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DoxaQuote
bye bye johnnyQuote
Doxa
I really like to see that article, since I can't recall ever seeing it.
[www.dailymail.co.uk]
Yeah, there it is, thanks! Ian was right. That was "renewed deal" from 2017. I wonder if the success of BLUE & LONESOME inspired UMG to throw more money on the table to make sure the Stones, England's newest hit album makers, after all, are going to finish that album of originals. But then again, I wonder what might have happened to that deal - or that 2 million pounds - when they 'renewed' the deal again last year.
- Doxa
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GasLightStreet
UMG isn't Apple.
What money, if any, they're throwing at the Stones is chump change. Apple paid U2 somewhere around $100 million just to be able to license their album for A MONTH.
Promotone. What a goofy name for... discogs.com says it like this:
Promotone B.V.
Profile:
Unspecified company entity used by The Rolling Stones since the 70s. Please note this is not a label.
Parent Label:
Rolling Stones Records
[www.discogs.com]
It's simply a company that owns the recordings of The Rolling Stones. BV is equivalent to the English LTD or American LLC.
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retired_dogQuote
DoxaQuote
bye bye johnnyQuote
Doxa
I really like to see that article, since I can't recall ever seeing it.
[www.dailymail.co.uk]
Yeah, there it is, thanks! Ian was right. That was "renewed deal" from 2017. I wonder if the success of BLUE & LONESOME inspired UMG to throw more money on the table to make sure the Stones, England's newest hit album makers, after all, are going to finish that album of originals. But then again, I wonder what might have happened to that deal - or that 2 million pounds - when they 'renewed' the deal again last year.
- Doxa
The common inaccuracies in reports like this and usual promo exaggerations lead us to think more complicated than the truth most likely is:
The renewed deal includes back catalog items as usual plus merchandising and other subjects (tape archival matters for example). It includes -like I already mentioned above- particular paragraphs how a new studio album will be dealt with when they actually come up with one: Release through Universal, extra advance payment (in addition to back catalog and other subjects) and possibly higher licensing fees per album compared to back catalog items. Plus more agreements on promotion/marketing of the new album. That's all.
Now if there really is an agreement about an additional/separate advance payment for a new studio album, the question is when the payment is due. There are many possible dates - immediately after signing of the contract, start of studio work, delivery of the finished master tapes - whatever. It's also possible that a number of payment dates have been arranged when the advance has to be paid in parts.
The exact contract details are not known, and this fact alone leads to different interpretations here: If the agreed advance has been paid already in full (or a large part of the total amount), Universal could indeed put some pressure on the Stones, in particular if there were contractual deadlines involved. That's more or less Ian's interpretation.
I go with insider's reports that Universal is still cool, calm and collected and don't expect the album anytime soon - what would indicate that they haven't paid the advance yet, at least not in full. If the agreed payment date is the delivery of the finished masters, there could be no pressure at all. The Stones deliver - or they don't. Even the time when they deliver the masters is purely up to them. Considering their age and working method in recent years, this is the most likely scenario and the only one that sums up.
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retired_dogQuote
DoxaQuote
bye bye johnnyQuote
Doxa
I really like to see that article, since I can't recall ever seeing it.
[www.dailymail.co.uk]
Yeah, there it is, thanks! Ian was right. That was "renewed deal" from 2017. I wonder if the success of BLUE & LONESOME inspired UMG to throw more money on the table to make sure the Stones, England's newest hit album makers, after all, are going to finish that album of originals. But then again, I wonder what might have happened to that deal - or that 2 million pounds - when they 'renewed' the deal again last year.
- Doxa
The common inaccuracies in reports like this and usual promo exaggerations lead us to think more complicated than the truth most likely is:
The renewed deal includes back catalog items as usual plus merchandising and other subjects (tape archival matters for example). It includes -like I already mentioned above- particular paragraphs how a new studio album will be dealt with when they actually come up with one: Release through Universal, extra advance payment (in addition to back catalog and other subjects) and possibly higher licensing fees per album compared to back catalog items. Plus more agreements on promotion/marketing of the new album. That's all.
Now if there really is an agreement about an additional/separate advance payment for a new studio album, the question is when the payment is due. There are many possible dates - immediately after signing of the contract, start of studio work, delivery of the finished master tapes - whatever. It's also possible that a number of payment dates have been arranged when the advance has to be paid in parts.
The exact contract details are not known, and this fact alone leads to different interpretations here: If the agreed advance has been paid already in full (or a large part of the total amount), Universal could indeed put some pressure on the Stones, in particular if there were contractual deadlines involved. That's more or less Ian's interpretation.
I go with insider's reports that Universal is still cool, calm and collected and don't expect the album anytime soon - what would indicate that they haven't paid the advance yet, at least not in full. If the agreed payment date is the delivery of the finished masters, there could be no pressure at all. The Stones deliver - or they don't. Even the time when they deliver the masters is purely up to them. Considering their age and working method in recent years, this is the most likely scenario and the only one that sums up.
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Hairball
Speaking of the Wall, hard to believe how long ago that happened and still no new album of originals - especially considering how much they've talked about it in the press the last few years.
Kind of interesting to read the original article again after all this time.
From the BBC, 7 October 2016.
The Rolling Stones 'hit a wall' making new music, says Don Was
WALL
The Rolling Stones' new album of blues covers was created after attempts to record new material faltered, producer Don Was has told the BBC.
"We'd gone in the studio to start cutting some new songs," said Was, who has worked with the band since 1994.
"Around day three we just hit a wall... and Keith suggested that, to cleanse the creative palette, we played Blue and Lonesome, the Little Walter song.
"Fortunately we ran the tape and it was just awesome."
He told BBC Radio 6 Music: "The whole mood of the room changed dramatically in those three-and-a-half minutes. So we said, 'let's do another one', and 'let's do another one'.
"They just called songs off that they knew and loved. It was very spontaneous. And by the end of the day we had six."
The result is Blue and Lonesome, the band's first studio album since 2005's A Bigger Bang.
In total, 12 tracks were recorded over three days at London's British Grove Studios. They are all covers of songs by classic bluesmen, including Howlin' Wolf (Commit a Crime), Little Walter (I Gotta Go) and Jimmy Reed (Little Rain).
"They really know this music well," Was told Matt Everitt. "Most of the songs that are on there are songs they played when they first started out, playing pubs in Richmond, so it's kind of second nature to them.
"They do not play karaoke versions. They found their own way to interpret the blues."
Rock legend Eric Clapton also appears on two tracks, Little Johnny Taylor's Everybody Knows About My Good Thing and Otis Rush's I Can't Quit You Baby.
"Eric Clapton was recording next door," explained Was. "He just walked over and he had the same reaction as everyone else did. His jaw just dropped.
"Picture the Rolling Stones just set up in a circle in one room [and] the amplifiers are blaring.
"It reminded him of when he was a teenager, going to see the Stones playing in Richmond. He was just in awe, so he just grabbed one of Keith's guitars and started playing. It was quite a thing."
Blue and Lonesome will be released in December, while the first single Just Your Fool is available from Friday 7 October, to fans who pre-order the record.
Was added that the Stones had not abandoned plans to complete an album of new material.
"Both Keith and Mick have some great new songs," he told Matt Everitt. "They're far from done."
___________________________________________________
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GasLightStreet
No matter what the UMG or UMe deal is or what Promotone is doing or The Rolling Stones are doing, the results will be what they'll be, which at this point is nothing.
If the internet had been around in 1974 when they started working on BLACK AND BLUE it would probably be similar to now - what are they doing, why is it taking so long, they're not going to release an album, word is they've recorded 40 songs (or whatever it was), who's in the band and on and on and on - they're going on tour before finishing the album!??
This decade, we find things out... and it's one giant freak out. THEY HIT A WALL!
That comment about one day in the studio, not the entire session, turned into a tsunami of bullshit HERE - no where else.
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GasLightStreet
I can't see why a vinyl enthusiast would buy it on vinyl if it's a digital recording, which it probably is, other than knowing it can't be brickwalled.
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DandelionPowderman
Many new vinyl releases have dedicated vinyl masters, not digital.
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GasLightStreetQuote
DandelionPowderman
Many new vinyl releases have dedicated vinyl masters, not digital.
No... the master recordings, 24 track etc, are Pro Tools. So it doesn't matter.
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DandelionPowderman
Many new vinyl releases have dedicated vinyl masters, not digital.
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IrixQuote
DandelionPowderman
Many new vinyl releases have dedicated vinyl masters, not digital.
For the RS' Studio Albums Vinyl Collection 1971-2016 got Mastering-Engineer Miles Showell (Abbey Road Studios) an archive hard disk by the RS management. On this disk were two separate sets of high resolution flat transfers from the master tapes for each album where the source was analogue tape (two or three of the later albums are digital recordings and these were digitally dubbed at their original sample rate to the hard disk). The two archive transfers were DSD and also 24 bit 192 kHz PCM (a few were 24 bit 176.4 kHz). Miles Showell was told to listen to both and to choose whichever one he felt was the best to use. In most cases the DSD transfer won, but not always. - [iorr.org] .
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DandelionPowdermanQuote
GasLightStreetQuote
DandelionPowderman
Many new vinyl releases have dedicated vinyl masters, not digital.
No... the master recordings, 24 track etc, are Pro Tools. So it doesn't matter.
It is a difference, as there are tape recorders involved.
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GasLightStreetQuote
DandelionPowdermanQuote
GasLightStreetQuote
DandelionPowderman
Many new vinyl releases have dedicated vinyl masters, not digital.
No... the master recordings, 24 track etc, are Pro Tools. So it doesn't matter.
It is a difference, as there are tape recorders involved.
You mean IF there are tape recorders involved. It's nice to do it all to tape, but some record bottoms to tape, upload to Pro Tools, wip the tapes, record new, and overdub/edit/mix from there on PT. It does have the warmness, just not all of it.
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IrixQuote
DandelionPowderman
Many new vinyl releases have dedicated vinyl masters, not digital.
For the RS' Studio Albums Vinyl Collection 1971-2016 got Mastering-Engineer Miles Showell (Abbey Road Studios) an archive hard disk by the RS management. On this disk were two separate sets of high resolution flat transfers from the master tapes for each album where the source was analogue tape (two or three of the later albums are digital recordings and these were digitally dubbed at their original sample rate to the hard disk). The two archive transfers were DSD and also 24 bit 192 kHz PCM (a few were 24 bit 176.4 kHz). Miles Showell was told to listen to both and to choose whichever one he felt was the best to use. In most cases the DSD transfer won, but not always. - [iorr.org] .
The original analogue tapes for the 2016 'Rolling Stones in Mono' Box-set were all transferred into DSD and then remastered: [TheAudiophileMan.com] - [iorr.org] .
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HMS
There is not even the tiniest hint how one of the new songs sound like, rocker or ballad or whatever.
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marquess
Dear All,
regarding the subject of Analog vs Digital, being the first, FAR MORE, superior than the latest, I hereby share a link regarding the AAA ("All Analog" process of making recors (LP´s) and it´s superiority when compared to digital.
http://pure-analogue.com/]All Analog[/url]
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Deathgod
A mate caught up with Don Was
Basically
No new Stones album before Xmas
They have recorded loads of tracks but not one track is finished yet
Stuff they are working on is great
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georgelicks
There's nothing new to report when the album won't be released until 2020 at least, according to some sources the album is about 50/60% done, at least the 18-20 songs the band is working on/off during the last 3+ years, they want to keep working on it until its done right.
There's more studio time booked during late November and December, maybe the final sessions.
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Deathgod
A mate caught up with Don Was
Basically
No new Stones album before Xmas
They have recorded loads of tracks but not one track is finished yet
Stuff they are working on is great