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Post by schubertmachiavelli on May 4, 2020 19:56:46 GMT
Apologies if this has been a) covered elsewhere, b) contravenes the etiquette on what is perceived to be 'official' albums or whatever — feel free to delete etc — but where do we stand on this one? I'd welcome anyone who can explain the legal landscape of these releases — I notice the label, Audio Vaults, have a considerable collection of radio recordings and other semi-bootleg tracks for all manner of 'classic rock' bands of the late sixties/early seventies, such as Bowie, Zeppelin, Floyd, Genesis etc, all clearly unofficial, but all freely available on Amazon, to name but one mainstream seller. I suspect IA and co. don't see a penny from these, mind… There's also another CD in this series which I believe covers the live gig from Sweden on the Wilsational Stand Up box set, any thoughts on that one too, please?
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Post by maddogfagin on May 5, 2020 6:32:23 GMT
Apologies if this has been a) covered elsewhere, b) contravenes the etiquette on what is perceived to be 'official' albums or whatever — feel free to delete etc — but where do we stand on this one? I'd welcome anyone who can explain the legal landscape of these releases — I notice the label, Audio Vaults, have a considerable collection of radio recordings and other semi-bootleg tracks for all manner of 'classic rock' bands of the late sixties/early seventies, such as Bowie, Zeppelin, Floyd, Genesis etc, all clearly unofficial, but all freely available on Amazon, to name but one mainstream seller. I suspect IA and co. don't see a penny from these, mind… There's also another CD in this series which I believe covers the live gig from Sweden on the Wilsational Stand Up box set, any thoughts on that one too, please? It's a bootleg and as such it's technically illegal to sell etc. However some countries have more liberal copyright laws than others - Italy is a case in point where live concert recordings are issued which in other countries would be deemed illegal. There's a spate of the 1969 Swedish Tull concerts issued at the moment so I guess the copyright has elapsed on those original Swedish radio recordings. And no, IA and co wouldn't get any royalties from such recordings.
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Post by schubertmachiavelli on May 5, 2020 9:16:40 GMT
Thank you. As I suspected (feared!) I couldn't say where this was from, as there's no mention of country of origin anywhere, the sleevenotes are in English with no noticeable translation typos or stylistic tics to betray a foreign language (although the notes themselves are obviously just culled from a larger, generalised history of Tull, and clearly not written for or with reference to the release itself — they effectively end suddenly, without obvious conclusion, there's a sense that there's more copy, moving onwards to a period outside of the timeframe of these recordings. In other words, they feel cribbed!), and my copy was delivered just over 24 hours after placing the order, if that's any hint on locality (I live in England, if you didn't guess!). Sound-wise, they are, possibly to an undiscerning ear listening entirely out of context*, pretty clear: transparently old recordings seemingly poked up a little in volume and perfectly acceptable if you're hardened to the vagaries of bootleg recordings. However, given that many of the tracks exist on pre-existing official box sets (and often mastered from original tapes, or at least a generation very close to source), the difference in quality is instantly obvious: what the packaging grandly calls 'Digitally Remastered with K-Stereo Precision Ambience Recovery' is effectively our old friend 'mono recordings electronically reprocessed to give a stereo effect on suitable machines'**) brought into the amateur ProTools era. Reverb is plastered more or less over everything to add a bit of 'body' and I suspect some elementary separation of the higher and lower frequencies into the outer reaches of the stereo picture has been employed — but the more one listens, the more audible digital noise artefacts emerge, gratingly, and the whole thing has the trebly quality of an MP3 file. Oh, and the cover, while amusingly 'Tullian' in some regards, is almost certainly swiped without regard for copyright from a Warhammer supplement. In fact I'm hoping one of you out there might know precisely which one. Apart from that, it's a super little disc and I recommend it wholeheartedly. *that rules all of us out, then. **if in doubt, consult your dealer.
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Post by schubertmachiavelli on May 5, 2020 9:33:07 GMT
There's a spate of the 1969 Swedish Tull concerts issued at the moment so I guess the copyright has elapsed on those original Swedish radio recordings. And no, IA and co wouldn't get any royalties from such recordings. Wouldn't the reissue of the Swedish radio recordings on the Stand Up box set put the relevant tracks back into copyright? Granted, there are several on the bootleg disc that purport to be from the 'earlier show' of the two taped that day in Sweden (ie they're not included on the Stand Up box set) but I'd imagine the master tapes would have been acquired wholesale from the broadcaster for Steven Wilson to work his digital restoration magic (and then decide which tracks weren't worth including on the box set). In other words, haven't all those naughty Swedish bootlegs just got a whole lot naughtier?! (not that kind of naughty Swedish, no)
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Post by maddogfagin on May 5, 2020 15:25:33 GMT
Thank you. As I suspected (feared!) I couldn't say where this was from, as there's no mention of country of origin anywhere, the sleevenotes are in English with no noticeable translation typos or stylistic tics to betray a foreign language (although the notes themselves are obviously just culled from a larger, generalised history of Tull, and clearly not written for or with reference to the release itself — they effectively end suddenly, without obvious conclusion, there's a sense that there's more copy, moving onwards to a period outside of the timeframe of these recordings. In other words, they feel cribbed!), and my copy was delivered just over 24 hours after placing the order, if that's any hint on locality (I live in England, if you didn't guess!). Sound-wise, they are, possibly to an undiscerning ear listening entirely out of context*, pretty clear: transparently old recordings seemingly poked up a little in volume and perfectly acceptable if you're hardened to the vagaries of bootleg recordings. However, given that many of the tracks exist on pre-existing official box sets (and often mastered from original tapes, or at least a generation very close to source), the difference in quality is instantly obvious: what the packaging grandly calls 'Digitally Remastered with K-Stereo Precision Ambience Recovery' is effectively our old friend 'mono recordings electronically reprocessed to give a stereo effect on suitable machines'**) brought into the amateur ProTools era. Reverb is plastered more or less over everything to add a bit of 'body' and I suspect some elementary separation of the higher and lower frequencies into the outer reaches of the stereo picture has been employed — but the more one listens, the more audible digital noise artefacts emerge, gratingly, and the whole thing has the trebly quality of an MP3 file. Oh, and the cover, while amusingly 'Tullian' in some regards, is almost certainly swiped without regard for copyright from a Warhammer supplement. In fact I'm hoping one of you out there might know precisely which one. Apart from that, it's a super little disc and I recommend it wholeheartedly. *that rules all of us out, then. **if in doubt, consult your dealer. linkScroll about half way down the page
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Post by schubertmachiavelli on May 5, 2020 16:09:19 GMT
Oh, nice research! Thank you. Well truffled!
Ah, Steampunk — I was close with the Warhammer. Very 40,000 - for those of you who may play those things as I used to. But there we are, a copyright-free bit of non-bespoke artwork. I daresay the sleevenotes, such as may be, are similarly cribbed from the public domain too.
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Post by maddogfagin on May 6, 2020 6:43:10 GMT
There's a spate of the 1969 Swedish Tull concerts issued at the moment so I guess the copyright has elapsed on those original Swedish radio recordings. And no, IA and co wouldn't get any royalties from such recordings. Wouldn't the reissue of the Swedish radio recordings on the Stand Up box set put the relevant tracks back into copyright? Granted, there are several on the bootleg disc that purport to be from the 'earlier show' of the two taped that day in Sweden (ie they're not included on the Stand Up box set) but I'd imagine the master tapes would have been acquired wholesale from the broadcaster for Steven Wilson to work his digital restoration magic (and then decide which tracks weren't worth including on the box set). In other words, haven't all those naughty Swedish bootlegs just got a whole lot naughtier?! (not that kind of naughty Swedish, no) My copy of Flute Cake bought many years ago at a record fair in Wimbledon. Think I paid £5 for it on cd.
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Post by maddogfagin on May 6, 2020 6:58:07 GMT
Oh, nice research! Thank you. Well truffled! Ah, Steampunk — I was close with the Warhammer. Very 40,000 - for those of you who may play those things as I used to. But there we are, a copyright-free bit of non-bespoke artwork. I daresay the sleevenotes, such as may be, are similarly cribbed from the public domain too. Based around this boot of the BBC tapes although different track listing in some places. The Ministry of Informationhas the following about the Stockholm concerts of '69 9/1/69 Konserthuset Stockholm, Sweden Two shows, supporting Jimi Hendrix. Contributed two tracks (To Be Sad Is A Mad Way To Be, Back To The Family) to the '25th Anniversary' box set. First show: Nothing Is Easy or Back To The Family or Dharma For One or Tunnel Of Love or LiveMy Sunday Feeling, Martin's Tune, To Be Sad Is A Mad Way To Be, Back To The Family, Dharma For One, Nothing Is Easy, A Song For Jeffrey Second show: Flute Cake or The Late ShowSet as early show, with 'Dharma for One' after 'Nothing Is Easy'.
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Post by maddogfagin on May 7, 2020 6:39:16 GMT
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