube Girl' by Skip Ellis?

However, most of the other Lanze/Fossil/Stroke releases sound a-ok to me. And I agree, it's great that they're so cheap, - shows that a '300 copies only' release (which some of these are) doesn't have to cost $30+.
I don't like the artwork on all of them, but it's definitely a plus that they include label scans!
 
ian said:
I have paid 18,- € in Germany for the Revenge '66 sampler and this is a fair price.
I can't recall the Fossil, Lance, Stroke, being cheaper.
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You're right, €18 isn't bad at all. I was under the impression that this would cost a lot more.
 
pfft said:
I believe all those three labels are run by the same guy(s).
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Are you sure, Bard? ;)
As far as I know FOSSIL is run by a guy from my country (Italy), the LANCE and STROKE labels are from Germany.
 
massb said:
Are you sure, Bard? ;)
As far as I know FOSSIL is run by a guy from my country (Italy), the LANCE and STROKE labels are from Germany.
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I'm not sure at all :) I just assumed they were done by the same people - they all kinda look similar.
But you may be right! The Lance/Stroke comps generally sound better, and probably haven't used mp3 files at all. Fossil have from time to time.
 
ian said:
I have paid 18,- € in Germany for the Revenge '66 sampler and this is a fair price.
I can't recall the Fossil, Lance, Stroke, being cheaper.
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18.-€ is okay. At least better than the recent remake of "Punk Classics" for the same price but without a proper sleeve.
Fossil/ Lance/ Stroke were about 13-15 € if I remember right.
 
so come on guys, what do you really think about this comp??? ;)

doing a comp in this day and age is probably more trouble than its worth, unless you can be sure of across the board love. Unissued Sixties Garage Acetates was always going to get that.

Mike what year was the last TS put out? 2000? Before my time. Think I'm with the start-something-new crew (unless of course people keep asking you for a new TS edition). Each generation needs its garage series, why not give the current generation one to get excited about? You will do it properly and get the kudos for it from those who haven't a clue who you are. Those that know you will feel safe to buy it anyway!!
 
I think TS ran from 1996 to 1999. We had three or four more planned at the end but life, hassles and other crap got in the way, then the freebie downloads changed the entire game.
I fail to understand why people are so adamant about a new "series name" for a few planned compilations? Calling them Teenage Shutdown establishes an immediate identity (the buyers know they will be a quality release done with care). Maybe we should just tag them as Volume A, Volume B, for those with hangups about buying a "high number volume" :confused:
 
MopTopMike said:
I think TS ran from 1996 to 1999. We had three or four more planned at the end but life, hassles and other crap got in the way, then the freebie downloads changed the entire game.
I fail to understand why people are so adamant about a new "series name" for a few planned compilations? Calling them Teenage Shutdown establishes an immediate identity (the buyers know they will be a quality release done with care). Maybe we should just tag them as Volume A, Volume B, for those with hangups about buying a "high number volume" :confused:
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I'm not adamant at all, just offering some free opinion to be used or ignored. I guess as someone who doesn't buy many comps it would be nice to see a new high quality series appear with a new aesthetic. if it isn't you doing it someone else will (I hope!), and I hope its better done than Revenge has been.
 
Not picking on you, Phil, just the ramblings within this thread about this high number of volumes for a series argument. If the series retains quality throughout, what difference should it make if the number of volumes increases? What is the cut-off number then? Five? Ten?
 
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