>i'm not against comps but i find using them only and not even once
bothering to try and find the originals (some of them even ain't that rare)
quite irritating.
Most of it is rare though. Paying £70+ for an original Syl Johnson or Roy
Ayers is frankly out of the question as far as I'm concerned. Who on this
list has an original copy of 'Apache'?
>in my mind, it should be a personal point of pride that you know your shit
and put in the effort to get vinyl
Compilations are an excellent way finding the 'shit' out, and perhaps one of
the only ways if there is no good radio where you live. Thank god for
compilations by people like DJ Pogo that introduce people to forgotten
classics. A rare groove comp may introduce someone to ten records for which
it would have cost a few hundred pounds and several years of searching to
get the same collection of originals on vinyl.
>well, there are some people i know who borrow their mates records and copy
them on cd-r:s.
Many artists/labels like to sit on their tunes for two or three years while
regularly promising release dates that never happen. Then, when the
magazines have reviewed, plugged and finally forgotten about the record, it
is brought out without a whisper. If you don't happen to be about in the
week it is released there's a fat chance that you'll ever be able to buy the
record again. The second stock ordered by the shop will almost never
materialise because the labels rarely press enough.
Another scenario is that the record won't come out as a single at all but
will come out on a triple vinyl album which will cost about £35 and will
consist of 15 crap tunes plus the one you want. That's a regular occurrence
with drum and bass these days.
In either of those two situations I would happily record a tune off my mate
if he had it and I had a cd-writer. After all, it's not my fault that some
artists make their own records so difficult to buy.
Carl
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