Mr. Yeats wrote on Dec 8
th, 2014 at 11:51am:
Gazza wrote on Dec 8
th, 2014 at 7:35am:
Meander away! We should do it more often.
I think 'Beggars' is seen as more of a separate entity than the three albums that succeeded it (no changing line up, all new songs, all recorded in a relatively short time frame), but I take your point. 'Sister Morphine' originates from these sessions, after all (although the version on SF dates from an early 'Let It Bleed' session).
I dont think there's much of a problem with ABKCO anymore. Jody Klein himself even specifically stated this in an interview in IORR magazine a few years back.
There's been a huge amount of co-operation on archive releases in recent years (R&R Circus, 40 Licks, Grrr, Charlie is My Darling, Ya Yas box set etc) and as far as I'm aware UMG are the parent company for ABKCO outside of the US - I'm assuming that this new release will be on UMG even though the Stones' five year deal with that label has now actually expired.
I also think this is likely to be less of an issue in coming years. I mentioned on the Dylan thread today about another release for the 'Copyright Extension Collection' (which relates to officially releasing known recordings before the 50-year copyright expires, and therefore preventing them from becoming public domain recordings). This has happened with Dylan's recordings from 1961-64, The Beatles have done something similar and it can only be a matter of time surely before ABKCO and/or UMG are obliged to do something regarding the Stones.
Meander I shall!
Weren't Midnight Rambler and You Got the Silver also from those BB Olympic sessions? Brian was credited with percussion on Rambler and autoharp on Silver...
Thanks for clearing up the Klein stuff. I'd thought there were still problems or bad blood.
So why no ABCKO-era expanded releases? You'd think, since 2002, that Stones Inc. would be all over a Beggars Banquet and Let It Bleed release. Those would surely sell as well (and to the same people) as Exile and Some Girls. Lots of potential stuff there:
original Memo From Turner (perfect as is)
Blood Red Wine (kind of weak)
Stuck Out All Alone (also a bit week)
Jagger's You Got the Silver (perfect as is, and quite revealing and maybe of good curiosity value to casual fans as the band's been playing the song regularly in recent years)
Keith's Gimme Shelter (that's one I actually wouldn't mind a new vocal overdub on. Again - good curiosity value)
Maybe clean up Did Everybody Pay Their Dues? (more curiosity value).
And of course Still A Fool.
Can't suss out whether these copyright extensions apply to unreleased stuff (as in unknown material), alt versions, covers, what all.
"Midnight Rambler" and "You The Silver" have Brian credited as playing OK - but they're both bonafide 'Let It Bleed' session recordings (Feb-Mar 1969)
I think an expanded Beggars Banquet would make the most sense of all the remaining albums from that era, even though a couple of the outtakes have been released on 'Metamorphosis' (which has 'Let It Bleed' outtakes too, of course). Agree that a BB/LIB set would be great as well.
Theres already some good alternate takes of the official songs in circulation from 68 and 69, so this is definitely one era where they did seem to finish a lot of songs as well as cut a few pretty solid alternate takes - and thats just the ones we have documented.
The way the copyright extension thing works is that they concentrate on unreleased material which is in circulation (or which they think MIGHT get into circulation). Technically speaking they could release everything they have in the vaults, but presumably the logic is that there's no need to put out stuff they have under lock and key which they're confident nobody has.
Once they release this material commercially (and its valid even if, as in the case of The Beatles and Dylan, they only issue a few hundred copies and then withdraw it), the copyright is then automatically renewed on those recordings for the next 70 years. This only seems to affect Europe, by the way.
I'll quote this post on the Dylan "Expecting Rain" site which explains it better.
In the EU the situation is as follows:
Recordings* made or released in 1962 or earlier are in the public domain, no matter what. That's why the market is being flooded with unauthorized copies of Dylan's first album and bootleg material from 1961 and 1962. And all those unauthorized early Rock 'n' Roll and jazz albums (on labels like Doxy, Jazzwax, Dolchess etc.).
The new European copyright law from 2011 protects recordings made in 1963 or later for 70 years, but only if the recordings were published within 50 years after they were made.
The law was passed in September 2011, but was only incorporated into the law of each EU member state by 2013 and thus only became effective in 2013.
Therefore Dylan's 1962 Anniversary Collection (rel. in 2012) was superfluous legally, but at the time of its release the legal situation was unclear since the law was in the process of being incorporated into the member state laws. So I guess Dylan's people went ahead with the release just in case (because of the legal situation being unclear they probably threw in a lot of uncirculating stuff, again, just in case).
The 1963 Anniversary Collection (rel. in 1963) on the other hand does benefit from the new law and its release extended the copyright of the enclosed recordings to 70 years from the date of release.I think thats why the Stones released the IBC Demos from 1963 on the deluxe edition of "Grrr!" as those songs would otherwise have become public domain on 1st January 2014.
From the Stones perspective, unlike Dylan and The Beatles, there's very little material available on bootlegs from 1962-64. There are only a couple of audience concert recordings, and I'd presume the stuff thats available from official broadcasts are still owned by that organisation. (just checked this, and according to new EU laws, any BBC recordings from 1963 onwards are the property of that company for 70 years after their broadcast date - which means that all the Stones BBC sessions are protected until 2035). The Stones did release some BBC radio material (from March '64) on the "Grrr!" bonus disc. Presumably with clearance from the BBC.
That leaves the studio material. There's a sizeable amount of Stones studio material in circulation from 1964 - mostly Regent Studios early in the year and Chess Studios in June. From what I can gather, in Europe, that stuff becomes public domain in just over three weeks time. You or I could then conceivably legally factory press recordings of those songs - and the artist and songwriters wouldnt make any money from it.
However, the Stones still werent writing a lot of original songs in 1964, so they would maybe have less reason than Dylan or The Beatles in being concerned about the loss of royalties.
Then again, it's the Stones. And there's money to be made. I'd be surprised if they let this opportunity pass.
Pages: 
Sticky Fingers reissue June 8, 2015 (new release date) (Read 51,667 times)
