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GasLightStreet

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Spud

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treaclefingers

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Irix

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GasLightStreet

Didn't ABKCO do that 2 years ago?

The Mono-Box and the Studio Albums Vinyl Collection 1971-2016 have digital sources, not all-analogue cutting.

but they're damn good digitals. Especially the mono box.

Neither ABKCO nor Universal seem willing to let anybodyget their mits on the precious original masters, which is understandable.

That said . It should be done.

Some of the stones original analogue masters probably survive in great serviceable condition. Others possibly not...

...but analogue masters to vinyl and new flat digital transfers from those tapes need to be done whilst the tapes remain in serviceable nick.

This because when musical information is lost, whether due to analogue tape degradation or to digital technology that wasn't as good as it is today, it's lost forever !

ABKCO is leasing the Stones catalogue to UMe. Of course, Promotone is leasing to UMe as well.

Here's a rather interesting take on it:

[lefsetz.com]

That was pre-Spotify world wide (2010 with the help of FaceBook), although UMG had a deal with Spotify in 2008 when it was only available in Europe (and lost a lot of money in the process).


But, in regard to whatever being released that hasn't been, ever, if the masters are no good, eh...

This article... it's a bit alarming. Hopefully there are multiple copies, in some tangible format and not just 'the cloud'. Perhaps they copy the multi tracks every 10 years... I've never seen anything suggesting that but it seems it would be a really good idea, yet alone the masters, on tape.

Can you imagine what Mick Jagger would've done to UMe if the Stones had handed over their masters had they'd signed with UMe earlier and lost everything in that fire!!??? If they would even be allowed to.

In the early 2000s, the migration away from physical tape storage began, with hard drives picking up the slack. As studios began remastering and transferring their data, they discovered the tape was deteriorating. But just like tape, hard drives also deteriorate with most commercial drives only rated for three to five years. Even stored in perfect conditions for archival purposes, these drives will eventually die.

[www.digitalmusicnews.com]

time to transfer all those hard drives back to tape

(digital tape that is)

wikipedia.org

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ProfessorWolf

time to transfer all those hard drives back to tape

(digital tape that is)

wikipedia.org

Interesting sub-thread which perhaps should be cut out of the Beatles vs Stones and made free standing.

I'd never heard of this format and read the Wiki link. There I found this....

LTO tape is designed for 15 to 30 years of archival storage.[52][53] If tapes are archived for longer than 6 months they have to be stored at a temperature between 16 and 25 °C (61 and 77 °F) and between 20 – 50% RH.[54][55] Both drives and media should be kept free from airborne dust or other contaminants from packing and storage materials, paper dust, cardboard particles, printer toner dust etc.[54]

So it's not a dramatic extension to life expectancy.

Plus, I spent a working lifetime at the bleeding-edge of computing implementations and I saw many totally brilliant innovations that came along and failed because they didn't get sufficient market take up to become de facto standards. (Not quite the same, but the VHS vs Betamax thing is a good illustration of the point).

The main point has to be that people with really really really important archives (documents, music, images, films) should have a firm committment to re-copying (and verifying!!) the data every 3-5 years, plus they should hold several copies in geographically widely separated locations.

Ironically the above cannot apply to analogue recordings, and that may imply an imperative of converting to digital - and that would not go down well with many purists!

Captain Corella

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ProfessorWolf

time to transfer all those hard drives back to tape

There would be far better solutions for long-term data preservation, e.g. laser-inscribed quartz glass which is durable for 10²⁰ years. But such solutions are probably (very) expensive.

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Irix

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ProfessorWolf

time to transfer all those hard drives back to tape

There would be far better solutions for long-term data preservation, e.g. laser-inscribed quartz glass which is durable for 10²⁰ years. But such solutions are probably (very) expensive.

But that would still be digital which would upset the analogue purists...

Captain Corella

You could certainly call me an analogue Luddite...


...But I'm also a realist.

I don't mind whether a technology is analogue or digital...so long as it's good enough and constitutes a genuine improvement over what's gone before.

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CaptainCorella

But that would still be digital which would upset the analogue purists...

The video part of the LaserDisc is stored analogue .... which could be a solution in this regard.

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CaptainCorella

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Irix

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ProfessorWolf

time to transfer all those hard drives back to tape

There would be far better solutions for long-term data preservation, e.g. laser-inscribed quartz glass which is durable for 10²⁰ years. But such solutions are probably (very) expensive.

But that would still be digital which would upset the analogue purists...

Copying 2 inch multi-track masters to 2 inch could work - but tape is extremely expensive now and is on the verge of being financially obsolete for some people. Some artists/bands use 2 inch. Often it's dumped to Pro Tools, so I don't know if the 2 inch is wiped clean or recorded over for new songs because if one needed 10 reels, prices range from $100 to $460 a reel, that adds up if keeping tapes in original recorded form.

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CaptainCorella

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ProfessorWolf

time to transfer all those hard drives back to tape

(digital tape that is)

wikipedia.org

Interesting sub-thread which perhaps should be cut out of the Beatles vs Stones and made free standing.

I'd never heard of this format and read the Wiki link. There I found this....

LTO tape is designed for 15 to 30 years of archival storage.[52][53] If tapes are archived for longer than 6 months they have to be stored at a temperature between 16 and 25 °C (61 and 77 °F) and between 20 – 50% RH.[54][55] Both drives and media should be kept free from airborne dust or other contaminants from packing and storage materials, paper dust, cardboard particles, printer toner dust etc.[54]

So it's not a dramatic extension to life expectancy.

Plus, I spent a working lifetime at the bleeding-edge of computing implementations and I saw many totally brilliant innovations that came along and failed because they didn't get sufficient market take up to become de facto standards. (Not quite the same, but the VHS vs Betamax thing is a good illustration of the point).

The main point has to be that people with really really really important archives (documents, music, images, films) should have a firm committment to re-copying (and verifying!!) the data every 3-5 years, plus they should hold several copies in geographically widely separated locations.

Ironically the above cannot apply to analogue recordings, and that may imply an imperative of converting to digital - and that would not go down well with many purists!

setting aside the concerns of analog purisits for the moment

my suggestion was for a better longer lasting solution to storing digital data then using hard drives and specificly for ume

i'm far from an expert on this stuff so i appreciate having your ear

as far as cost effective i think lto seems pretty cost effective for a company with significant resources and that already has a collection of tempature controlled burnt out tape vaults that could be converted to the needs of this format

also what other format could you get 18tb of storage for a $150 ( amazon ) with a likley minimum life of 15 years (possibly longer there still pulling viable data off 50 year old nasa reel to reel data tapes)

i'm not suggesting that they stop using hdds and your right they should be backing them up every 3-5 years and storing in multible locations

but they can afford to invest in a digital tape vault as an extra layer of security as well (or some other long lasting format)

and considering the historical significants of and huge amount of tape the beatles used i would hope that the upmost effort is going into preserving it for future generations

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Irix

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ProfessorWolf

time to transfer all those hard drives back to tape

There would be far better solutions for long-term data preservation, e.g. laser-inscribed quartz glass which is durable for 10²⁰ years. But such solutions are probably (very) expensive.

i've heard of such things but are they even on the market yet?

and since where going in that direction how about dna drives microsoft

or maybe even better storing data in diamonds thebossmagazine.com



Edited 2 time(s). Last edit at 2024-09-17 23:36 by ProfessorWolf.

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ProfessorWolf

and since where going in that direction how about dna drives

Dunno which solutions are practically available and which are still in research/development. But yes, I know this DNA-based long-term storage solution since some years.

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ProfessorWolf

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Irix

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ProfessorWolf

time to transfer all those hard drives back to tape

There would be far better solutions for long-term data preservation, e.g. laser-inscribed quartz glass which is durable for 10²⁰ years. But such solutions are probably (very) expensive.

i've heard of such things but are they even on the market yet?

and since where going in that direction how about dna drives microsoft

or maybe even better storing data in diamonds thebossmagazine.com

The DNA piece was interesting...though I couldn't quite get past this statement,

"we believe hybrid silicon and biochemical systems are worth serious consideration. Biotechnology has benefitted tremendously from progress in silicon technology developed by the computer industry; now is the time for computer architects to consider incorporating biomolecules as an integral part of computer design."

Toto, we ain't in Kansas anymore!

There are pressing plants for vinyl that are always pressing whatever for whatever label. It's likely that they receive new masters often, meaning, every few years.

They're stored.

There are multiple masters for A-Z in regard for mastering, especially vinyl.

I've been to one in Lawrence, KS. Amazing. Yet startling considering it's tornado country.

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GasLightStreet
There are pressing plants for vinyl that are always pressing whatever for whatever label. It's likely that they receive new masters often, meaning, every few years.

They're stored.

There are multiple masters for A-Z in regard for mastering, especially vinyl.

I've been to one in Lawrence, KS. Amazing. Yet startling considering it's tornado country.

Be an excellent place to store Mette Bidler's, "You Are The Wind Beneath My Wings", though.

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treaclefingers

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GasLightStreet
There are pressing plants for vinyl that are always pressing whatever for whatever label. It's likely that they receive new masters often, meaning, every few years.

They're stored.

There are multiple masters for A-Z in regard for mastering, especially vinyl.

I've been to one in Lawrence, KS. Amazing. Yet startling considering it's tornado country.

Be an excellent place to store Mette Bidler's, "You Are The Wind Beneath My Wings", though.

Fantastically perfect place! Amazingly it's never been levelled by a tornado. There are large rocks in the area and it's, as I recall, the only place in the Midwest that looks survivable (trees). Way better than Iowa, which is an acronym for I Oughta Went Around. Worst food outside of England I've ever experienced.

They could just replace Midwest with Bland - less letters and it describes the entire cultural and geographical area perfectly.

I saw plenty of brand new Beatles vinyl as well. A bit strange though - a ton of SOME GIRLS and HELP, very few of other LPs by either. As in, a limited amount from the canon for both. Bizarrely I started to ask about that but the conversation got sidetracked and then we were listening to NEVERMIND's Something In The Way on virgin vinyl vs CD with a $10k speakers and a $5k turntable (!!!???) and of the group of people I was with I was the only one to be able to tell the difference between the two formats based on sound - in a basement, insulated strictly for testing audio. Absolutely mind blowing. Almost impossible to tell the difference.

Vinyl enthusiasts couldn't tell!

I don't buy into the 'it has to be analogue' crap, haven't for a long time. It's beyond reality now - people wanting vinyl for digitally recorded (or mastered) albums! Very few vinyl albums are strictly analog now.

One thing I can say is, having worked with 2 inch tape, 24 tracks, dumped to Pro Tools for overdubbing - it sounds great and it's impossible to tell the difference. So "sounds great" is... what, the truth, but is it more so? I've never heard a difference (recording studio vs a CD/vinyl).

But I get it. This attitude will go away very soon, because next to no one under 40, probably, gives a shit (or cares to). Brickwalled for ear pods, Bluetooth speakers (which sound great if you get good ones) and phones (that makes zero sense but I supposed it's more for bluetooth than the stupid speakers in a phone).

But a lot of people listen to music from their phone and whatever gadget like Alexa, a small ornery "speaker".

The days of quality are way gone. Ingenuity will be fitting a band into a very large refridgerator and seeing how that sounds.

Maybe if we got a wax cylinder and scratched ...

Oh wait, we tried that one, wasn't too brilliant.

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GasLightStreet

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treaclefingers

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GasLightStreet
There are pressing plants for vinyl that are always pressing whatever for whatever label. It's likely that they receive new masters often, meaning, every few years.

They're stored.

There are multiple masters for A-Z in regard for mastering, especially vinyl.

I've been to one in Lawrence, KS. Amazing. Yet startling considering it's tornado country.

Be an excellent place to store Mette Bidler's, "You Are The Wind Beneath My Wings", though.

Fantastically perfect place! Amazingly it's never been levelled by a tornado. There are large rocks in the area and it's, as I recall, the only place in the Midwest that looks survivable (trees). Way better than Iowa, which is an acronym for I Oughta Went Around. Worst food outside of England I've ever experienced.

They could just replace Midwest with Bland - less letters and it describes the entire cultural and geographical area perfectly.

I saw plenty of brand new Beatles vinyl as well. A bit strange though - a ton of SOME GIRLS and HELP, very few of other LPs by either. As in, a limited amount from the canon for both. Bizarrely I started to ask about that but the conversation got sidetracked and then we were listening to NEVERMIND's Something In The Way on virgin vinyl vs CD with a $10k speakers and a $5k turntable (!!!???) and of the group of people I was with I was the only one to be able to tell the difference between the two formats based on sound - in a basement, insulated strictly for testing audio. Absolutely mind blowing. Almost impossible to tell the difference.

Vinyl enthusiasts couldn't tell!

I don't buy into the 'it has to be analogue' crap, haven't for a long time. It's beyond reality now - people wanting vinyl for digitally recorded (or mastered) albums! Very few vinyl albums are strictly analog now.

One thing I can say is, having worked with 2 inch tape, 24 tracks, dumped to Pro Tools for overdubbing - it sounds great and it's impossible to tell the difference. So "sounds great" is... what, the truth, but is it more so? I've never heard a difference (recording studio vs a CD/vinyl).

But I get it. This attitude will go away very soon, because next to no one under 40, probably, gives a shit (or cares to). Brickwalled for ear pods, Bluetooth speakers (which sound great if you get good ones) and phones (that makes zero sense but I supposed it's more for bluetooth than the stupid speakers in a phone).

But a lot of people listen to music from their phone and whatever gadget like Alexa, a small ornery "speaker".

The days of quality are way gone. Ingenuity will be fitting a band into a very large refridgerator and seeing how that sounds.

It's hard to argue with any of that...

...but I think CD was the problem.

Early digital recording technology and CD were adopted and foisted on the market before they were good enough.

CD was not in the early/mid 80s a rewarding way to listen to music and folks sort of forgot how well a piece of recorded music could communicate with our various emotions.

[It couldn't even play a tune properly for goodness sake !]

It kind of lowered expectations and allowed what is essentially a commercial industry to convince us that even stuff like MP3 was good enough.

Playback systems became optimised to make the best of a bad job and make those inadequate sources sound half listenable.

Digital recording and playback is potentially and increasingly better today...but there's been a lot of catching up to do !

edited to add.

There have, of course, always been bad analogue systems too.

And it's arguable that a less than wonderful CD player will produce better results from a well produced modern CD than a poor turntable will achieve from an LP record.



Edited 2 time(s). Last edit at 2024-09-19 13:15 by Spud.

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Spud

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GasLightStreet

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treaclefingers

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GasLightStreet
There are pressing plants for vinyl that are always pressing whatever for whatever label. It's likely that they receive new masters often, meaning, every few years.

They're stored.

There are multiple masters for A-Z in regard for mastering, especially vinyl.

I've been to one in Lawrence, KS. Amazing. Yet startling considering it's tornado country.

Be an excellent place to store Mette Bidler's, "You Are The Wind Beneath My Wings", though.

Fantastically perfect place! Amazingly it's never been levelled by a tornado. There are large rocks in the area and it's, as I recall, the only place in the Midwest that looks survivable (trees). Way better than Iowa, which is an acronym for I Oughta Went Around. Worst food outside of England I've ever experienced.

They could just replace Midwest with Bland - less letters and it describes the entire cultural and geographical area perfectly.

I saw plenty of brand new Beatles vinyl as well. A bit strange though - a ton of SOME GIRLS and HELP, very few of other LPs by either. As in, a limited amount from the canon for both. Bizarrely I started to ask about that but the conversation got sidetracked and then we were listening to NEVERMIND's Something In The Way on virgin vinyl vs CD with a $10k speakers and a $5k turntable (!!!???) and of the group of people I was with I was the only one to be able to tell the difference between the two formats based on sound - in a basement, insulated strictly for testing audio. Absolutely mind blowing. Almost impossible to tell the difference.

Vinyl enthusiasts couldn't tell!

I don't buy into the 'it has to be analogue' crap, haven't for a long time. It's beyond reality now - people wanting vinyl for digitally recorded (or mastered) albums! Very few vinyl albums are strictly analog now.

One thing I can say is, having worked with 2 inch tape, 24 tracks, dumped to Pro Tools for overdubbing - it sounds great and it's impossible to tell the difference. So "sounds great" is... what, the truth, but is it more so? I've never heard a difference (recording studio vs a CD/vinyl).

But I get it. This attitude will go away very soon, because next to no one under 40, probably, gives a shit (or cares to). Brickwalled for ear pods, Bluetooth speakers (which sound great if you get good ones) and phones (that makes zero sense but I supposed it's more for bluetooth than the stupid speakers in a phone).

But a lot of people listen to music from their phone and whatever gadget like Alexa, a small ornery "speaker".

The days of quality are way gone. Ingenuity will be fitting a band into a very large refridgerator and seeing how that sounds.

It's hard to argue with any of that...

...but I think CD was the problem.

Early digital recording technology and CD were adopted and foisted on the market before they were good enough.

CD was not in the early/mid 80s a rewarding way to listen to music and folks sort of forgot how well a piece of recorded music could communicate with our various emotions.

[It couldn't even play a tune properly for goodness sake !]

It kind of lowered expectations and allowed what is essentially a commercial industry to convince us that even stuff like MP3 was good enough.

Playback systems became optimised to make the best of a bad job and make those inadequate sources sound half listenable.

Digital recording and playback is potentially and increasingly better today...but there's been a lot of catching up to do !

edited to add.

There have, of course, always been bad analogue systems too.

And it's arguable that a less than wonderful CD player will produce better results from a well produced modern CD than a poor turntable will achieve from an LP record.

The music industry over time tries (and succeeds) to have us buy the same music over and over again. It's cheaper than finding and promoting new talent.

You get vinyl, 8 track, cassette, CD, downloads MP3, FLAC, DVD HD, SACD, Blu Ray Audio, Half Speed Mastering, now back to vinyl and cassette, adding a b-side single track, etc etc.

That's to say nothing about repackaging the same songs in a new "Greggggory" package.

This is the business model, putting out crap, then replacing it with something better, or at least purported to be better until it's replaced by something else.

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Spud

There have, of course, always been bad analogue systems too.

And it's arguable that a less than wonderful CD player will produce better results from a well produced modern CD than a poor turntable will achieve from an LP record.

You bet! When I was a kid, say late 70s early 80s, music was played mainly through boomboxes and sony walkmans for the tapes, and the immortal Penny mini record player for the 45s. I still have most of those devices and also my first proper stereo system: a turntable with integrated amp from a German company that doesn't exist any more. Occasionally I still use them just for fun: sentimentalism aside, in comparison any modern phone through the cheapest Bluetooth amp is high end audiophile level!

And this without even considering the average conditions of those tapes and vinyls ...

It wasn't until the early 90s that I bought myself a proper sound system and started to appreciate music in a different way, but that system was bloody expensive too!

C

George Harrison - Living in the Material World - 50th anniversary edition in several formats and with 2024 mix:



15-Nov-2024 - [SuperDeluxeEdition.com] .

Print Run --- The Wire 485 --- July 2024



ROCKMAN

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Rockman


Print Run --- The Wire 485 --- July 2024

What am I missing? How is that article sufficiently either Beatles or Stones related to be in this thread?

Captain Corella

Oh Oh Captain ...
Maybe shoulda stuck it with cloud of Weather around the world ... hhhhaaa

Ya know if theres some chat about say automatic transmissions
some will talk of the change ... others will comment on what
oil ta use or best hoist to raise the vehicle for service....

Conversations are just kinda like that

But what gets me is if your not happy with it why did ya give it more oxygen ???



ROCKMAN

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Rockman

But what gets me is if you're not happy with it why did you give it more oxygen ???

I never, ever, wrote that I was not happy. I'd bothered to read what you posted and I was admitting incomprehension and was seeking meaning in the placing of the posting.

If you read my short query another way, then that's your problem.

Captain Corella

okay okay .... all is well down here



ROCKMAN

He unearthed a recording of a legendary 1965 Beatles concert from Maple Leaf Gardens. Here’s why it might be worth a fortune

Toronto Beatles expert and author Piers Hemmingsen recently determined the reel-to-reel tape was higher quality than he initially believed.

By Nick KrewenSpecial to the Star

There may be no happier man on the planet right now than Piers Hemmingsen.

In a story that broke a few weeks ago in Billboard magazine, the Toronto-based Beatles expert announced that he had a reel-to-reel recording of the Fab Four’s entire afternoon Maple Leaf Gardens concert from Aug. 17, 1965, and was looking to sell it.

But it wasn’t until he entered a city studio with his friend and business adviser John Brower and sound engineer Doug McClement on Sept. 12 that Hemmingsen realized he was sitting on a potential pot of gold.

“It sounds amazing,” Hemmingsen, 69, told the Star in an interview the next day. “The tape was recorded in a professional format called half-track and it’s in great condition.”

Translation: he’s feeling extremely optimistic because the tape containing the 30-minute headlining set in front of an estimated 17,000 screaming fans was recorded directly from the soundboard with an Ampex reel-to-reel tape recorder and a six-channel Altec Lansing mixer.

“For 1965, it was pretty much state of the art,” Hemmingsen said.

And what that means is that the tape — two of them, actually, because he also has another reel featuring the four opening acts — is technically sound enough to be released for public consumption, should the Beatles’ business venture Apple Corps, which owns the commercial rights to the band’s recordings, decide to do so.

The irony is that both Apple Corps and Universal Music, parent company of the band’s original label, EMI Records, knew about the existence of the Beatles tape and passed when Hemmingsen first brought it to their attention in 2015.

“They flew me to London and I went to the Abbey Road Studios to play the tape to Giles Martin — son of producer George Martin — to see if they could include some that material in the authorized documentary ‘The Beatles: Eight Days a Week — The Touring Years,’ for director Ron Howard,” recalled Hemmingsen, who has either written or contributed to 20 books about the band and other acts from the British Invasion.

“But they deemed it wasn’t good enough quality.”

Martin and crew also apparently didn’t think to take the type of tape or the speed into account, because when McClement played the recording to produce one-minute clips for potential buyers, Hemmingsen said the difference from previous playbacks was “night and day.”

“My head was spinning,” said Hemmingsen, who added that except for the Abbey Road experience, he had only previously heard the tapes on inferior equipment.

The Beatles tape (which includes “Twist and Shout,” “She’s a Woman,” “I Feel Fine,” “Dizzy Miss Lizzy,” “Ticket to Ride,” “Everybody’s Trying to Be My Baby,” “Can’t Buy Me Love,” “Baby’s in Black,” “I Wanna Be Your Man,” “A Hard Day’s Night,” “Help!” and “I’m Down”) and the second tape (including Brenda Holloway, Cannibal & the Headhunters and King Curtis), came into Hemmingsen’s possession in 2010, when they were thrown in as a bonus when he bought video of silent 1964 concert footage.

“I knew it was from Maple Leaf Gardens and I knew it was recorded in 1965,” he recalled, “but that’s all I knew.”

Six months later, he purchased a reel-to-reel tape recorder to listen to the contents, only to be shocked by what he heard.

“Out of the nine concerts the Beatles played in Canada, it’s the only one that was recorded that way.”

The fact that this recording exists outside the normal Beatles business channels is something of a mystery. Brian Epstein, the Beatles’ manager at the time, was a shrewd individual who accompanied his charges to Toronto for the first time that year (they had previously played Canada in 1964), and usually exercised full control.

Somehow, this got missed.

“The way the Gardens was set up, as I’ve been told, is that all of this equipment was set up behind the scenes,” Hemmingsen said. “I’m pretty sure (Epstein) was unaware that this recording was being made.”

Hemmingsen said he sat on the tapes for so long because he figured there had to be another copy of the Gardens show out in the world.

Now he feels differently.

“I’m pretty sure this is the only one,” he said.

The birth of a Beatles fan

Hemmingsen was born in England, where his Canadian father worked with the British Army during the Second World War. His love of the Beatles began when as a schoolboy he first saw them perform “Please Please Me” on TV in early 1963.

Upon his family’s move to Canada that year, Hemmingsen’s fascination grew.

“They influenced me,” he said. “I became interested in singing. I joined a choir, and we had some success. And that was because I just loved singing along to Beatles records. Every time they came out with a new record, I couldn’t believe how much better it was than the last one. They just knew how to move things forward.


“I kept going with the Beatles from the start until the finish. That was just my entertainment, my thing.”

As an adult, he became a programmer, helping to develop the first computerized passport system for the Government of Canada in the late ‘70s. His reputation as a Beatles expert prompted EMI to enlist him for archival research during the ‘90s.


When he retired in 2009, Hemmingsen decided to devote most of his time to researching the Canadian aspect of the band’s success.

In 2016, he published “The Beatles in Canada: The Origins of Beatlemania,” a comprehensive 476-page reference work that covers the band’s 1963-64 introduction to Canadian audiences, largely facilitated by Paul White, the Capitol Records Canada A&R executive who released Beatles albums here at least a year before the band broke in the U.S.

One of the chief reasons Hemmingsen wants to sell the Beatles concert tapes is to finance the printing of the second volume of “The Beatles in Canada,” subtitled “The Evolution 1964-1970,” which will be published in 2025.

“It covers everything: media coverage, TV appearances, radio specials, charts, the launch of ‘Sgt. Pepper’ and the bed-ins and the Peace Festival,” Hemmingsen said. “It includes all the sales figures.”

In the 41 years since the Beatles first landed in Canadian record stores, the band’s popularity has hardly waned: Apple Corps generated more than $33 million in 2019 alone; in November Universal Music will release an eight-LP box set of the band’s 1964 albums in monophonic sound; and the National Music Centre in Calgary has an exhibit running until Jan. 5 called “From Me to You: The Beatles in Canada 1964-1966” that was curated by Hemmingsen.

As for this newly validated Beatles live recording, Hemmingsen said he’ll be reaching out to Apple Corps again to see if there’s interest, but added that since the Billboard article was published, “We’ve received significant interest from around the world.”

If Apple passes, then whoever purchases the master recording won’t be able to distribute or reproduce it without the company’s permission.

Hemmingsen refused to speculate how much the recordings are worth, but considering the quality and the rarity, he believes the eventual price could be substantial.

“This is an artifact and it’s historical,” Hemmingsen said.

And although he’s hoping for a big payout, he said listening to the high quality of the concert recording was already a huge reward.

“It’s made everything I’ve done over the years worth it.”

[www.thestar.com]

...

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CaptainCorella
What am I missing? How is that article sufficiently either Beatles or Stones related to be in this thread?

I'll give you couple of reasons, from my view, anyway:

One is, the tallies for streaming, which georgelicks and Doxa provide of the Stones based on Spotify, the largest streaming platform in the world, would be interesting to see in regard to The Beatles Top 20 streaming tracks etc... similar to this list from early June

1. Paint It, Black 902,656
2. Start Me Up 498,678
3. Satisfaction 436,012
4. Beast of Burden 363,493
5. Gimme Shelter 329,414
6. Sympathy For The Devil 257,347
7. Angie 201,558
8. Miss You 153,364
9. Wild Horses 126,667
10. Honky Tonk Women 104,951
11. Brown Sugar 101,600
12. You Can't Always Get What You Want 91,438
13. Under My Thumb 69,458
14. She's A Rainbow 70,129
15. Jumpin' Jack Flash 69,458
16. Ruby Tuesday 65,204
17. Tumbling Dice 50,749
18. Can't You Hear Me Knocking 50,091
19. Angry 43,155
20. Waiting On A Friend 34,851

The other is... it's not a competition, because currently Taylor Swift (#1 with over 90 billion) and quite a few others (The Beatles are at #50 with 20 billion) are probably making the Stones' best numbers look silly, they're at #151 with 9.7 billion, but who of the 1960s legacy acts is making more money via SEA and obviously the Top 20 songs?

The Beatles are locked in, song wise. Anthologies and deluxe reissues aside, their catalog is a brick.

The Stones' catalog continues to expand yet without much demand.

The Beatles have quite a few more listeners.

Sabrina Carpenter has more (9+ billion) than Elvis (8.3 billion).

Add in the dismay of 1960s analog tape turning to dust and hard drives rotting... I'd say it's quite relatable and actually it's not been talked about as far as I can tell considering the weird relevance of record sales for some people yet alone the constant change in the culture of music consumption: HACKNEY DIAMONDS would have at least 100 more streams (the LP) than it will ever have because I play the CD, not Spotify.

Tuesday, September 24, 2024 Philadelphia, PA - Today Ringo Starr and his All Starr Band announced that unfortunately they have to cancel their upcoming last two shows including tonight’s performance at TD Pavilion at The Mann in Philadelphia, PA and tomorrow at Radio City Music Hall in New York City due to illness.

Ringo has come down with a cold and after consulting a doctor he was advised to cancel these two remaining shows and get rest.

As of today the following shows have been canceled:

Tuesday, September 24 TD Pavilion at The Mann - Philadelphia, PA
Wednesday, September 25 Radio City Music Hall - NYC, NY

Ticket holders will be notified via email and will be automatically refunded. Or should contact their point of purchase for refunds.

As always, Ringo and the All Starrs send peace and love to their fans and hope to see them soon.

[www.instagram.com]

--

Get well soon, Ringo!

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GasLightStreet
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CaptainCorella
What am I missing? How is that article sufficiently either Beatles or Stones related to be in this thread?

I'll give you couple of reasons, from my view, anyway:

One is, the tallies for streaming, which georgelicks and Doxa provide of the Stones based on Spotify, the largest streaming platform in the world, would be interesting to see in regard to The Beatles Top 20 streaming tracks etc... similar to this list from early June

1. Paint It, Black 902,656
2. Start Me Up 498,678
3. Satisfaction 436,012
4. Beast of Burden 363,493
5. Gimme Shelter 329,414
6. Sympathy For The Devil 257,347
7. Angie 201,558
8. Miss You 153,364
9. Wild Horses 126,667
10. Honky Tonk Women 104,951
11. Brown Sugar 101,600
12. You Can't Always Get What You Want 91,438
13. Under My Thumb 69,458
14. She's A Rainbow 70,129
15. Jumpin' Jack Flash 69,458
16. Ruby Tuesday 65,204
17. Tumbling Dice 50,749
18. Can't You Hear Me Knocking 50,091
19. Angry 43,155
20. Waiting On A Friend 34,851

The other is... it's not a competition, because currently Taylor Swift (#1 with over 90 billion) and quite a few others (The Beatles are at #50 with 20 billion) are probably making the Stones' best numbers look silly, they're at #151 with 9.7 billion, but who of the 1960s legacy acts is making more money via SEA and obviously the Top 20 songs?

The Beatles are locked in, song wise. Anthologies and deluxe reissues aside, their catalog is a brick.

The Stones' catalog continues to expand yet without much demand.

The Beatles have quite a few more listeners.

Sabrina Carpenter has more (9+ billion) than Elvis (8.3 billion).

Add in the dismay of 1960s analog tape turning to dust and hard drives rotting... I'd say it's quite relatable and actually it's not been talked about as far as I can tell considering the weird relevance of record sales for some people yet alone the constant change in the culture of music consumption: HACKNEY DIAMONDS would have at least 100 more streams (the LP) than it will ever have because I play the CD, not Spotify.

I have listened to HD countless times on CD and LP...never on spotify.

Beatles ’64 – new documentary coming to Disney+

"Having secured a deal with Apple Corps for Peter Jackson’s The Beatles Get Back and then the restored version of Michael Lindsay-Hogg’s 1970 Let It Be, Disney+ continue their association with the Fab Four by announcing Beatles ’64, an 'all-new' documentary that captures The Beatles first visit to America.

The film is directed by David Tedeschi and produced by legendary filmmaker Martin Scorsese. That pair have collaborated previously, with Tedeschi editing 2011 George Harrison biopic Living in the Material World and editing and executive producing the more recent Rolling Thunder Revue: A Bob Dylan Story, both of which were directed by Scorsese. They were also both involved in the 2016 HBO mini-series Vinyl.

On 7 February 1964, The Beatles arrived in New York City and were famously mobbed by fans at Kennedy Airport. Beatlemania swept NYC and the entire country as the band performed on ‘The Ed Sulilvan Show’ and travelled to Washington for their first American concert. All of this has been documented before, of course, via Albert and David Maysles’ superb What’s Happening! The Beatles in the U.S.A. which later became The Beatles: The First US Visit when re-edited in the early 1990s.

Unsurprisingly, Beatles ’64 will include footage shot by Albert and David Maysles, restored in 4K by Peter Jackson’s Park Road Post, in New Zealand. Also, the live performances from The Beatles first American concert at the Washington, DC Coliseum and their Ed Sullivan appearances, have been ‘demixed’ by WingNut Films and remixed by Giles Martin, which will undoubtedly generate speculation about a future vinyl and CD release. The music and footage in Beatles ’64 are augmented by newly filmed interviews with Paul and Ringo, and Beatles fans.

Beatles ’64 starts on Disney+ on 29 November 2024. A week earlier, Capitol/UMe will release a vinyl box set called 1964 US Albums in Mono."

[SuperDeluxeEdition.com] , [TheBeatles.com]

The LP has had the most forms of any art in history:

Vinyl
Reel-to-reel
Cassette
8-track
Compact Disc
Digital Audio Tape
Digital Compact Cassette
WAV
Mini-disc

From there the MP3 and a ton of other digital file formats.

Obviously download and streaming.

Will the legacy of Elvis, Beatles, Stones etc carry on with whatever new formats come along? Probably. Will it matter? Probably not.

By the time Gen Z and A is middle aged most of this music that is at the end of its time right now will be on its way out or mostly forgotten. In other words:

The importance of The Beatles' influence won't matter anymore. The live show culture that the Stones and U2 have invented and can no longer expand upon won't matter.

No one will know what it means nor care that a rock band that plays the same 4 chords sold 3 billion records of one album and 2 billion copies of everything else that all sound the same.

The dark side of the moon will probably be covered with LEDs to send messages to whatever life like a billboard instead of being one of the greatest albums ever recorded.

LET IT BE will be the Coca-Cola/Shell/Nike of vegan enterprises and not a Beatles album or song.

The reissuing of The Beatles catalogue on vinyl in mono etc... and the Stones, obviously, is just a way for the dinoskeltal labels to make some money while they still can. Because if there are enough ads in the right places that scream VINYL...