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COLLECTIN' IN THE FREE WORLD: It's a confusing time to
be a collector of music. Not because of the vast, unnavigable
array of bands greeting you every time you contemplate a purchase;
product choice actually keeps things interesting. No, it's the
process of tracking down tunes that's become daunting.
On the one hand, try weighing all the retail options: specialty
stores offering both new and second-hand goods; mega-chains who'll
sell you a fridge to go with your Foo Fighters; those ubiquitous
10-CDs-for-a-penny record clubs; and an explosion in Internet
mail-order operations that suck your credit card number into cyberspace
and spit out a FedEx parcel at your doorstep.
Likewise, end-of-the-Millennium high-techery is upping the ante
for record collectors who, in general, tend to be ahead of the
technological curve. Whether on 8-track cartridge, Quadraphonic
LP, Mini-disc or DVD, record geeks want their music and are instinctively
resourceful when it comes to obtaining it. Consider this recent
scenario: Many collectors who in the past swapped tapes of concert
bootlegs or out-of-print albums now trade music via email.
Armed with the latest computer software, it's become relatively
easy to upload, or post on a website, a file containing, say,
the recent Santana/Los Lobos concert (initially recorded from
the audience on DAT) and make it available for downloading and
subsequent transferring to disc by other fans.
Bill Glahn, publisher of maverick music journal Live! Music
Review, has a keen interest in all this. In addition to regular
coverage of the bootleg LP and CD industry, his magazine also
delves into new issues specific to record collectors. Clearly,
the wild-frontier nature of the Internet has added food for speculation.
"[Web-based transmission] is still in its early stages, but
it's coming on fast," predicts Glahn. "When the computer
becomes the center of the home entertainment system, I think the
possibilities are great!"
Glahn cites the latest digital audio format, known as MPEG-1
Layer 3 (MP3), as one piece of evidence that our music universe
is expanding rapidly. Early formats were plagued by pitfalls involving
transfer and sound quality, but MP3 largely surmounts these problems.
Says Glahn, "MP3 is a compression scheme for audio files.
It's used to store sounds in more compact files, making it easier
to transfer as files over the Net, and is less cumbersome to store.
For example, you can fit 11 hours of music on a CD using MP3."
Glahn does add that at the moment MP3 files burned to disc can
only be played on a computer's CD-ROM player, but even that scenario
is likely to change in the future as technology advances. (In
fact, Billboard recently reported that one company, Nordic
Entertainment Worldwide, has bypassed the disc issue altogether
and is marketing a portable MP3 player, dubbed the MPMan, that
allows consumers to plug directly into their computers and transfer
music from hard drive to the player's memory.)
Perhaps even more significant is the widespread availability--which
is to say, affordability--of recordable CDs (CD-R). While the
cassette has nothing to fear just yet, record collectors owning
computers are embracing CD-R burners at an astonishing rate. The
trading of homemade CDs is already commonplace. And faced with
the shrinking bootleg marketplace (due to assorted legal woes
of late, many international bootleg companies have shut down),
grassroots entrepreneurs are stepping into the gap and spawning
a new breed of bootlegger specializing in CD-Rs.
"The bootleggers are the first to grasp the advantages of
the new technology," states Glahn. "Even without paying
royalties, there were always economic considerations for bootleggers.
For example, most CD pressing plants would only press in quantities
greater than 500 or 1,000 copies. Given the limited number of
hard-core collectors, this meant that only the most popular artists
(Beatles, Stones, Pearl Jam, Nirvana, etc.) were usually bootlegged.
CD-R's have helped in returning bootlegging to the fans. I'm seeing
more and more limited CD-R bootlegs by such artists as The Skids,
Pussy Galore, Crack The Sky, etc. There are some appearing that
rival the professionals in terms of sound quality, packaging,
etc. And the scarcity of the material is sometimes astounding."
Boy howdy to that. Out-of-print material has proven irresistible, with mastered-from-pristine-vinyl, pirate editions of CDs by Buckingham-Nicks (the duo's self-titled album), The Who (My Generation),
Southern Culture On The Skids (First Album) and Neil Young
(six titles from his '73-'81 years, each disc filled out with
live/rare bonus tracks) all causing a stir among collectors' circles.
Additionally, as Glahn indicated, limited edition bootlegs have
been cropping up with such regularity that it's obvious some major
tape archive combing is underway: The Byrds' Flight Pattern
offers a mini-history lesson ('64 to '67), via assorted TV and
stage appearances, and tags on a pair of Gene Clark demos at the
end; Patti Smith's Mother's Day presents, on two CDs, an
unedited radio broadcast from 1979; Tom Petty's The Fillmore
20 is a staggering three-disc set recorded last year in San
Francisco that features unbelievable mixing-desk sound.
The fan's compulsion to hear music is nearly as strong as the
urge to procreate, and the advent of new means by which one can
obtain that music continues to fuel that compulsion. There's no
telling where things will lead, but just the same, as Glahn succinctly
observes, "It's a fascinating time to be a music collector!"
--Fred Mills
HOT PICK: In 1984, on their masterpiece Double Nickels
on the Dime (arguably one of the greatest punk rock albums
ever released), the Minutemen included a song describing how their
band came to be, giving props to those who influenced them along
the way. "I was E. Bloom, Richard Hell, Joe Strummer, and
John Doe/Me and Mike Watt playin' guitar," sang/spoke D.
Boon on that self-referential track, giving a lot of punk rock
purists pause to ask, Who the hell is E. Bloom?
Almost 15 years later, it's downright sad that most of those
people still don't know the name Eric Bloom as well as they do
Richard Hell, Joe Strummer, and John Doe.
Eric Bloom is the singer for Blue Oyster Cult, one of
the most overlooked influential bands of the '70s and '80s. Just
as the "hard rock/power pop" tag of Cheap Trick never
did them justice, the "hard rock/heavy metal" label
put on BOC didn't go very far in defining what they were all about.
First of all, both bands were smarter than most of their contemporaries.
(BOC even enlisted friend/fan/poet Patti Smith to co-write a couple
of songs for their 1976 release Agents of Fortune). Second,
both bands wrote inventive songs with catchier melodies than most
of what was being put out in the name of hard rock. Finally, both
bands have endured into the late '90s, ignoring all musical trends,
still touring, and putting out albums.
Sporting a new rhythm section (which has undergone numerous changes
over the years), BOC's new release, Heaven Forbid, on CMC
International Records, retains their original core line-up of
Bloom and guitarists Donald "Buck Dharma" Roeser and
Allan Lanier. Expectedly, the new album doesn't live up to the
band's earlier records, but at least retains their patented sound;
and when you've got a catalog as deep as these guys do (including
such FM rock staples as "(Don't Fear) the Reaper", "Burnin'
for You," and "Godzilla"), there's no need to worry
that the live show won't be a blast.
Blue Oyster Cult hits the stage at 8:30 p.m. for an all-ages
show at the New West, 4385 W. Ina Road, on Sunday, August
30. Doors open at 6 p.m., and tickets are $14 at the door. Advance
tickets are $12, available at Dillard's, Cowtown Boots, Corral
Western Wear, and the club. Call 1-800-638-4253 for tickets; and
744-7744 for more information.
LAST NOTES: Local label Hovercraft Records showcases its
roster of talent over two nights this weekend. Unified Field
Theory will kick things off at 10 p.m. Thursday, August 27,
followed by headliners The Fearless Vampire Killers, an
alt-metal three-piece playing in support of their debut release,
mmm...hogfat. On Saturday, August 29, Hovercraftfest continues
with Bubba Grubz headlining, and Love Mound opening
at about 10 p.m. Both shows are at the Double Zero, 121
E. Congress St. Call 670-9332 for details.
Ex-Wafflebutt member Aaron "A.C." Canfield's new band
The Money Shot makes its debut performance on Saturday,
August 29, at The Yankee Doodle, 1929 E. Grant Road.
Self-described as "free-form white-boy funk," the group
will play where the Bass Ale flows freely, and there's always
a table with your name on it. DJ Buttahfly will spin tunes before
the live set. Call 325-1771 for information.
Finally, a hearty farewell to Mike Ahern, singer/songwriter/guitarist
for Beyond 7 (who played one triumphant last gig at Nimbus Brewery
on August 15), and banjo-picker for Creosote (with whom he played
his last gig at Third Stone on August 20). The quirky, good-natured
scenester will be leaving town in early September for a position
as Staff Scientist at Tulane University in New Orleans. Thanks
for the music, Mike. Godspeed.
--Stephen Seigel
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