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hockenheim95

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ds1984

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Gazza
well they could have said on the cover that it was Paris and London (76) and Toronto (77).

The only issues were (maybe someone can clarify the finer details) that their previous record company (Atlantic I think) owned the rights to their performances up to 1975, so the performances on the album from the 1975 Los Angeles (Sympathy) and Toronto shows (Fingerprint File & IORR) were deliberately miscredited.

Yes this is a result of their infamous divorce from ABKO.

There was a clause preventing them to publish live rerecording made until 1975 of material originally recorded for Decca. But radio and TV broadcasting of live event was not covered by this clause.

By 2011 this clause was obviously revised (newly negotiated or expired?) as Brussels Affair was published, and in 2015 the 1971 Marquee TV show.

Are you shure it was revised? Because Brussels Affair (although the "other" show) and Marquee Club were both Broadcasts and they didn't release anything else from that Period. That would explain a lot

If there are some special rules for broadcasted stuff that still leaves the Roundhouse live cuts from STICKY FINGERS Deluxe Edition 'out'. They never been broadcasted or released in any form before.

- Doxa

I understand that ABKO had the rights to much material. But why didn't ABKO release more live recordings then? Seems to me no one was a winner on this deal.
Certainly not the audience. Nothing (live) released between 1969 and 1977. Their best live period. And on top of that only one LP of live material during the whole 80s.

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Stoneage
I understand that ABKO had the rights to much material. But why didn't ABKO release more live recordings then? Seems to me no one was a winner on this deal.
Certainly not the audience. Nothing (live) released between 1969 and 1977. Their best live period. And on top of that only one LP of live material during the whole 80s.

They can't because the Stones have a veto right over anything non-released material, live or not. All their since 1971 releases are either due to initial 'divorce' settlement (METAMORPHOSIS) or need Stones' approval (such as ROCK AND ROLL CIRCUS). To the early 8O's ABKCO was able to construct new compilations of already released tracks (starting with infamous STONE AGE), since then not even that.

Yes, we fans are the losers (and I don't see winners at all) ... Look at the 50th Anniversary Editions of BEGGARS or LET IT BLEED....

- Doxa



Edited 3 time(s). Last edit at 2020-09-01 01:13 by Doxa.

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Doxa
Yes, we fans are the losers (and I don't see winners at all)

Come to think of it I see one winner here: The bootleggers. They were quite busy during this period. Some of them making money too. They released the live material the RS refused to release (due to a poor deal with ABKCO).

Big Brother And The Holding Company - Cheap Thrills

Of the ‘live’ material that is credited on the front cover as recorded at Bill Graham’s Fillmore Auditorium, Combination Of The Two and I Need A Man To Love are studio recordings with Graham’s introduction and crowd noise overdubbed on them, i.e. fake live. Only Ball And Chain was actually recorded live, but at the Winterland not Fillmore, with some studio tweaks e.g. different intro guitar solo overdubbed on it. Cheap thrills or cheap trick?



Edited 1 time(s). Last edit at 2020-09-01 19:48 by RisingStone.

Eric Clapton - Planes, Trains And Eric [DVD/BD]

This is a travelogue type of a documentary that follows Eric and Co. through their tour of Japan, Singapore, Dubai and Bahrain, in the early Spring of 2014. All of the live footage, however, are from Japan. The Japanese dates are as follows:

February 18, 20, 21 — Tokyo, Budokan
February 23 — Yokohama Arena
February 25 — Nagoya, Aichi-ken Taiikukan
February 26 — Osaka-jo Hall (Castle Hall)
February 28 — Tokyo, Budokan

Some detective work reveals that, out of the 16 songs — of which one is audio only and played over the closing credits, and two are bonus tracks that were not shown at cinemas — all but four are from Tokyo 28th, the final show. The rest are Hoochie Coochie Man (Tokyo 18th: Eric’s 200th Japanese show. I was there — a rather lacklustre concert, unfortunately), Wonderful Tonight (Yokohama), Crossroads and I Shot The Sheriff (both from Nagoya. I was there — a brilliant performance from beginning to end). To my disappointment, there is no performance selected from the Osaka show (I was there — not perfect but a good show).

However, the visuals the viewers are treated to are somewhat different from the reality. Below are a couple of examples, among others;

I Shot The Sheriff is introduced as from Yokohama, but what you see is actually the Nagoya version (that was a truly breathtaking performance. Why this is given a false date is beyond me).
The subtitle shows “Osaka” and Driftin’ Blues starts — but the performance and the footage are, as are most of the performances chosen for the film, from the final Tokyo show, not Osaka.
In both cases, the interiors of the different venues are shown throughout the performances, which I find is more often than not irritating.

Through the entire film, from time to time, bits from a show on a different date are edited in while Eric and the band are performing a song, and the viewers can detect it by his clothes or the interior of the venue. For example, during the third verse of Cocaine being played at the Budokan, the camera more than once catches the tiers and the ceiling of what clearly looks like the Osaka-jo Hall.

Cheap trick never ends...or does it?

"Paint it Black, Paint it Black, Paint it Black, you devils!"

yeah that was cut in from somewhere else, and of course you had the collage introduction by Sam Cutler. GYYYO was pretty much manufactured on a base of original recording. Love that record.

jb

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jbwelda
yeah that was cut in from somewhere else, and of course you had the collage introduction by Sam Cutler. GYYYO was pretty much manufactured on a base of original recording. Love that record.

And famously on Flashpoint, too. History repeats itself...

[iorr.org]

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Mathijs
Well, she does mentions something specific that you would only know if you listened to the audience bootleg or when you were there: the shouting is indeed BEFORE the show, during the intro, and very close to the stage, as the shouting is picked up by the audience microfone on the stage (which is also the source for the audience tape).