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A bootleg recording is a musical recording, distributed for profit or other financial compensation, that was not officially released by the artist (or their associated management or production companies), or under other legal authority.
Some artists consider any release for which they do not receive royalties to be equivalent to a bootleg, even if it is an officially licensed release. This is often the case with artists whose recordings have either become public domain or whose original agreements did not include reissue royalties (which was a common occurrence in the 1950s and before). --http://en.wikipedia.org/wiki/Bootleg_recording [Jul 2005]
Paul Winley records was a small label; one of the first to compile popular break beats and issue them on a series of albums. Cuts like 'Cheeba Cheeba', 'Bra' and 'Scratchin' and the 'Funky Penguin' are still played to this day. Everyone who was into Hip Hop back then had at least one Paul Winley record. Super Disco Brakes are still available in NYC - they are bootlegs, put out thru Paul Winley Records; i think hes still in business but due to his bootleg status wants people to think he's not.
Disco mix megamix
Alongside these early re-edits, more commercialised disco mixers, bootleg records segueing together up to 50 songs, began to appear around 1975. Bought to be played in the more populist clubs of New York, they were particularly sought after by DJs technically unable to mix or cut live. (Playing re-edits as a substitute for mixing was a practice which continued for years; Danny Krivit remembers Shep Pettibone, a gifted editor, being particularly guilty of it in the 80s.) As Colin Gate recalls, The songs were generally disco hits of the day mixed with a few sound effects and maybe some funky percussion looped over and over to provide a backbeat. A popular trick at the time was to play one of these mixers on one turntable while constantly crossfading to the original song that it used on the other, thus prolonging it all night if need be.-- email@example.com
Larry Sherman of Trax recordsIt seems that Sherman was not averse to the odd shortcut here and there - he was only too willing to press onto old LPs and poor quality second-hand vinyl, which explains why most Trax releases sound like they were recorded outdoors. In the rain. Bootlegs, too, were on the agenda for Larry, says Saunders: "He knows what he's doing. He even had a label called Bootleg Records, he just... did it."
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