BOB DYLAN GREAT WHITE WONDER

$

60

***The following selection is in in excellent to near mint condition. No scratches, niks or chips. This records was part of the Peter R. Russo Jr. (aka; DJ Biffy) collection. Peter was a well respected DJ and audio engineer from Miami, Florida. Pete spent more then 50 years in the business and has engineered a number of concerts in South Florida as well as made  appearances on a many radio shows. His passing has been a great loss.  Bob Dylan ?– Great White Wonder Label: none, Format: 2 × Vinyl, LP, Unofficial Release, Country: USA, Released: 1969 Track list A1 Candy Man   A2 Ramblin' 'Round   A3 Black Cross (Hezekiah Jones)   A4 I Ain't Got No Home   A5 Death Of Emmett Till   A6 Lazarus   B1 New Orleans Rag   B2 If You Gotta Go, Go Now   B3 Only A Hobo   B4 Sitting On A Barbed Wire Fence   B5 Mighty Quinn (Quinn, The Eskimo) (take 1)   B6 This Wheel's On Fire   C1 Baby Please Don't Go   C2 Interview of a young Bob Dylan (by Pete Seeger)   C3 Dink's Song   C4 See That My Grave Is Kept Clean   C5 East Orange, New Jersey   C6 Man Of Constant Sorrow   D1 I Shall Be Released   D2 Open The Door Richard (take 1)   D3 Too Much Of Nothing (take 2)   D4 Nothing Was Delivered (take 1)   D5 Tears Of Rage (take 2)   D6 Living The Blues   Notes Made in July 1969 by the people that later formed Trade Mark Of Quality Records, and dozens of other labels on the west coast (USA). This is the very first version, of the very first bootleg release in the rock and roll era. Plain white gatefold sleeve and labels. Also, some labels all-black, some in combination & some all white. Most people wrote the song titles on the cover & labels, but when this came out of the factory, there was NO print or NOTHING ON THEM, ALL WHITE.  PIRATE, COUNTEREFIT, BOOTLEGGED, UNAUTHORIZED & UNLICENCED RECORDS The best way to to delinate the difference between bootlegged & Legitimet records is to describe what they are not. Limited, numbered, digitally remastered, compilation, and promotional records are not necessarrily pirated records although some are. Most often, a pirated or bootlegged record is a counterefit. It is an imitation copy usually with the intent to defraud. One of the most counterefitted records I've come across is the Beatles Vee Jay recordings. The originals are high value albums and a great many were re-recorded from them. The audio quality is usualy poor and the album pictures are dull & fuzzy, not sharp. Other bootlegged recordings are a performance that were not officially released by the artist or other legal authority. The process of making and distributing such recordings is known as bootlegging. Recordings may be copied and traded among fans of the artist without financial exchange, but some bootleggers have sold recordings for profit, sometimes by adding professional-quality sound engineering and packaging to the raw material. Bootlegs usually consist of either unreleased studio recordings or live performances, with an unpredictable level of quality. Bootlegs should not be confused with counterfeit or unlicensed recordings, which are merely unauthorised duplicates of officially released recordings, often attempting to resemble the official product as close as possible. Some record companies have considered that any record issued outside of their control, and for which they do not receive payment, to be a counterfeit, which includes bootlegs. However, some bootleggers are keen to stress that the markets for bootleg and counterfeit recordings are different, and a typical consumer for a bootleg will have bought most or all of that artist's official releases anyway. The concept of releasing unauthorised performances had been established before the 20th century, but reached new levels of popularity with Bob Dylan's Great White Wonder, a compilation of studio outtakes and demos released in 1969 using low-priority pressing plants. The following year, the Rolling Stones' Live'r Than You'll Ever Be, an audience recording of a late 1969 show, received a positive review in Rolling Stone. Changing technologies have affected the recording, distribution, and varying profitability of the underground industry. The copyrights for the song and the right to authorise recordings often reside with the artist, according to several international copyright treaties. The recording, trading and sale of bootlegs continues to thrive, however, even as artists and record companies attempt to provide officially-released alternatives to satisfy the demand. The word "bootleg" originates from the practice of smuggling illicit items in the legs of tall boots, particularly the smuggling of alcohol during the American Prohibition era. The word, over time, has come to refer to any illegal or illicit product. This term has become an umbrella term for illicit, unofficial, or unlicensed recordings, including vinyl LPs, silver CDs, or any other commercially sold media or material. The alternate term ROIO (an acronym meaning "Recording of Indeterminate / Independent Origin) or VOI (Video....) arose among Pink Floyd collectors, to clarify the recording source and copyright status was hard to determine. Although unofficial and unlicensed recordings had existed before the 1960s, the very first rock bootlegs came in plain sleeves with the title rubber stamped on it. However, they quickly developed into more sophisticated packaging, in order to distinguish the manufacturer from inferior competitors. With today's packaging and desktop publishing technology, even the layman can create "official" looking CDs. With the advent of the cassette and CD-R, however, some bootlegs are traded privately with no attempt to be manufactured professionally. This is even more evident with the ability to share bootlegs via the Internet.