BOTCH VINYL...$300 DOLLARS ON EBAY

[grind/bro]

http://cgi.ebay.com/Botch-American-Nerv ... 2c522d8a4a

Botch - American Nervoso LP WHITE Vinyl of 101 converge
Item condition: --
Price: US $299.99

[keep_it_real]

Lol at anybody buying a botch record for 300 bucks.

[Hollow]

Lol at anybody buying a record for 300 bucks.

[keep_it_real]

I can get behind spending 100s on what are considered classics. I.e minor threat, ssd, g.i.s.m, warzone, judge, heck maybe even youth of today. But 300 bucks on something that isn't 20 years old is a bit crazy. I dont think I've ever spent more than fifty bucks on a single record but have definitely traded stuff worth more.

[trappedinside]

Lol at anybody buying a record for 300 bucks.

[grind/bro]

My John Birch Conspiracy Theory 7" can probably help me pay for a semester at camosun by those standards

[heyjealousy]

I've spent more than 300 on a record before. and I know it will happen again

[xchadx]

.

[Human-Demise]

i have a second pressing of "in battle there is no law" it was the most i ever spent on one record. no point to be made. i just felt like sharing.

[xchadx]

.

[Human-Demise]

i have a second pressing of "in battle there is no law" it was the most i ever spent on one record. no point to be made. i just felt like sharing.

How much did that set you back? That's sick! I need to pick a copy of that up still on vinyl!

about 50?

[officespace]

I would pay hefty amounts for some certain records. I see no problem with it. You make money if you wanna spend it on something you love how is it any different from anything else you want to buy in life.

[Hollow]

While I agree spending that much on a Botch record is silly, lets not shit on people for spending their hard earned money on records in general. I'm gonna just quote Felix Havoc's post from the VLV board in response to people trying to give him/a seller shit for buying/selling rare hardcore records for top dollar (in this instance he's referencing the classic Antidote 7"), because I think he nails it on the fucking head why people spend money on classic records.

HavocRecordsDistro posted this April 8th, 2011 @ 1:29:43 pm » quote#159

Let me make myself clear, early 80's hardcore is the most. I was a participant in this scene and it is a big part of my world. I don't care about re presses or MP3s, I must have the original artifact of the era, and I am willing to pay the price. That might be hard to understand for people who went from hip hop cds, to ipods, but for me it was records, records, records from the beginning. Early Dischord, Touch and Go and to a lesser extent Dangerhouse, represent to me the pinnacle of American DIY hardcore punk labels/style. These records are of a cultural import great enough to be hanging in art galleries and deserve to be treated with the respect they command. If that means they get treated like fine art or antique furniture, so be it. They have cultural value on that level.

For the record, I think that spending that kind of money on a painting or an old chair is fucking ridiculous too. I'm not naive, I understand that we live in a capitalist society (as much as I'd like not too), so I'm not gonna get on anyone's case for selling/buying something. I agree with Felix that old hardcore records have immense cultural value and should be treated with respect; I just don't agree that spending insane amounts of money on them is a good indicator of cultural value.

The amount of money spent on art and antiques is usually based on two things: perceived value and lack of availability. The perceived value of any work or antique is usually based on the fame of the artist/owner. For example, a painting that Hitler did went for $3.5 million about two years ago. Even removing Hitler's obvious faults, he was generally considered a hack artist at best. His colour choice was boring, his subjects cliche and his technique hackneyed. But his work went for $3.5 million. Why? What cultural value does that piece have, other than being paint slapped on canvas by one of history's greatest monsters? The perceived value of the work was based entirely on Hitlers infamy, and the fact that there are so few of his paintings left in existence.

Likewise, we have a Botch record going for $300. Why? They were a fantastic band, for sure, but they weren't nearly as influential as other bands of the same era. Here, we have a Jane Doe tour press going for less than a hundred bucks, and that band and that album were ten times as influential as Botch's American Nervosa. http://shop.ebay.ca/i.html?_kw=Converge ... &_kw=press This Botch record isn't going for $300 because of how amazing Botch is, but because they're regaining popularity right now, and there are so few copies of this record left for sale.

Whoever is buying this record isn't buying it for the music, they're buying it for the right to say they bought it.

I've definitely commodified vinyl myself (anyone hearing me brag endlessly about my Jane Doe OP is probably typing a furious response right now), and I love to collect vinyl, but there has to be a middle ground. We shouldn't be losing sight of the fact that the music is where the cultural value is truly at, and that the vinyl is a secondary product of said music. When you start paying that much for something, I believe you need to really think about why you're doing it and what you're adding to (or taking away from) the culture and community by spending that kind of money.

Oh, and on a completely unrelated note, as someone who couldn't afford to buy anything other than used punk/metal cd's at Sam Goody as a kid, fuck that self righteous "hip hop CD's to ipods" line. Anyone can get into any music through whatever format they want. Sure, I have my preferred formats for my own reasons (I'm a vinyl/tape man myself) but if some kid gets into hardcore or punk or metal or whatever by downloading an album off a blog, let him. At least he's getting into the music.

[grind/bro]

...and then there's that.

[Jordan f.]

I've kinda stopped buying records, might just be because I am broke.

[heyjealousy]

While I agree spending that much on a Botch record is silly, lets not shit on people for spending their hard earned money on records in general. I'm gonna just quote Felix Havoc's post from the VLV board in response to people trying to give him/a seller shit for buying/selling rare hardcore records for top dollar (in this instance he's referencing the classic Antidote 7"), because I think he nails it on the fucking head why people spend money on classic records.

HavocRecordsDistro posted this April 8th, 2011 @ 1:29:43 pm » quote#159

Let me make myself clear, early 80's hardcore is the most. I was a participant in this scene and it is a big part of my world. I don't care about re presses or MP3s, I must have the original artifact of the era, and I am willing to pay the price. That might be hard to understand for people who went from hip hop cds, to ipods, but for me it was records, records, records from the beginning. Early Dischord, Touch and Go and to a lesser extent Dangerhouse, represent to me the pinnacle of American DIY hardcore punk labels/style. These records are of a cultural import great enough to be hanging in art galleries and deserve to be treated with the respect they command. If that means they get treated like fine art or antique furniture, so be it. They have cultural value on that level.

For the record, I think that spending that kind of money on a painting or an old chair is fucking ridiculous too. I'm not naive, I understand that we live in a capitalist society (as much as I'd like not too), so I'm not gonna get on anyone's case for selling/buying something. I agree with Felix that old hardcore records have immense cultural value and should be treated with respect; I just don't agree that spending insane amounts of money on them is a good indicator of cultural value.

The amount of money spent on art and antiques is usually based on two things: perceived value and lack of availability. The perceived value of any work or antique is usually based on the fame of the artist/owner. For example, a painting that Hitler did went for $3.5 million about two years ago. Even removing Hitler's obvious faults, he was generally considered a hack artist at best. His colour choice was boring, his subjects cliche and his technique hackneyed. But his work went for $3.5 million. Why? What cultural value does that piece have, other than being paint slapped on canvas by one of history's greatest monsters? The perceived value of the work was based entirely on Hitlers infamy, and the fact that there are so few of his paintings left in existence.

Likewise, we have a Botch record going for $300. Why? They were a fantastic band, for sure, but they weren't nearly as influential as other bands of the same era. Here, we have a Jane Doe tour press going for less than a hundred bucks, and that band and that album were ten times as influential as Botch's American Nervosa. http://shop.ebay.ca/i.html?_kw=Converge ... &_kw=press This Botch record isn't going for $300 because of how amazing Botch is, but because they're regaining popularity right now, and there are so few copies of this record left for sale.

Whoever is buying this record isn't buying it for the music, they're buying it for the right to say they bought it.

I've definitely commodified vinyl myself (anyone hearing me brag endlessly about my Jane Doe OP is probably typing a furious response right now), and I love to collect vinyl, but there has to be a middle ground. We shouldn't be losing sight of the fact that the music is where the cultural value is truly at, and that the vinyl is a secondary product of said music. When you start paying that much for something, I believe you need to really think about why you're doing it and what you're adding to (or taking away from) the culture and community by spending that kind of money.

Oh, and on a completely unrelated note, as someone who couldn't afford to buy anything other than used punk/metal cd's at Sam Goody as a kid, fuck that self righteous "hip hop CD's to ipods" line. Anyone can get into any music through whatever format they want. Sure, I have my preferred formats for my own reasons (I'm a vinyl/tape man myself) but if some kid gets into hardcore or punk or metal or whatever by downloading an album off a blog, let him. At least he's getting into the music.

my appologies in advance for typos and garbage grammar
I understand most of what you are saying, but I dont think the vinyl is secondary to the music, it is the format that carries the music. you cant have a painting without the canvas(dont make me get all ray cappo anti science on your ass). the hard format of the music is critical. I have made so many record purchases not because I knew the band but because the aesthetic of the product paid homage to the layouts of great bands before. it doesnt always work but there are records you can get a reasonable judgement from the record. I love looking at the records,labels, inserts and covers as I listen to them. buying records would not be as enjoyable if every record came with a blank cover and labels with the bands name printed on it in comic sans. hell the suppression swing lp is one of my favourite Mike hartsfield related releases and I had never heard them before I bought it. it just looked like it would be a good hardcore record.

p.s. I remember the first time I downloaded age of quarrel. the cd/ipod generation thing is a double edge sword, it makes it easier for turds to seek out these legendary records and kind of spoils the thrill of the hunt. but it also makes it easier for people to track down something they have been dying to hear that was pressed /300 20 years ago in europe.

TL/DR: HARDCORE RULES AND I LIKE RECORDS.

[trappedinside]

i'll take going to a record store and walking out with a huge pile of crucial gems over getting one heinously overpriced rare LP on ebay any day. or for that matter putting that $300 into my own band and doing something cool with it rather than lining the pockets of some random asshole.

[wolfgang]

I gotta say...I like records as much as anybody on here...and I have bought ALOT of records over the past 25 years. I have never spent over $40 on a record for myself, and I probably never will. I don't understand why certain records fetch certain (huge) amounts...but I do understand people with alot of disposable income spending loarge amounts on certain records...I'd probably do the same if I stooopid amounts of money. Is a copy of The Fix - "Vengeance" 7" worth 3 or 4 thousand dollars? Probably not...but I'd rather see someone by that than spend it on cell phone bills or cigarettes. There are just thousands of killer punk and hardcore 7 inchers that can be had for $5...I'd rather by $800 of those than have one record for it's rarity or cultural significance. Then again...I never complain about what people pay for records when they're handing me $500 for a first presss of Nervous Breakdosn, or $800 for a rare Canadian Psych record.

[righteousxjames]

While I agree spending that much on a Botch record is silly, lets not shit on people for spending their hard earned money on records in general. I'm gonna just quote Felix Havoc's post from the VLV board in response to people trying to give him/a seller shit for buying/selling rare hardcore records for top dollar (in this instance he's referencing the classic Antidote 7"), because I think he nails it on the fucking head why people spend money on classic records.

HavocRecordsDistro posted this April 8th, 2011 @ 1:29:43 pm » quote#159

Let me make myself clear, early 80's hardcore is the most. I was a participant in this scene and it is a big part of my world. I don't care about re presses or MP3s, I must have the original artifact of the era, and I am willing to pay the price. That might be hard to understand for people who went from hip hop cds, to ipods, but for me it was records, records, records from the beginning. Early Dischord, Touch and Go and to a lesser extent Dangerhouse, represent to me the pinnacle of American DIY hardcore punk labels/style. These records are of a cultural import great enough to be hanging in art galleries and deserve to be treated with the respect they command. If that means they get treated like fine art or antique furniture, so be it. They have cultural value on that level.

For the record, I think that spending that kind of money on a painting or an old chair is fucking ridiculous too. I'm not naive, I understand that we live in a capitalist society (as much as I'd like not too), so I'm not gonna get on anyone's case for selling/buying something. I agree with Felix that old hardcore records have immense cultural value and should be treated with respect; I just don't agree that spending insane amounts of money on them is a good indicator of cultural value.

The amount of money spent on art and antiques is usually based on two things: perceived value and lack of availability. The perceived value of any work or antique is usually based on the fame of the artist/owner. For example, a painting that Hitler did went for $3.5 million about two years ago. Even removing Hitler's obvious faults, he was generally considered a hack artist at best. His colour choice was boring, his subjects cliche and his technique hackneyed. But his work went for $3.5 million. Why? What cultural value does that piece have, other than being paint slapped on canvas by one of history's greatest monsters? The perceived value of the work was based entirely on Hitlers infamy, and the fact that there are so few of his paintings left in existence.

Likewise, we have a Botch record going for $300. Why? They were a fantastic band, for sure, but they weren't nearly as influential as other bands of the same era. Here, we have a Jane Doe tour press going for less than a hundred bucks, and that band and that album were ten times as influential as Botch's American Nervosa. http://shop.ebay.ca/i.html?_kw=Converge ... &_kw=press This Botch record isn't going for $300 because of how amazing Botch is, but because they're regaining popularity right now, and there are so few copies of this record left for sale.

Whoever is buying this record isn't buying it for the music, they're buying it for the right to say they bought it.

I've definitely commodified vinyl myself (anyone hearing me brag endlessly about my Jane Doe OP is probably typing a furious response right now), and I love to collect vinyl, but there has to be a middle ground. We shouldn't be losing sight of the fact that the music is where the cultural value is truly at, and that the vinyl is a secondary product of said music. When you start paying that much for something, I believe you need to really think about why you're doing it and what you're adding to (or taking away from) the culture and community by spending that kind of money.

Oh, and on a completely unrelated note, as someone who couldn't afford to buy anything other than used punk/metal cd's at Sam Goody as a kid, fuck that self righteous "hip hop CD's to ipods" line. Anyone can get into any music through whatever format they want. Sure, I have my preferred formats for my own reasons (I'm a vinyl/tape man myself) but if some kid gets into hardcore or punk or metal or whatever by downloading an album off a blog, let him. At least he's getting into the music.

http://www.youtube.com/watch?v=5hfYJsQAhl0

[dave mac]

While I agree spending that much on a Botch record is silly, lets not shit on people for spending their hard earned money on records in general. I'm gonna just quote Felix Havoc's post from the VLV board in response to people trying to give him/a seller shit for buying/selling rare hardcore records for top dollar (in this instance he's referencing the classic Antidote 7"), because I think he nails it on the fucking head why people spend money on classic records.

HavocRecordsDistro posted this April 8th, 2011 @ 1:29:43 pm » quote#159

Let me make myself clear, early 80's hardcore is the most. I was a participant in this scene and it is a big part of my world. I don't care about re presses or MP3s, I must have the original artifact of the era, and I am willing to pay the price. That might be hard to understand for people who went from hip hop cds, to ipods, but for me it was records, records, records from the beginning. Early Dischord, Touch and Go and to a lesser extent Dangerhouse, represent to me the pinnacle of American DIY hardcore punk labels/style. These records are of a cultural import great enough to be hanging in art galleries and deserve to be treated with the respect they command. If that means they get treated like fine art or antique furniture, so be it. They have cultural value on that level.

For the record, I think that spending that kind of money on a painting or an old chair is fucking ridiculous too. I'm not naive, I understand that we live in a capitalist society (as much as I'd like not too), so I'm not gonna get on anyone's case for selling/buying something. I agree with Felix that old hardcore records have immense cultural value and should be treated with respect; I just don't agree that spending insane amounts of money on them is a good indicator of cultural value.

The amount of money spent on art and antiques is usually based on two things: perceived value and lack of availability. The perceived value of any work or antique is usually based on the fame of the artist/owner. For example, a painting that Hitler did went for $3.5 million about two years ago. Even removing Hitler's obvious faults, he was generally considered a hack artist at best. His colour choice was boring, his subjects cliche and his technique hackneyed. But his work went for $3.5 million. Why? What cultural value does that piece have, other than being paint slapped on canvas by one of history's greatest monsters? The perceived value of the work was based entirely on Hitlers infamy, and the fact that there are so few of his paintings left in existence.

Likewise, we have a Botch record going for $300. Why? They were a fantastic band, for sure, but they weren't nearly as influential as other bands of the same era. Here, we have a Jane Doe tour press going for less than a hundred bucks, and that band and that album were ten times as influential as Botch's American Nervosa. http://shop.ebay.ca/i.html?_kw=Converge ... &_kw=press This Botch record isn't going for $300 because of how amazing Botch is, but because they're regaining popularity right now, and there are so few copies of this record left for sale.

Whoever is buying this record isn't buying it for the music, they're buying it for the right to say they bought it.

I've definitely commodified vinyl myself (anyone hearing me brag endlessly about my Jane Doe OP is probably typing a furious response right now), and I love to collect vinyl, but there has to be a middle ground. We shouldn't be losing sight of the fact that the music is where the cultural value is truly at, and that the vinyl is a secondary product of said music. When you start paying that much for something, I believe you need to really think about why you're doing it and what you're adding to (or taking away from) the culture and community by spending that kind of money.

Oh, and on a completely unrelated note, as someone who couldn't afford to buy anything other than used punk/metal cd's at Sam Goody as a kid, fuck that self righteous "hip hop CD's to ipods" line. Anyone can get into any music through whatever format they want. Sure, I have my preferred formats for my own reasons (I'm a vinyl/tape man myself) but if some kid gets into hardcore or punk or metal or whatever by downloading an album off a blog, let him. At least he's getting into the music.

http://www.youtube.com/watch?v=5hfYJsQAhl0