Attachment 8427
I know THAT feeling very well!
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Attachment 8427
I know THAT feeling very well!
762rob: I've read that Dennis did Lou Rawls' Love Is A Hurtin Thing for his audition. later it was on the Cloud Nine album, but with the leads swapped between Melvin, Eddie and Dennis
Great choice!
http://acerecords.co.uk/cache/images...vi_383_383.jpg
Can't wait for October; I'm wishing my life away.
Just a thought: I wonder how the sequencing will stand up for playing the CD in one go as most of the later tracks are at the beginning and the earlier tracks at the end.
Thank You Carole you always deliver the goods.PLEASE DON'T TAKE THIS AS UNAPPRECIATIVE But why not put songs in recording order as with sleeve info would be so much better to follow .i was only thinking this today while playing Contours - Dennis set .Gang you are doing an amazing job and i appreciate everything you put out especially the older im getting[Thank God]. cheers lovely people.
Love the cover by the way.
Great cover - amazon UK link http://www.amazon.co.uk/Satisfaction...7CGBMD87EXBXQH
Good to see it's gone down in price since I pre-orded it was originally £15.19.
Great cover!
Wonder if Ace could revive "A Cellarful Of Motown"? They seem to be able to come up with plenty of unreleased material.
I give Ace a ton of credit for the artwork, I don't know if it is me, but the artwork on all of the Motown releases create such desire where I simply have to have it. I dare say I would buy the items for the covers alone. They are usually to these brown eyes pictures I have never seen before, and are incredibly striking. I believe this is the best picture of Duke and the fellas I have ever seen.
im counting the days,wishing my life away,really need some Fantastic 4,Edwin,Bobby Taylor,ASAP. HA,cHEERS.
Who else will be buying the cd but NOT be tempted to listen to the soundbites before it arrives on your cd player?
I always resist the clips as I want to be totally surprised hearing the whole tracks for the first time. But It's SO hard to not give in. I wish I could show such willpower with my diet!!
Listening to the soundbites doesn't spoil it for me; it just makes the wait until release more bearable.
If anyone *does* want to hear some of these songs before release, I'll be spinning 3 tracks [[Miracles, Bobby Taylor + Fantastic Four) from this fantastic compilation on my radio show tomorrow!
[[I'm live on air from 3pm UK - 98.7FM in the Cardiff area or worldwide via the Internet at http://tun.in/seM37/ - if you can't make it, I'll be posting it on Mixcloud as episode 43 next Saturday).
"Satisfaction Guaranteed" CD will be released in America on November 4, and is available for pre-order on U.S. Amazon now.
http://www.amazon.com/Satisfaction-G...ranteed+motown
So the tracks by the Contours, Gino Parks, and the Quails, There in the public domain right?
Attachment 8537
I can't wait to hear The Spinners', Freddie Gorman, Johnny Bristol, Four Tops and Frank Wilson cuts. I didn't know that Johnny Bristol ever had an artist's contract with Motown. I had thought he came in as a co-producer with Harvey Fuqua. It should be interesting to hear these.
Glad to know that The Five Quails actually had a recording contract with Motown. I had guessed that they hadn't come along with Gwen and Harvey, but that that acetate we found in 1976 was just there from the Harvey/Tri-Phi songs which were sold to Jobete music, and the acetate was for proof of song ownership.
Oh, and Robb: we dug up Johnny Bristol's artist contract. It's dated November 1963. Don't have a date on the Quails' contract, but that must have been found too.
The clearance people at Universal are mega-strict. Quite rightly so.
So universal retained the copyrights to the pre-1964 tracks despite the fact they were in the vault over fifty years. Since the Quails wasn't featured on the 1963 Unreleased.
My understanding [[not necessarily correct or complete) is that 1963 is, or was for a while, a grey area. Universal's decision to protect their copyright on the 1963 Motown material by issuing some of it in MP3 format was taken when the situation was unclear - as presumably were Sony's to release Dylan material and EMI's to release Beatles material.
From the fact that other issuers of out of copyright Motown material - for example Hallmark - have decided NOT to release any 1963 tracks leads me to infer that they've concluded that 1963 is protected, while 1962 and earlier remains in the public domain.
I'm not a lawyer, but this is my understanding of the EU copyright directives [[also not necessarily totally correct, and certainly not complete!):
The "old" [[2006) copyright directive applies to recordings first released in 1962 or earlier. They had copyright protection for 50 years, so they are now all in the public domain.
The EU copyright directive of 2011 extended this to 70 years for all recordings first released in 1963 or later. So Hallmark can't release any of the 1963 albums, they are protected until 2033.
But according to the new directive, if a recording is not released within 50 years, it falls into the public domain. This applies to all recordings. So "Motown Unreleased 1962" and "Motown Unreleased 1963" prevented those recordings from falling into the public domain. Instead, they got 70 years of copyright protection from 2012 and 2013, respectively. We may see a "Motown Unreleased 1964" in December.
The 2011 directive also added some other features. For example, for recordings first released in 1963 or later, if a producer is not making the recording commercially available 50 years after its first release, there is a mechanism for the performer to claim the rights from the producer. If this happens, the producer's remaining copyright expires and the rights go to the performer.
My understanding is that a track recorded in 1963 which was not released by the end of 2013 would now be in the public domain. So if someone had a [[legally obtained?) original recording of the track, he could release it. But one can't copy that track from this new cd for a public domain release, because this cd will have its own sound recording copyright. [[Just as Hallmark could release a vinyl rip of "Hi We're The Miracles", but couldn't copy the album from "Depend On Me", which was a new digital mastering.)
The texts of Directives 2006/116/EC and 2011/77/EU [[the copyright extension act) can be found here:
http://ec.europa.eu/internal_market/...n/index_en.htm
There once was a good article, "A User's Guide To The Copyright Extension 2011/77/EU", written in plain English by the UK's Intellectual Property Office and available as a pdf, but it seems to be gone now and replaced by this very brief summary:
https://www.gov.uk/government/public...und-recordings
Calvin
Excellent post - thank you
Can I ask this.
If a track had been recorded in 1962 but not released in the "Motown unreleased 1962" - does that fall in the public domain? Would it apply to session tapes from those days that still exist?
When it falls in the public domain, how can it be accessed?
John, I think a song recorded in 1962 but not released by the end of 2012 would now be in the public domain, according to the 2011 EU Copyright Directive.
As for session tapes, I don't know - but many of the recordings on "The Beatles Bootleg Recordings 1963" are in fact studio outtakes of songs that were released.
That's really the question, isn't it? If a track is in the public domain but locked away in Universal's vault, how can it be released?
Thanks Calvin, that's a really helpful explanation.
One more point, if I may. What you say suggests that Ace did not need to license the Quails, or indeed the two 1961 tracks on our CD, from Universal, yet I have said [[above) that they did indeed license them. My understanding is that Ace's policy is ALWAYS to license material from the companies, or people, who hold the copyright, or did hold it until it fell out of copyright. This helps with regard to future possible licensing requests from those companies, and also ensures that the artists concerned get paid their royalties.
Only a few more weeks till release date! Hopefully, we'll soon all be talking about the music ...
Sorry Keith, I didn't mean to suggest that. [[When I wrote "you", I meant whoever the reader is, not you specifically Keith. I've gone back and edited that.) I only meant to state that, legally, if someone had one of those recordings that's in the public domain [[say an acetate), that person could release it in the EU. Of course what you're doing is completely different, you're getting access to the source tapes from Universal and releasing a top-quality product.
AAAAAAAAAAAGGHHH Keep checking everyday for soundbytes the suspense is killing me.WHAT A LINE UP,the icing on cake would have loved JJ Barnes with such names[Not a Critiscm],makes me ask the question Keith are there anymore JJ Barnes Motown sides still in vault or rumour that he recorded dozens of songs at Motown if so will we ever hear anymore.KEEP DOING A GRAND JOB EXCELLENT,Thank You.
Ahhh ... back to the music! But I'm sorry to say I'm only aware of one J.J. Barnes Motown recording that's still unreleased.
I only got the ref disc on Friday, and there was one track that needed fixing. So I hope sound bites will be available very soon ... also see above, where RadioNixon posts that three of the tracks will be available on the net from his radio show on Saturday - in full!
[QUOTE=keith_hughes;253403]Ahhh ... back to the music! But I'm sorry to say I'm only aware of one J.J. Barnes Motown recording that's still unreleased.
ok keith thanks for the answer now i know , do you know the title ofone song left unreleased,Thanks
[QUOTE=honest man;253503] That`s a shame Andy as I had a list of 4 songs "assigned" to J.J. Barnes.I guess that he didn`t add vocals or that they were not finished.Here goes:
"Love Bug Leave My Heart Alone"
"Show Me The Way"
"In The Pocket"
"I Have Someone [[Who Loves Me Too)"
Although "Show Me The Way" was reworked into "[[Tell Me) Ain't It The Truth" and released on Cellarful OF MOTOWN. I also have his vocals on "Show Me The Way", on a CDR. Many fans thought it was Marvin, but sounds like JJ to me.
Wayne
Never heard/heard of a JJ version of "Love Bug".
A Jobete acetate [[no artist) of "In The Pocket" turned up on Ebay a few years ago. I never heard it, but I *think* the seller said the singer was JJ. No Motown recording by him in the vaults, though there's a Ric-Tic version by him there, apparently. Never heard that either.
There are no vocals on the version of "I Have Someone" assigned to JJ.
I'l leave honest man to work out from that the answer to his question!
Keith [[not Andy).
OK Keith is it Show Me The WAY,If so it has satisfied my curiosity been dreaming of all these dozens of unreleased songs for years,i can now put that idea to bed.Thanks for your response,.
One more comment on copyrights [[sorry, but it's hard to talk about the music when I don't have it yet!) - as far as I can tell from reading the directive, this applies to any sound recordings. So I think yes, it should apply to session tapes as well.
I mentioned that "The Beatles Bootleg Recordings 1963", released to extend the copyright on those tracks by 70 years, had many studio outtakes. For example, it has takes [[outtakes) 5, 6, 8 and 9 of the song "There's a Place". Just today I see this public domain release which has takes 1, 2, 4, 7, and 10 of that song [[perhaps take 3 was the one released at the time?).
http://www.amazon.co.uk/Work-Progres...784QV5SSSZJ1F5
How did these guys get the recordings? Did someone with access to the tapes secretly copy them? Or maybe even steal them? And does it matter how you got them when you do a public domain release? Might we see some similar Motown public domain releases?
Hi Calvin
in 1984, EMI decided to release an LP called "Sessions", containing all previously unreleased Beatles recordings, and for that purpose pulled all the Beatles' session tapes they could find, and copied a huge number of recordings for audition.
The project was shelved, due to disagreements at the time between EMI and the three surviving Beatles plus Yoko Ono, but not before copies of the rundown copy had escaped into the wild.
A bootleg LP, "Sessions", was "released", and more and more of the rundown material circulated on cassette tape during the next few years. The best of the tracks were finally issued legitimately on the "Anthology" CD series.
I think from everything you've said about the law that when the bootleg LP and cassettes first appeared, EMI could have sued the people responsible if they'd known and could prove who they were. Now if someone "reissues" bootleg material recorded by the Beatles in 1963 they probably aren't breaking the law.
If I've understood you right, it follows that if someone had a previously unreleased Motown track from 1963 or earlier, they could put it out on CD/MP3 with impunity. So whether we see any similar Motown PD releases depends entirely on what's out there, I suppose. That said, maybe Universal would disagree with me - I'm not their spokesman. If I personally had any such tracks, I wouldn't be planning to try it on!
Keith
Thanks Keith for that explanation. I wonder why these Beatles tracks were not included in last year's digital release, to secure their copyright. Presumably these are the worst takes, maybe they stop without finishing the songs.
And again, I'm no lawyer, I've just read parts of the EU directive I linked to above. I'm definitely not recommending anyone try their own release if they have something!