Bootleggers. How low will they go ?!?

[SOULCENTRAL]

13 hours ago, adydj said:

To  right when i  first went on the scene in the 70s i coulnt afford many originajs we had  to put up with bootlegs we would have loved  real ones but thats all ynu see people trying to make money out of it i dont care about the music the scene its not the same anymore  it just not right 

It is much the same ady for many people who love the music and enjoy the social side of things. As my good friend Illusive points out, the thing that has changed for the worse is there are many more unsavoury elements that bring the scene to a lower level. Many of those being driven by money and greed.

roy

[Adydj]

I no mate

[Guest]

I can see this bootleggy mullarkey isn't an exact science! It's time certificates of authenticity were issued with vinyl that's sold on with a refund available if it proves to be a fake! I still need to know what a pressing is? Its obviously nothing to do with ironing?

 

Who's the best serious old git on the scene then? May as well start with the main man! Maybe this could be the start of a new thread! Vote for the most knowledgeable, trustworthy, serious old git on the scene.

[Guest]

6 hours ago, Gold Band said:

Still cannot understand the need for a boot of any kind in a collection as the vast majority of soul music can be purchased on CD or streamed on the net if listening pleasure is all that is desired.

Hundreds of new DJ's up and down the country are putting on local soul nights. 

They need lookalike/reissue records, because they haven't got enough decent originals to play!

Edited November 12, 2016 by Guest

[SOULCENTRAL]

15 minutes ago, solidsoul said:

Hundreds of new DJ's up and down the country are putting on local soul nights. 

They need lookalike/reissue records to play because they haven't got any decent originals!

Why would they even need "lookalikies" if they don't advertise their event as OVO?. There's the problem.

[BabyBoyAndMyLass]

Cool...

OVO debate in 10. 9, 8....

[Illusive]

1 hour ago, flamingemeralds said:

I can see this bootleggy mullarkey isn't an exact science! It's time certificates of authenticity were issued with vinyl that's sold on with a refund available if it proves to be a fake! I still need to know what a pressing is? Its obviously nothing to do with ironing?

 

Who's the best serious old git on the scene then? May as well start with the main man! Maybe this could be the start of a new thread! Vote for the most knowledgeable, trustworthy, serious old git on the scene.

I'd quite like to see you grill Browny over the subject of pressings and illegitimate releases  he's a Goldmine of information 

I'll get me coat ........

[Guest]

Browny? Are you out there? Now...about pressings and illegitimate releases...... Don't hold back now......

Who's Browny? He sounds as though he may live in a cave, surrounded by vinyl, with a couple of white tigers and a group of heavies guarding the door.

[Illusive]

1 hour ago, flamingemeralds said:

Browny? Are you out there? Now...about pressings and illegitimate releases...... Don't hold back now......

Who's Browny? He sounds as though he may live in a cave, surrounded by vinyl, with a couple of white tigers and a group of heavies guarding the door.

OMG  you know him. That's Tim, typical cave dweller and loves his animals.  You're just as likely to find him rooting around cages in a zoo as you are at a nighter, if not more so. 

Id love to spend the next three days explaining the nuances of the scene as was and is and the link to boots, pressings, emi's, issues, ovo etc etc but I really don't have time.

But there are stacks of books out there that could set you on the right track (no pun intended). 

Here's a couple of Brownies to set you off

https://www.raresoulvinyl.co.uk/wcy/

https://www.amazon.co.uk/Essential-Northern-Soul-Price-Guide/dp/0953929191

 

 

[Peter99]

5 hours ago, Soul16 said:

That's a different topic altogether! 

Rarer than Frank these days!

[Modularman]

Is the bootleg in question really going to fool anyone anyway - did the grapevine reissue come out with a solid centre or did they all have the push out centre? Glaringly obvious if so. Why not just boot the original? Either the bootleggers are so stupid they've booted a reissue (a fairly expensive reissue though it is) or clever in that they know no one would believe you had a copy of a rare original if you dj'd it out?!

[Pga1]

Hiya, personally I would only play original bootlegs O. B. O.  It's the way forward.  Cheers

[Pga1]

Hiya, should be pressings, O. P. O. Nearly lost some credability, phew !!  Can you imagine having  the reissue squad banging on your door on a Sunday morning.  Cheers

[Guest]

Thank you Illusive. I've been a northern fan since I was 15 and first heard it at the youth club and did the Casino et al. Picked it back up again 11 years ago but know very little about the cut throat dj/record dealing scene, having always been a dancer rather than collector. I'll put the book on my Xmas list!

[Adydj]

I no  its about the music but  people shouldnt boot  records 

[Autumnstoned]

9 hours ago, The Zodiac Club said:

Is the bootleg in question really going to fool anyone anyway - did the grapevine reissue come out with a solid centre or did they all have the push out centre? Glaringly obvious if so. Why not just boot the original? Either the bootleggers are so stupid they've booted a reissue (a fairly expensive reissue though it is) or clever in that they know no one would believe you had a copy of a rare original if you dj'd it out?!

Judging from Popsike, the legit release came with a push out centre. There are several of these solid centre copies on there too which have gone for £50 or thereabouts so maybe some buyers have been turned over. 

Presumably there isn't a  manufacturer which makes records with the slip ring around the circumference of the label. That prevents realistic counterfeits of UK releases. 

[Guest themroc]

On 12/11/2016 at 14:16, WoodButcher said:

Firstly ... the name is Croasdell ... !

Secondly ... Ady told you it would be out on a legit Chess box set yet you jumped in and bought the bootleg anyway , how the f*ck does that equate to someone 'playing you' ... ???

Mate you need to wind your neck in. If you wish to discuss this matter further I'm the arse hole in the corner. 

[Adydj]

Think you got the rong ady 

[Ian Stacey]

HIT THE NAIL ON THE HEAD. if it is not a USA OR BRITISH made in the sixties or seventies then do not play it  

[maslar]

8 hours ago, redditchcrew said:

HIT THE NAIL ON THE HEAD. if it is not a USA OR BRITISH made in the sixties or seventies then do not play it  

Surely a better starting point is to ascertain whether it's a legit release (from whatever country) or not and then work from there.  Then you can decide whether you want to play just original U.S. releases, or include UK first releases, or maybe include any legal issues including relatively new unreleased legal issues. You could also decide whether you want to play pressings (counterfeits/repros). It seems some early 70s US pressings are gaining a certain credibility (to me a anyway)  .

[maslar]

On 13/11/2016 at 00:58, The Zodiac Club said:

Is the bootleg in question really going to fool anyone anyway - did the grapevine reissue come out with a solid centre or did they all have the push out centre? Glaringly obvious if so. Why not just boot the original? Either the bootleggers are so stupid they've booted a reissue (a fairly expensive reissue though it is) or clever in that they know no one would believe you had a copy of a rare original if you dj'd it out?!

Yes it is pretty obvious. But the only issue I personally have with this sale is that it explicitly states a 1980 release (original UK date) That is definitely misleading and untrue. Normally there's a lot of ambiguity with these types of sales I've noticed. My views is that this is deliberate because the seller maybe hope the buyer's ego won't allow them to ask questions. (Imagine the cyber sn*****ing at that guy asking if that obvious original really is an original).  No laughing matter if you don't ask, spend a lot of money and then find out that you've got no comeback becasue the seller hasn't stated anything that isn't untrue. 

There is one question that arises though. It seems that this particular Grapevine release is the only one that has been copied?  I know it's a long shot but is there any way this could have been released legally?  

 

Edited November 18, 2016 by maslar
typo

[Keeper]

On 11/12/2016 at 14:40, WoodButcher said:

Sorry Ady ,

I wish more folk would make use of the 'smiley' selection now and again when trying to be clever or tongue in cheek , saves the rest of us thinking they're just being arse'oles ... 

            !!!!!

[BabyBoyAndMyLass]

I don't get involved with this discussion, to clarify I do have originals, I have a Tomangoes Nashville press, I have a Salvadors Chicago press etc etc, BUT...

Whilst I don't agree with out and out illegal boots, I do have an issue with OVO and it is this...

I'm a musician and dealer/restorer of vintage guitars and it's the same deal... The amount of vintage guitars that are locked within the collections of Japanese investors who don't even play guitar is mind-blowing. These guitars were meant to be played, the musos I know (I know proper rock stars) that can't get their hands on these guitars to play out is frankly, terrible. These investors who know nothing about guitars and can't even play one lick, who buy guitars and lock them away in bank vaults as investments are awful. Imagine some guy buying a Rickenbacker 4001S from the 6ts and locking it away in a vault never to see the stage again, locking it away so some up and coming player may never be able to get his hands on one ever because of price and unavailability...

As music lovers just imagine that for a minute or two... 

OK so the soul scene, we have collectors here at SS, hands up who has a Tomangoes? Or a Gwen Owens or a Bobby Smith? The end is listless...

So the DJs who don't have mega-millions in the bank, they can't play some of the greatest records on the scene, in fact in the case of The Salvadors or Tomangoes, some of the greatest ever records ever produced, and they can't play 'em because someone has collection-locked them for investment purposes, hell that's pretty sh**ty aint it?

Again, take a moment, think about this...

So we go an OVO night, great, but we don't get the biggies, we get the stuff that is cheap, underplayed, it's underplayed for a reason, perhaps it weren't that great to begin with.

Myself, and yeah shoot me down, ridicule me and call me a div, trust me, in reality you wouldn't, you'd most probably give me a wide berth, I want the oldies, the Torch and Wigan and Mecca biggies, the big ticket items nowadays, do I get them?

So if someone plays the Velvets, Gwen Owens, Frank Wilson whatever do I care if it's a reissue?

You know the answer.

So if you're sitting on a big-ticket record locked in your shelves and a DJ is denied playing it, think about that, if you're an OVO DJ guaranteed the bookings cause you sitting on a ton of big-ticket OVO stuff, fair enough, you play it out...

Tell you why, I got a shit-load of biggies and I'm gonna turn up and loan them to smalltime DJs at smalltime events, because collection-locked where no-one can hear 'em, they're nothin'!

So it's a rant. But you can see the point I'm  sure, those records should be played and if they're collection-locked and people can only play 'em from re-issues then, look inside yourself for the answer, could be that you are the problem!

Whilst the guys who are out DJing, wearing their originals out playing 'em to the crowd, deserve the bookings and the kudos, what about the collectors who sit at home looking at 'em and playing them on re-issues cause they daren't spin their original cause it's mint -, what is it you're doin' exactly?

Get yer 45s oot and if yer can't spin 'em yersen give 'em to someone who can. Or it just aint soul!

[Ady Croasdell]

I can't think of many instances where that is an appropriate analogy. 

Therr are very few places that operate a strict OVO policy. I would guess most Oldies nights don't and OVO nights are for people who are tired of the top 500. 

Any decent line line up of DJs would have most bases covered. Correct me if I'm wrong but I think this is making an issue that doesn't really exist.

[BabyBoyAndMyLass]

19 hours ago, ady croasdell said:

I can't think of many instances where that is an appropriate analogy. 

Therr are very few places that operate a strict OVO policy. I would guess most Oldies nights don't and OVO nights are for people who are tired of the top 500. 

Any decent line line up of DJs would have most bases covered. Correct me if I'm wrong but I think this is making an issue that doesn't really exist.

Yeah, in retrospect you're right Ady, I just wanted to raise the issue of collection-locking, it's prevalent in every area from records to guitars to classic cars to old bottles, at the same time I can understand the need to acquire these items to curate them for posterity myself...

 

 

[Adydj]

Everybody maybe we are getting to old for this now i am off now had enough of it all enjoy the best music in the world  thanks for a special friend who got me into something different god bless you all

[Ady Croasdell]

2 hours ago, BabyBoyAndMyLass said:

Yeah, in retrospect you're right Ady, I just wanted to raise the issue of collection-locking, it's prevalent in every area from records to guitars to classic cars to old bottles, at the same time I can understand the need to acquire these items to curate them for posterity myself...

 

 

It's an interesting subject and one I can sympathise with as I'm prepared to pay good money to a DJ collector who has a beat ballad he'll never play but won't shift it on as it's in his collection. Frustrating but I can understand that. However keeping guitars, records and other artworks just as an investment is immoral in my eyes. 

[Richard Free]

Bootlegs were the first Northern records I bought .I didn't even know they were bootlegs I was 14 and discovering Northern soul .I loved the music and learnt to dance in my bedroom along to the sounds of these illegal pressings .

The bootleggers gave me access to sounds I could hear only at the weekend otherwise .There were no CDs no Spotify not even lovely Kent compilations so back in 1974/5 there was no alternative if you wanted to play these tunes at home you bought these illegal presses .After a very short time on the scene I started to buy originals at first just cheapies and then more expensive tunes .Today I would not dream of buying a boot but back then they did serve a purpose .

I fully agree with Mr Croasdale re the ovo nights the d j s can play a great selection of music even if they don't own a copy of The Salvadors or a Tomangoes .The local soul nights have always played boots and will continue to I am sure but I really do not see the point of bootlegs now when you can access the music in so many other ways .If a DJ wants to be respected on the soul scene he or she plays original vinyl .

I must admit that I still own a few bootlegs from my youth they are part of my personal history .

 

[Phild]

I am a collector mostly, and  DJ sometimes. 

I have been told on numerous occasions by certain promoters that they personally would like to have me on but that my records are "above our crowds heads". I have no idea what that means other than I may embarrass some of their other DJ's by playing their favourites on original release vinyl

I am also a smal time record label,owner. I despise bootlegs. They had a certain kind of use back in the day before compilation albums, CD's and more latterly downloads etc. But now the only purpose of bootlegs is to put money in the pockets of criminals (strong word but accurate), and to facilitate the fake spots of fake DJ's.

 

[Illusive]

There's been some great observations and comments throughout to my original post (no pun intended) and mostly constructive. So glad it didn't descend into a mud slinging competition as many so often seem to do.

As I said from the outset everyone's entitled to their opinion, even if it's in support of criminal activity as Phil rightly states. The scene has always walked a delicate line when it comes to acting within the law, and which was part of the original attraction for many, as with most youth cultures, taking the opportunity to stick two fingers up at the establishment.

My original post was simply to highlight the issue of some lowlife profiteers setting out to deliberately fool innocent collectors by reproducing counterfeit discs, which look very close to the original (yes I know the repro has a solid centre, but only after I checked it against a popsike sale). 

I don't have an issue with boots, pressings, emi's, Etc. I, like many of us have owned a few in my time and also some very questionable CD's and LP's too, but they clearly weren't the real McCoy !

In my opinion these counterfeiters reproducing Grapevine 45's (which many of us bought from new for less than a quid and are part of our history) are the lowest of the low. They're trying to screw innocent folk over, or supporting Johnny wannabe DJ to try and fool their audience, and that ain't right.

Its not gonna stop, in fact in the current climate it'll probably become a lot bigger issue. But it's good to know that SS and other social media sites provide a platform to expose these feckers antics and hopefully make some folks think twice before throwing their hard earned notes on some very dubious products.

 

 

Edited November 21, 2016 by illusive
typo

[Stompingsevens]

4 hours ago, Richard Free said:

Bootlegs were the first Northern records I bought .I didn't even know they were bootlegs I was 14 and discovering Northern soul .I loved the music and learnt to dance in my bedroom along to the sounds of these illegal pressings .

The bootleggers gave me access to sounds I could hear only at the weekend otherwise .There were no CDs no Spotify not even lovely Kent compilations so back in 1974/5 there was no alternative if you wanted to play these tunes at home you bought these illegal presses .After a very short time on the scene I started to buy originals at first just cheapies and then more expensive tunes .Today I would not dream of buying a boot but back then they did serve a purpose .

I fully agree with Mr Croasdale re the ovo nights the d j s can play a great selection of music even if they don't own a copy of The Salvadors or a Tomangoes .The local soul nights have always played boots and will continue to I am sure but I really do not see the point of bootlegs now when you can access the music in so many other ways .If a DJ wants to be respected on the soul scene he or she plays original vinyl .

I must admit that I still own a few bootlegs from my youth they are part of my personal history .

 

Hang on a minute, you still own a few boots but disapprove of other people who might be considering buying or playing them? 

I listen and collect a different genre (50's & 60's R'n'B) and also bought 'boot's' when I was a kid, at 15 years old I could not afford (or find) original 50's USA pressings. These 45's along with just a few re-issue LP's were my education. I now have a large collection of 50's and 60's originals but it all started with those early 'Mariano' boots.

The argument that now the music is available on CD and download so there's need to buy 'boots' and they are no longer 'valid' is IMO nonsense and I will explain why. Any experienced music listener will know that 45's (or 78's in  my case) are the purest way to listen to the music and the reason for this IMO is as follows.

When you play a 45 you are not really going to be doing anything else for the next 3 minutes other than actually 'listening' to the music and possibly deciding what you might play next whilst shuffling your shoulders and letting your imagination soar with the recording, you 're not wondering off anywhere as pretty soon you'll have to lift the needle off the 45 before it hits the run off grooves and makes that unpleasant noise after the sweetness of the track. You will listen to the record in it's entirety whilst that sexy label design spins hypnotically in front of you - you can't beat it for a listening experience. By the time it finishes you have selected the next disc and that little quick movement of lifting the needle and swapping the discs, de-sleeving one whilst re-sleeving the other takes place followed by the the pleasant 'plink' noise of the vinyl dropping over the solid center and away you go again.

Now of course this all subjective, but I would not want to deny anyone the possibility of enjoying the experience as described above because it has meant so much to me through the years. The idea that in order to enjoy that simple process you need to be either extremely rich or very lucky in order to play those top tunes just doesn't make sense.

The alternative is to put a CD on and then you wander off to do something and the you get distracted and the CD finishes and you end up thinking 'what was that like?' or you remember the 2x tracks but not any of the others. It just turns it all into muzac. The only time I listen to CDs is in the car for which they are perfect. 

I now collect original records, I am very lucky to be able to do so but I do not be-grudge someone who is not so lucky the chance to enjoy the music in the same way I do. Why should anyone do that? I got as much pleasure listening to those repro's when I was a boy as I do listening to originals today.

The fact that 'boots', 'lookalikeys', repro's, pressings or re-issuse (whatever you want to call them) exist does not make the original pressings any less original and if the only reason you are buying original records is so that no one can have them (or does have them) then I think you need to have a serious re-think about why you are buying records in the first place.

I had a big soul collector over to my house a few weeks back and he confessed he never would have heard one of his top all time R'n'B tracks if it hadn't been for the repro 45 I put out and that's what it's all a bout, spreading the word and remember that music is for sharing. If I make a few quid along the way and a few quid for the artists in royalties then I'm sure they are happy too.

Ultimately, who cares, they are just pieces of plastic that (hopefully) make a nice noise and if you want to pay £10,000 for one them then that's fine, if you'd rather pay £7.00 for a repro then that's fine too. 

I would also add that if OVO is your thing then don't go to places where they play re-issues but don't be negative about DJ's who play re-issues, it's just music that we all love at the end of the day and let's face it, if they are using the sounds to sell, eggs, beer and furntiture on TV then I think this whole argument is all a bit 'null and void' really. 

If it's your choice to only buy and hear originals that is great, if it's your choice to buy and hear only repro's then that's great too. We all have choices, some will make you happy and some won't, that choice is yours.

Boots, repro's, pressings, lookalikeys and re-issues? I still love 'em, and so it appears do lots of other people and if you want to be angry about it then you crack on, me? I couldn't give a monkeys................

[Twoshoes]

58 minutes ago, Stompingsevens said:

collector over to my house a few weeks back and he confessed he never would have heard one of his top all time R'n'B tracks if it hadn't been for the repro 45 I put out and that's what it's all a bout, spreading the word and remember that music is for sharing. If I make a few quid along the way and a few quid for the artists in royalties then I'm sure they are happy too.

Isn't that the difference between someone like yourself and some of the other people producing boots etc, you pay a royalty to the artist and I assume licence the tunes making them a legit issue if I'm right. My views on boots changed a few years ago, there was a time when I couldn't have cared less whether I was listening to an original , boot ,first Uk issue whatever, my views changed when I got friendly with a few dj's who played ovo and found how disheartening it can be to have your set lined up and about to play an in demand tune on ov when the dj leaving the stage plays the record on a ten quid boot..

     I think if you know your events you know what more or less what you are going to be listening to, for me what the eye doesn't see the heart doesn't know about, I'd love to think every record played was ovo but I'm not stupid, buying a shit load of boots won't make anyone a great dj, research and imagination do that , just my opinion of course. 

[Stompingsevens]

33 minutes ago, Twoshoes said:

my views changed when I got friendly with a few dj's who played ovo and found how disheartening it can be to have your set lined up and about to play an in demand tune on ov when the dj leaving the stage plays the record on a ten quid boot..

   

Those poor dj's, they spent all that money on original 45's just to have their ego's massaged and for others to realise how 'serious' they are about the music and some kid who just paid £7.00 for a repro plays the same tune they were going to play, that is just sacrilege.

I think it's hilarious!, I mean come on, does that not just mean that these DJ's are just waving their dicks or tits about searching for some mis-placed kudos saying "look how big mine is?" or "Look how clever I am, I've got this 45."

As I said before, it's great to be able to afford original records, I collect them myself but it is wrong to not allow others to enjoy playing the same records because they can't afford the originals or to allow them to have a crack at DJing if they choose to.

If I follow your thinking then ultimately the best DJs will be the richest collectors who have all the tunes?

"Hey, come and listen to my records, I'm really rich"

Ooooh lawdy!

 

 

[Mark Soul]

just remember soul people these bootlegs are not proper records keep it original cheers mark

[Tlscapital]

On 20 novembre 2016 at 19:51, Stompingsevens said:

Those poor dj's, they spent all that money on original 45's just to have their ego's massaged and for others to realise how 'serious' they are about the music and some kid who just paid £7.00 for a repro plays the same tune they were going to play, that is just sacrilege.

I think it's hilarious!, I mean come on, does that not just mean that these DJ's are just waving their dicks or tits about searching for some mis-placed kudos saying "look how big mine is?" or "Look how clever I am, I've got this 45."

As I said before, it's great to be able to afford original records, I collect them myself but it is wrong to not allow others to enjoy playing the same records because they can't afford the originals or to allow them to have a crack at DJing if they choose to.

If I follow your thinking then ultimately the best DJs will be the richest collectors who have all the tunes?

"Hey, come and listen to my records, I'm really rich"

Ooooh lawdy!

 

 

It can't be about politics, jealousy or ethnicity. Let's not put the rich against the poor, the knowledgeable dissing the gullible or the young mocking the old. I started as a 16 year old when I bought my first soul 45's recommended by elders with my pennies. Then got to dig after school in records shop listening the hundreds of 45's and choose between them as I couldn't afford them all ! Finally, travelled around and bought to sell and fund my buys and doing a lot of trading. I was never rich but I did struggle for my records on to which I found my music. And to grace them, they had to be the way I want them; original USA, supa clean looking and playing.

Most of the time back then, I was crate digging and bought many records I only heard for the very first time. I'm based in Belgium and didn't go much to clubs then. Now, I have to work harder to get the bits I know, want and can afford. I'm still not rich, I know my bits but not to some others on here, nor am I young as I used to be, so I know my place. No major collector (I never kept a record I didn't like anymore), not a DJ (only occasionally) and not a know it all but I have my ethics.

I did buy some bootlegs at one time (pre-tinternet) days. I just don't anymore. The mp3 crap format is good enough for that. But I doubt that those doing the bootlegs and look-a-like reissues are 14 years old pleasing them selves and that those buying them are all 14 years old all the same... Back then, it was done. But today, is not then and maybe people don't learn by history... It was one day called the "rare soul" scene. So it was about discovering, putting into light and pushing the limits. Where is a bootleg/re-issue doing any of that ?

Edited November 21, 2016 by tlscapital

[Ady Croasdell]

18 hours ago, Stompingsevens said:

 

I now collect original records, I am very lucky to be able to do so but I do not be-grudge someone who is not so lucky the chance to enjoy the music in the same way I do. Why should anyone do that? I got as much pleasure listening to those repro's when I was a boy as I do listening to originals today.

 

Boots, repro's, pressings, lookalikeys and re-issues? I still love 'em, and so it appears do lots of other people and if you want to be angry about it then you crack on, me? I couldn't give a monkeys................

But you could give a monkeys Jesse; surely that's why you're being so caring about the bootleg customers who are getting a chance to buy these sounds at a cut price.

They're who really matter to you, not the artists, songwriters, label owner/producers. It's all about us, they just created this art, they should be lucky we're doing them a favour and still listening to it.

[Guest Spain pete]

Thank god l just love music ????

[Bbrich]

bootlegs are stealing whether it be from some potentially poor artist or a big corporate music company. They are also potentially diverting money away from legitimate re-issues - I am sure a lot of work goes into sorting out the licensing rights etc.. etc... .    i.e.. there is a big difference between bootlegs and legitimate re-issues. 

The playing out of ovo versus non ovo debate (which would include legitimate re-issues & bootlegs by definition) is a different issue. Unless of course I pay to go to an ovo event and are given non-ovo records by the dj  - which could also be classed as 'deception'...

[Guest Spain pete]

But l do get what you mean???

[BabyBoyAndMyLass]

1 hour ago, Spain pete said:

Thank god l just love music ????

Nice one...Did you sing that line?

Maybe off topic but... Guessing not a bootleg.

 

[Guest Spain pete]

Don't want the boot even if it was on boot but on a comp that would be mighty fine

[Illusive]

Oh dear, oh dear, oh dear

 

https://www.ebay.co.uk/itm/232139855455

[Tlscapital]

4 minutes ago, illusive said:

Oh dear, oh dear, oh dear

 

https://www.ebay.co.uk/itm/232139855455

You didn't know that one ? I think there's also the kitchen wall clock for those with very distinguished taste...

[Guest Spain pete]

Bargain

[Guest Chris Price]

On 12/11/2016 at 14:14, illusive said:

Oh the feckin' irony of it. 

Below his sales patter the seller has posted this little blurb (check the bit in the brackets) 

PLEASE DO NOT PAY UNTIL OFFICIAL INVOICE IS RECEIVED from SOULTIME RECORDS LTD. ANY PAYMENT METHOD OTHER THAN PAYPAL PREFERRED (due to recent high incidence of fraudulent transactions).

Interesting email sent to European pressing plants regarding Soultime Records Ltd

 

> Date: Friday, 24 February, 2017, 14:48
>
>
> From: Agata Chodorowska [mailto:Agata.Chodorowska@prsformusic.com]
>
> Sent: 21 February 2017 17:35
> Subject: Price Craddock (SOULTIME RECORDS) Pressing Ban
> Importance: High
>
>
>
> Dear Pressing Plant,
>
>
>
> Hope this finds you well.
>
>
>
> This is to inform you that a company Price Craddock
> (SOULTIME RECORDS) have
> failed to ensure that their products are properly licensed
> prior to
> manufacture.
>
> MCPS are therefore imposing a full pressing ban on this
> company until
> satisfied that all mechanical royalties are accounted for
> and relevant
> licenses in place to cover historical and future releases.
>
>
>
> Company details:
>
>
>
> Price Craddock (SOULTIME RECORDS)
>
> Christopher Price
>
> 2 & 4 Bakehouse Mews
>
> NN14 1RE Kettering
>
>
>
> Would you please take immediate steps to ensure that no
> manufacture of any
> sound carriers reproducing copyright musical works for and
> on behalf of
> these companies are carried out.
>
>
>
> If you are in any doubt as to whether any order for
> manufacture which you
> receive is covered by the terms of this letter please
> contact me.
>
> We will write to you again to advise you if this restriction
> is lifted.
>
>
>
> Thank you in advance for your co-operation.
>
> Agata
>
>
>
> Agata Chodorowska l Music Licensing Agent l Recorded
> Media
>
> PRS for Music l 2 Pancras Square, London N1C 4AG
>
> D: +44 (0) 020 3741 3585 T: 44 (0)20 3741 3888
>
> E: agata.chodorowska@prsformusic.com
> l W: <https://www.prsformusic.com/>
> www.prsformusic.com
>
> T: <https://twitter.com/PRSforMusic>
> twitter.com/PRSforMusic l F:
> <https://facebook.com/PRSforMusic>
> facebook.com/PRSforMusic
>
> Keep up to date with M magazine W: <https://www.m-magazine.co.uk/>
> www.m-magazine.co.uk
>
>
>
>
>
> On behalf of
>
>
>
>
>
> Andrew Provan l Head of Recorded Media l
> Recorded Media
>
> PRS for Music l 2 Pancras Square, London N1C 4AG
>
> D: +44 (0)20 3741 3698 l M: 07507 067049
>
> E: andrew.provan@mcps.co.uk
> l W: <https://www.prsformusic.com/>
> www.prsformusic.com
>
>
>
>
>
>
> This e-mail and the information it contains are confidential
> and may be
> privileged. If you have received this e-mail in error please
> notify the
> sender immediately and delete the material from any
> computer. Unless you are
> the intended recipient, you should not copy this e-mail for
> any purpose, or
> disclose its contents to any other person. PRS for Music is
> not responsible
> for the completeness or accuracy of this communication as it
> has been
> transmitted over a public network. Whilst PRS for Music
> monitors all
> communications for potential viruses, we accept no
> responsibility for any
> loss or damage caused by this e-mail or any information it
> contains. It is
> the recipient's responsibility to scan this e-mail and any
> attachments for
> viruses. Any e-mails sent to and from PRS for Music servers
> may be monitored
> for quality control and other purposes.
>
> PRS for Music is the trading name for PRS for Music Limited
> which is a
> limited company registered in England under company number
> 03444246 whose
> registered office is at 2 Pancras Square, London N1C 4AG.
> PRS for Music Ltd
> is a wholly-owned subsidiary of the Performing Right Society
> Ltd which is a
> limited company registered in England under company number
> 00134396 whose
> registered office is at 2 Pancras Square, London N1C 4AG.
>
>

Download
image002 .jpg

[Chalky]

31 minutes ago, Chris Price said:

Interesting email sent to European pressing plants regarding Soultime Records Ltd

 

> Date: Friday, 24 February, 2017, 14:48
>
>
> From: Agata Chodorowska [mailto:Agata.Chodorowska@prsformusic.com]
>
> Sent: 21 February 2017 17:35
> Subject: Price Craddock (SOULTIME RECORDS) Pressing Ban
> Importance: High
>
>
>
> Dear Pressing Plant,
>
>
>
> Hope this finds you well.
>
>
>
> This is to inform you that a company Price Craddock
> (SOULTIME RECORDS) have
> failed to ensure that their products are properly licensed
> prior to
> manufacture.
>
> MCPS are therefore imposing a full pressing ban on this
> company until
> satisfied that all mechanical royalties are accounted for
> and relevant
> licenses in place to cover historical and future releases.
>
>
>
> Company details:
>
>
>
> Price Craddock (SOULTIME RECORDS)
>
> Christopher Price
>
> 2 & 4 Bakehouse Mews
>
> NN14 1RE Kettering
>
>
>
> Would you please take immediate steps to ensure that no
> manufacture of any
> sound carriers reproducing copyright musical works for and
> on behalf of
> these companies are carried out.
>
>
>
> If you are in any doubt as to whether any order for
> manufacture which you
> receive is covered by the terms of this letter please
> contact me.
>
> We will write to you again to advise you if this restriction
> is lifted.
>
>
>
> Thank you in advance for your co-operation.
>
> Agata
>
>
>
> Agata Chodorowska l Music Licensing Agent l Recorded
> Media
>
> PRS for Music l 2 Pancras Square, London N1C 4AG
>
> D: +44 (0) 020 3741 3585 T: 44 (0)20 3741 3888
>
> E: agata.chodorowska@prsformusic.com
> l W: <https://www.prsformusic.com/>
> www.prsformusic.com
>
> T: <https://twitter.com/PRSforMusic>
> twitter.com/PRSforMusic l F:
> <https://facebook.com/PRSforMusic>
> facebook.com/PRSforMusic
>
> Keep up to date with M magazine W: <https://www.m-magazine.co.uk/>
> www.m-magazine.co.uk
>
>
>
>
>
> On behalf of
>
>
>
>
>
> Andrew Provan l Head of Recorded Media l
> Recorded Media
>
> PRS for Music l 2 Pancras Square, London N1C 4AG
>
> D: +44 (0)20 3741 3698 l M: 07507 067049
>
> E: andrew.provan@mcps.co.uk
> l W: <https://www.prsformusic.com/>
> www.prsformusic.com
>
>
>
>
>
>
> This e-mail and the information it contains are confidential
> and may be
> privileged. If you have received this e-mail in error please
> notify the
> sender immediately and delete the material from any
> computer. Unless you are
> the intended recipient, you should not copy this e-mail for
> any purpose, or
> disclose its contents to any other person. PRS for Music is
> not responsible
> for the completeness or accuracy of this communication as it
> has been
> transmitted over a public network. Whilst PRS for Music
> monitors all
> communications for potential viruses, we accept no
> responsibility for any
> loss or damage caused by this e-mail or any information it
> contains. It is
> the recipient's responsibility to scan this e-mail and any
> attachments for
> viruses. Any e-mails sent to and from PRS for Music servers
> may be monitored
> for quality control and other purposes.
>
> PRS for Music is the trading name for PRS for Music Limited
> which is a
> limited company registered in England under company number
> 03444246 whose
> registered office is at 2 Pancras Square, London N1C 4AG.
> PRS for Music Ltd
> is a wholly-owned subsidiary of the Performing Right Society
> Ltd which is a
> limited company registered in England under company number
> 00134396 whose
> registered office is at 2 Pancras Square, London N1C 4AG.
>
>

Download
image002 .jpg

This is your company isn't it?

[Dc10ibiza53]

On 18/11/2016 at 11:53, redditchcrew said:

HIT THE NAIL ON THE HEAD. if it is not a USA OR BRITISH made in the sixties or seventies then do not play it  

correct 

[Peter99]

47 minutes ago, chalky said:

This is your company isn't it?

[maslar]

"Dear Pressing Plant"

"Hope this finds you well". 

[Guest Chris Price]

4 hours ago, chalky said:

This is your company isn't it?

It Is I can't understand it lol