Damn straight!iaredatsun wrote:all praise to 'rip-off' Japanese bootleggers, I love you!!
Norman Dolph acetate goes up for auction today on Ebay
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GroovyMusic
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Elvis Plebsley
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iaredatsun
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I would guess that mechanical copyright resides with whoever paid for the studio time and hence owns the tapes. Although ownership of tapes could be transferred.
So whatever happened to the master tapes from which the acetate was made? And if the tapes no longer exist then what happens to copyright ownership?
So whatever happened to the master tapes from which the acetate was made? And if the tapes no longer exist then what happens to copyright ownership?
underground, overground
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GroovyMusic
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kaisersose
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OK It went(???) for $155000 & "some change".Does anybody really believe that a human bidded that amount for it?Maybe on Saturn.By the way the Ebay fee will be will increase the initial cost of 75c of a few thousand $.I think at this point the seller should donate the acetate to the Velvet Forum & it 'd go to one of us by lucky draw. 
GOT MY EYES WIDE OPEN
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kaisersose
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OK It went(???) for $155000 & "some change".Does anybody really believe that a human bidded that amount for it?Maybe on Saturn.By the way the Ebay fee will be will increase the initial cost of 75c of a few thousand $.I think at this point the seller should donate the acetate to the Velvet Forum & it 'd go to one of us by lucky draw.
GOT MY EYES WIDE OPEN
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discoscrudos
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What the hell, is this real??? Or is it the japanese bootleg?
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http://rapidshare.com/files/5684326/VU.zip.html
Velvet Underground - 1966-4 Scepter Studios, Norman Dolph acetate
Text From Goldmine Magazine
In September of 2002 Warren Hill of Montreal Canada was perusing a box of records at a Chelsea, New York street sale when he happened upon a nice Leadbelly 10" on Folkways, a water damaged copy of the first Modern Lovers LP on Beserkely, and a brittle 12" piece of acetone-covered aluminum with the words "Velvet Underground. 4-25-66. Att N. Dolph" written on the label. He purchased the three records for 75 cents each.
As I have a small knowledge of records and am an old friend of Warren's, I got a call from him the next day in which he described the acetate. Because of the date and the unique type of pressing, we both agreed that it was probably an in-studio acetate made during the recording of the first Velvet Underground LP back in 1966 (I had heard that they occasionally would have a vinyl cutting lathe in the studio to cut records of the day's recordings for the artists and/or producers to take home for review). Warren didn't want to play the mysterious platter due to the fragile nature of acetates, and the cheap nature of his record needle, so we agreed that the next time he was visiting me in Portland we would check it out together. If it turned out to be what we thought it was, maybe we could sell it at Mississippi Records, the small neighborhood record store in Portland that I work at. Sight unseen and sound unheard, I assumed that it was likely an acetate pressing of the recording which would be eventually be released as the group's first album, "The Velvet Underground & Nico".
It took awhile for Warren to visit, but when he did he brought along the acetate. We cued it up and were stunned -- the first song was not "Sunday Morning" as on the "Velvet Underground & Nico" Verve LP, but rather it was "European Son"- the song that is last on that LP, and it was a version neither of us had ever heard before! It was less bombastic and more bluesy than the released version, and it clocked in at a full two minutes longer. I immediately took the needle off the record, and realized that we had something special. Between the two of us we had heard many Velvets outtakes on both official and less than official releases, but the present material had never been heard by either of us.
The next few days found us scrambling for clues and information about what to make of this find; calling every record collector/historian we knew and reading everything we could find concerning the early recordings of the VU. We pieced together that this was probably a surviving copy of the legendary Scepter studios recordings which had been regarded as lost (hence the epic moniker "the lost scepter studios recordings" applied to these unheard sessions over the years). The recording is comprised of the primitive first "finished" version of the LP that Andy Warhol had shopped to Columbia as a ready-to-release debut album by his protege collective "The Velvet Underground".
This acetate, which is possibly the only surviving copy, represents the first Velvet Underground album as Andy Warhol intended it to be released.
AND HERE IT IS! The digital back up copy.
1) European Son 9:03 (Diff Take)
2) Black Angel's Death 3:18 (Diff Mix)
3) All Tomorrow's Parties 5:56 (Diff Mix)
4) I'll Be Your Mirror 2:11 (Diff Mix)
5) Heroin 6:16 (Diff Take)
6) Femme Fatale 2:36 (Diff Mix)
7) Venus In Furs 4:39 (Diff Take)
8) I'm Waiting For The Man 4:14 (Diff Take)
9) Run Run Run 4:23 (Diff Mix)
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http://rapidshare.com/files/5684326/VU.zip.html
Velvet Underground - 1966-4 Scepter Studios, Norman Dolph acetate
Text From Goldmine Magazine
In September of 2002 Warren Hill of Montreal Canada was perusing a box of records at a Chelsea, New York street sale when he happened upon a nice Leadbelly 10" on Folkways, a water damaged copy of the first Modern Lovers LP on Beserkely, and a brittle 12" piece of acetone-covered aluminum with the words "Velvet Underground. 4-25-66. Att N. Dolph" written on the label. He purchased the three records for 75 cents each.
As I have a small knowledge of records and am an old friend of Warren's, I got a call from him the next day in which he described the acetate. Because of the date and the unique type of pressing, we both agreed that it was probably an in-studio acetate made during the recording of the first Velvet Underground LP back in 1966 (I had heard that they occasionally would have a vinyl cutting lathe in the studio to cut records of the day's recordings for the artists and/or producers to take home for review). Warren didn't want to play the mysterious platter due to the fragile nature of acetates, and the cheap nature of his record needle, so we agreed that the next time he was visiting me in Portland we would check it out together. If it turned out to be what we thought it was, maybe we could sell it at Mississippi Records, the small neighborhood record store in Portland that I work at. Sight unseen and sound unheard, I assumed that it was likely an acetate pressing of the recording which would be eventually be released as the group's first album, "The Velvet Underground & Nico".
It took awhile for Warren to visit, but when he did he brought along the acetate. We cued it up and were stunned -- the first song was not "Sunday Morning" as on the "Velvet Underground & Nico" Verve LP, but rather it was "European Son"- the song that is last on that LP, and it was a version neither of us had ever heard before! It was less bombastic and more bluesy than the released version, and it clocked in at a full two minutes longer. I immediately took the needle off the record, and realized that we had something special. Between the two of us we had heard many Velvets outtakes on both official and less than official releases, but the present material had never been heard by either of us.
The next few days found us scrambling for clues and information about what to make of this find; calling every record collector/historian we knew and reading everything we could find concerning the early recordings of the VU. We pieced together that this was probably a surviving copy of the legendary Scepter studios recordings which had been regarded as lost (hence the epic moniker "the lost scepter studios recordings" applied to these unheard sessions over the years). The recording is comprised of the primitive first "finished" version of the LP that Andy Warhol had shopped to Columbia as a ready-to-release debut album by his protege collective "The Velvet Underground".
This acetate, which is possibly the only surviving copy, represents the first Velvet Underground album as Andy Warhol intended it to be released.
AND HERE IT IS! The digital back up copy.
1) European Son 9:03 (Diff Take)
2) Black Angel's Death 3:18 (Diff Mix)
3) All Tomorrow's Parties 5:56 (Diff Mix)
4) I'll Be Your Mirror 2:11 (Diff Mix)
5) Heroin 6:16 (Diff Take)
6) Femme Fatale 2:36 (Diff Mix)
7) Venus In Furs 4:39 (Diff Take)
8) I'm Waiting For The Man 4:14 (Diff Take)
9) Run Run Run 4:23 (Diff Mix)
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Sunshine
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Sunshine