Editing Bootleg recording (section)

===1970s===
During the 1970s the bootleg industry in the United States expanded rapidly, coinciding with the era of stadium rock or [[arena rock]]. Vast numbers of recordings were issued for profit by bootleg labels such as [[Kornyfone]] and TMQ.{{sfn|Cummings|2013|p=102}} The large followings of rock artists created a lucrative market for the mass production of unofficial recordings on [[gramophone record|vinyl]], as it became evident that more and more fans were willing to purchase them.{{sfn|Cummings|2013|p=117}} In addition, the huge crowds which turned up to these concerts made the effective policing of the audience for the presence of covert recording equipment difficult. [[Led Zeppelin]] quickly became a popular target for bootleggers on the strength and frequency of their live concerts; ''[[Live on Blueberry Hill]]'', recorded at the [[LA Forum]] in 1970, was sufficiently successful to incur the wrath of manager [[Peter Grant (music manager)|Peter Grant]].{{sfn|Heylin|1994|pp=69–70}} [[Bruce Springsteen]] and the [[E Street Band]] recorded numerous concerts for radio broadcast in the 1970s, which resulted in many Springsteen bootlegs.{{sfn|Heylin|1994|pp=116–117}}

[[File:Dark side of the moo.jpg|thumb|left|270px|The [[Pink Floyd]] bootleg ''[[The Dark Side of the Moo]]'' collected early singles and B-sides. When released, it was the only way to hear the studio version of "[[Astronomy Domine]]" in the U.S., as it was not included on the U.S. issue of ''[[The Piper at the Gates of Dawn]]'']]
Some bootleggers noticed rock fans that had grown up with the music in the 1960s wanted rare or unreleased recordings of bands that had split up and looked unlikely to reform. For instance, the release of ''[[Golden Eggs]]'', a bootleg of outtakes by [[the Yardbirds]] had proven to be so popular that the bootlegger had managed to interview the band's [[Keith Relf]] for the sequel, ''[[More Golden Eggs]]''.{{sfn|Heylin|1994|p=98}} Archive live performances became popular; a 1970 release of Dylan's set with the Hawks (later to become [[the Band]]) at the [[Manchester Free Trade Hall]] in 1966 (incorrectly assumed to be the [[Royal Albert Hall]] for years) was critically and commercially successful owing to the good sound quality and the concert's historical importance.{{sfn|Heylin|1994|pp=73–74,76}}

In [[Los Angeles]] there were a number of record mastering and pressing plants that were not "first in line" to press records for the major labels, usually only getting work when the larger plants were overloaded. These pressing plants were more than happy to generate income by pressing bootlegs of dubious legality.{{sfn|Heylin|1994|p=63}} Sometimes they simply hid the bootleg work when record company executives would come around (in which case the printed label could show the artist and song names) and other times secrecy required labels with fictitious names. For example, a 1974 Pink Floyd bootleg called ''Brain Damage'' was released under the name the Screaming Abadabs, which was one of the band's early names.<ref name="Backtrax">{{cite web|url=http://backtrax-records.co.uk/floydboots/pages/history.html |archive-url=https://archive.today/20070203141848/http://backtrax-records.co.uk/floydboots/pages/history.html |url-status=dead |archive-date=3 February 2007 |title=A Brief History Of Bootlegs |access-date=23 September 2009 |last=Slugbelch |work=The Pink Floyd Vinyl Bootleg Guide |publisher=Backtrax Records }}</ref> Because of their ability to get records and covers pressed unquestioned by these pressing plants, bootleggers were able to produce artwork and packaging that a commercial label would be unlikely to issue – perhaps most notoriously the 1962 recording of the Beatles at the [[Star-Club]] in Hamburg, which was bootlegged as ''[[The Beatles vs. the Third Reich]]'' (a parody of the early US album ''[[The Beatles vs. the Four Seasons]]''), or ''[[Elvis' Greatest Shit]]'', a collection of the least successful of [[Elvis Presley]]'s recordings, mostly from film soundtracks.{{sfn|Heylin|1994|p=188}}

Bootleg collectors in this era generally relied on ''[[Hot Wacks]]'', an annual underground magazine listing known bootlegs and information about recent releases. It provided the true information on bootlegs with fictitious labels, and included details on artists and track listings, as well as the source and sound quality of the various recordings.{{sfn|Heylin|1994|p=130–131}}{{sfn|Shuker|2013|p=105}}

Initially, knowledge of bootlegs and where to purchase them spread by word of mouth.{{sfn|Cummings|2013|p=174}} The pioneering bootlegger Rubber Dubber sent copies of his bootleg recordings of live performances to magazines such as ''[[Rolling Stone]]'' in an attempt to get them reviewed. When Dylan's record company, [[Columbia Records]] objected, Rubber Dubber counteracted he was simply putting fans in touch with the music without the intermediary of a record company.{{sfn|Cummings|2013|p=103}} Throughout the 1970s most bootleg records were of poor quality, with many of the album covers consisting of nothing more than cheap [[photocopying|photocopies]]. The packaging became more sophisticated towards the end of the decade and continued into the 1980s.<ref name="Galloway">{{cite web| url = http://www.moremusic.co.uk/links/features/bootleg.htm| title = Bootlegs, an insight into the shady side of music collecting| access-date = 23 September 2006| last = Galloway| first = Simon| year = 1999| publisher = More Music e-zine| archive-url = https://web.archive.org/web/20150710192719/http://www.moremusic.co.uk/links/features/bootleg.htm| archive-date = 10 July 2015| url-status = dead}}</ref> [[Punk rock]] saw a brief entry into the bootleg market in the 1970s, particularly the bootleg ''[[Spunk (album)|Spunk]]'', a series of outtakes by [[the Sex Pistols]]. It received a good review from ''[[Sounds (magazine)|Sounds]]''{{'}} Chas de Whalley, who said it was an album "no self-respecting rock fan would turn his nose up" at.{{sfn|Heylin|1994|p=170}}