First of all, I don't think what you are talking about is 'bootlegging'... to
me, that's when you produce the 'live' or unauthorized recordings as a sellable
product. Tape trading is a bit different, as it is basically a not for profit
sharing of an appreciation for music.
Back in my college days, I did a fair amount of tape trading and recording of
live shows. I traded tapes with folks all over the world of my favorite bands'
live shows, demos, and rare recordings. This is a good thing, and I don't think
bands are too terribily opposed to this. But the problem is, on down the tape
trading line, someone will inevitibly sell the tape to a manufacturer for profit
if it is good enough quality. I know people who do this... they get paid
$1000.00 or more for a DAT of a hot band's show or a large number of the illicit
CDs to sell themselves. And these people aren't necessarily the tapers of the
shows... just the ones who were lucky enough to get a quality copy and send it
off first.
Of course, this doesn't really affect the music on this list as these
manufacturers are only interested in bands of a sellable nature such as your
Nine Inch Nails or Pearl Jams. However, I have seen boot CDs of Jamiroquai,
Sade, Parliment/Funkadelic, and Paul Weller, acts who in some way pertain to
this list.
As far as recording a DJs set, I don't see how this would work or be too
appealing. I mean, the quality would be murky at best... not much stereo
seperation and probably way too bass heavy... not too mention crowd noises and
beer bottles clinking about. I don't think anyone would want to buy this (or
even just listen to it) over an 'official' DJ mix/line recording of a set.
As far as the process of taping goes itself, I quit because I found it
impossible to enjoy a show because I was too concious of the tape recorder. You
can't jump around or dance or even get into a show/DJ set when you're taping...
so what's the point?
The point may be in jazz or jazz based artists. As their live performances vary
greatly each time and often feature one time only improvisations, tapes
documenting these live performances are indeed special. Some of the best
Coltrane or Miles I've heard has been from spectator made tapes (often
confiscated by the record companies and released officially). But then there's
improvisors such as Derek Bailey who believe in the importance in the moment of
art... that is, you had to be there to experience it properly, so it should not
be documented. To them, documentation is a faulty representation of the artist's
expression.
So there are my thoughts on the subject... I guess it boils down to the fact
that I'd much rather just dance around in front of a band instead of taping
them. But, I wouldn't mind checking out a Portishead live tape, as I've not been
able to catch them in concert. And there you have it...
PEACE
Michael
BAD MOOD RECORDS / SOUL POWER MAGAZINE