![]() ![]() When you got past the stuff that made it to vinyl – which, after all, was an expensive process fraught with dangers – then things became even wilder and less predictable. This was all part of the excitement, frankly. Sometimes, you could never be quite sure that the records inside the sleeve were actually the product advertised – a common bootlegger trick was to pass recordings through less fussy pressing plants under false names, some of which would make their way to the actual label on the vinyl, assuming that there was a label at all. With few guides beyond the estimable Hot Wacks, you could never be sure if the album that you’d just paid twice or three times the price of a regular release for would sound something like a ‘proper’ live LP or be so muffled that you suspected that the person taping it wasn’t even in the same building as the show taking place. Of course, bootleg buying was always something of a gamble. The days of rummaging through the boxes at record fairs or the racks of less scrupulous record shops in search of madly expensive vinyl recordings of your favourite acts caught live and uncensored, complete with eccentric cover art seem a long way away. While YouTube is still (for now) awash with audience footage of murky quality, it’s surely the footage rather than the music that attracts viewers. I’m not saying that bootlegs don’t exist any more, though frankly I’d be startled to find a whole bunch of recent releases being sold anywhere – it’s just that you can’t imagine the universe where these illicit recordings proliferated existing today. If there is any loss that seems to some up the blandification and corporate gobbling of the modern music industry, it must be the bootleg. The legendary bootlegs and dubious live recordings of Iggy and the Stooges at their chaotic, disintegrating and provocative best, collected in one box set. ![]()
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