Meanwhile, one fan injected some humor into the ongoing discussion, posting in the original thread: “Please don’t shut it down until mine are delivered! I’ll finally have a rare Madness item to match the other collectors—I never seem to find anything exclusive.”

Chris “Zoom Boy” Foreman, never one to shy away from engaging with fans, fired back with a curt and rude response: “I’ll get the police on you!” However, not everyone was amused. Some fans took issue with Foreman’s relentless pursuit of shutting down the bootlegs, with Madzine Magazine bluntly suggesting: “Does ‘Zoom Boy’ AKA Donut have anything else to do in his old age other than being a general pain in the arse and complete cunt?”

While these unofficial releases may be a tempting addition for collectors eager to get their hands on rare Madness material, the situation highlights the perpetual battle between artists and unauthorized distributors—a conflict that has existed in the music industry for decades. Foreman’s efforts, along with those of Madness’s label BMG, have already resulted in legal action, with a cease-and-desist order being issued against the bootlegs. However, history suggests that such measures are rarely enough to completely stamp out the underground market for rare and exclusive recordings.

The reality is that bootlegs have been around for as long as music itself, driven by an enduring demand from collectors eager to own pieces of unofficial band history. Despite Foreman’s best efforts—and the legal muscle of BMG—it’s unlikely that the fundamental desire to produce and acquire bootlegs will ever truly be extinguished. As long as there are fans who crave these rare recordings, the bootlegging scene will continue to thrive, existing in that grey area where music history, exclusivity, and industry regulation collide.

Taken from Madzine : Deceives The Eye (Issue 8)