Obtaining autographs only to sell them straightaway puts artists and performers off signing autographs in the first place. The "signer" realises that the "obtainer" was not genuine in the request and in whatever comments of praise or thanks were offered in exchange for the autograph. And then tends to think of all such requests as being opportunistic rather than genuine. I know it isn't true but how can the "signer" distinguish between the genuine and the opportunistic request?
I do not go in for eBay very much at all but, if the facility is still there, you can contact the seller with "questions". If you are so inclined, you have the opportunity to tell the seller what you think of what they have done.
As for Telegraph Road, songs evolve. Performers develop. Mere repetition becomes a music hall act (who said that?). The performer cannot become bogged down in past triumphs. The artist must believe that the best is yet to come. Enjoy the past, by all means, but be open to the "now".
DOWNBEAT jazz magazine used to run a column called "Old wine, new bottles" (or something like that) which isn't quite the same thing but does give some idea of how I feel. Mr Bob's latest BOOTLEG SERIES release has given a different perspective on his 1970s recordings - again, not quite the same thing, but you can open your ears to different ways of presenting things. I have no idea what Telegrpah Road sounded like in concert some 30 years ago but I would be very disappointed if an MK fan said to me after a concert, "I really like Telegrpah Road tonight. It was just like 1985 (or whenever)". That's the moment I would ask myself, "Why am I here? What's the point?"
