The bootlegs or pirated discs, represented for several decades a veritable parallel economy, a kind of dark during the record industry involving a lot of personalities more or less dubious mantle as offering music fans live recordings or unreleased tracks from their favorite bands, sometimes shamefully high prices. Many artists have thus outside of their official discography, another more informal concealing nuggets sometimes inaccessible to the general public, helping to maintain their myth as well as albums found. Gaschet Alain, who sells bootlegs for years in complete illegality before being overtaken by justice, throws a piece of the veil on this mysterious universe in a book (1) and answers questions that have arisen many collectors: the source of these recordings, sometimes higher than those proposed by the record companies storefront? How are these manufactured discs? By what sleight of passes they were found at the checkout of some large chain stores in the mid 90s, before the batter the lawsuits? In short, to paraphrase the melodramatic voice of an issue of reporting on M6 who benefits from the business bootlegs?
A business now moribund, partly because of repression orchestrated by the majors tired to see the crafty to make money on their backs, but mainly because of the Internet: the fans are now traded their rare and valuable records on specialized sites, still banned, but free without fatten bootlegers generally more attracted by greed than by love of music.
A reading that will appeal to many music lovers probably little nostalgic scent that accompanied the hunt for banned sometimes epic particular coveted bootleg.
(1) "bootleg, the buccaneers from the album" Alain Gaschet, Florent editions Massot
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