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630717 Posts in 25259 Topics by 3596 Members - Latest Member: bbb9 April 23, 2018, 01:48:47 PM
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Author Topic: Archival Release Process  (Read 1693 times)
Pet Sounder
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« on: April 02, 2018, 09:35:29 AM »

How exactly does the archival release process work?  Do Mark, Alan and others at Capitol put together a proposal, and then the guys sign off on it?  Or are the guys more involved than that?

On a similar note, does it seem unlikely that we'll see any new archival material released that's more than 50 years old?   
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HeyJude
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« Reply #1 on: April 02, 2018, 11:52:24 AM »

I'm sure the genesis of the projects vary from project to project.

The BRI corporate members definitely have to sign off on the release of any *previously unreleased* music. I believe Capitol/EMI/UMe can put out all the repackagings of old hits, etc. that they want. But even if they're issuing previously unreleased material from the 60s that Capitol owns, BRI has to sign off on it.

It seems, *unfortunately*, over the years they've usually needed some sort of impetus, some sort of anniversary or project or lynchpin to get archival projects going. (As opposed to just doing an Elvis/Bob Dylan/Grateful Dead archival release program where the archival stuff is released for its own sake and nothing else). So, we have career-spanning sets like the '93 GV box or the 2013 MIC box where they add in as much archival stuff mixed in with the hits as they can. They have "companion" pieces like the EH Soundtrack from 1998. Obviously also numerous "anniversary" type projects. And then in the last half-decade they've used the 50-year "Copyright Extension" signpost to guide releases each year of studio and live material.

I do not believe that the actual core BB members have too often been the personal, direct starters for these projects.

Hopefully, with a new BRI president and the amazing 1967 "Sunshine..." releases, we'll eventually see them not only continue the 50-year extension projects, but also release other archival material.
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All Summer Long
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« Reply #2 on: April 02, 2018, 05:50:49 PM »

I'm sure the genesis of the projects vary from project to project.

The BRI corporate members definitely have to sign off on the release of any *previously unreleased* music. I believe Capitol/EMI/UMe can put out all the repackagings of old hits, etc. that they want. But even if they're issuing previously unreleased material from the 60s that Capitol owns, BRI has to sign off on it.

It seems, *unfortunately*, over the years they've usually needed some sort of impetus, some sort of anniversary or project or lynchpin to get archival projects going. (As opposed to just doing an Elvis/Bob Dylan/Grateful Dead archival release program where the archival stuff is released for its own sake and nothing else). So, we have career-spanning sets like the '93 GV box or the 2013 MIC box where they add in as much archival stuff mixed in with the hits as they can. They have "companion" pieces like the EH Soundtrack from 1998. Obviously also numerous "anniversary" type projects. And then in the last half-decade they've used the 50-year "Copyright Extension" signpost to guide releases each year of studio and live material.

I do not believe that the actual core BB members have too often been the personal, direct starters for these projects.

Hopefully, with a new BRI president and the amazing 1967 "Sunshine..." releases, we'll eventually see them not only continue the 50-year extension projects, but also release other archival material.

Being a big Elvis fan, I have to say the FTD (archival series) releases are awesome. I really started investigating them only last year, but I've been expanding my collection fast. Alternate takes, live performances, rehearsals: so much stuff has been released.

I think Brian and Al are happy the Copyright Extension/anniversary albums are out though. They put 5 or 6 Wild Honey songs in the set, which was the first time I had ever heard them before. Bruce probably depends on the day as I've heard he's changed from praising diehard fans to condemning them. Mike, uh, probably for the most part just likes the cash.

Is there a new BRI president?
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Custom Machine
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« Reply #3 on: April 02, 2018, 09:23:19 PM »


... I believe Capitol/EMI/UMe can put out all the repackagings of old hits, etc. that they want. But even if they're issuing previously unreleased material from the 60s that Capitol owns, BRI has to sign off on it. ...


I'm baffled as to why BRI would have to sign off on a reissue of any previously unreleased material from the 60s that Capitol owns. Was this a requirement put in place when BRI licensed the non-Capitol stuff for release on Capitol?

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HeyJude
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« Reply #4 on: April 03, 2018, 06:30:22 AM »


... I believe Capitol/EMI/UMe can put out all the repackagings of old hits, etc. that they want. But even if they're issuing previously unreleased material from the 60s that Capitol owns, BRI has to sign off on it. ...


I'm baffled as to why BRI would have to sign off on a reissue of any previously unreleased material from the 60s that Capitol owns. Was this a requirement put in place when BRI licensed the non-Capitol stuff for release on Capitol?



I don't know if BRI needing to sign off on the release of outtakes was the outcome of one of the lawsuits of years past, or is something that came as a result of some other agreement.

But the way it works is that Capitol owns all of the 60s studio masters (with the usual exceptions, Hite Morgan tapes, etc.), but can only have free reign with the "previously released" stuff.

This explains why we get endless new compilations of hits, seemingly every year, while archival releases even solely of 60s material are obviously much more rare.

Case in point: Capitol SURELY would have released a "Smile" boxed set decades earlier than 2011 if they had had full control and ability to release anything they wanted from the 60s recordings that they own. 
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Pet Sounder
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« Reply #5 on: April 04, 2018, 09:33:45 AM »

Thanks for the input!

Iím sure there are reasons for this, but I donít understand why Capitol and BRI donít agree to release all of the unedited archived sessions and tracks as digital downloads like theyíve been doing for the 50th anniversary archival releases.  For example, with all of the times it's been repackaged, Iím surprised they wouldnít release the unedited Pet Sounds sessions and multi tracks.  If theyíre just sitting in the vaults, why not make some money on them?  Iím also surprised that more of the Today material hasnít come out.  I have a hard time understanding how there still no official backing track or vocal rehearsal release for gems such as Please Let Me Wonder.

I do hope that the ďitís already been bootlegged so there wonít be interestĒ argument doesnít factor into the decision for the archival releases.  I havenít heard most of that material, and I know Iím not the only one.

I know it's more complicated than it looks from my perspective, but I really believe what Brian was doing was so special, especially in his first 10 years or so of songwriting for the band, that all of it deserves to be out there.  Especially full, unedited tracking and vocal sessions as he shaped things toward the end result.  It's educational, if nothing else.  They could still come up with new alternate mixes to garner interest in future compilations.
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HeyJude
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« Reply #6 on: April 05, 2018, 06:23:14 AM »

Getting the BBs individually and collectively to "get" the idea that their archive has intrinsic value unto itself and deserves to be released EN MASSE for no other reason than it needs to be released, probably *is* a complicated matter.

But the function of actually getting the music released is, with perhaps some random exceptions (e.g. licensing issues with random tracks here and there), decidedly NOT complicated. BRI owns pretty much everything recorded and released after 1969, and has veto power on unreleased 60s material. While the physical media landscape isn't making it easier to do big lush physical boxed sets, I think BRI could pretty easily spearhead *at least* digital downloads of HUNDREDS of studio and live tracks.

It's as easy as something like this (and I'll keep it somewhat realistic and not just advocate for every tape reel in the archive to be released in its raw form all at once):

1. Live Download Archive - Released 1-2 soundboard shows per month. They could do this for YEARS without running out of material.
2. Targeted/Themed Boxed Sets - A "Bedroom Tapes" (however inaccurate the moniker would technically be) boxed set focusing on mid-era Brother Brian stuff.
3. A separate boxed set focusing on key 70s and 80s BB studio material.
4. A wider download program of additional studio material, themed by album or year or whatever.
5. If still viable, album-by-album reissues with 1-2 bonus discs per package of rarities.
6. "Live" tour highlights CD set, 2 or more CDs, with the best of what would eventually be released from the live archive.

This would be in addition to or in conjunction with appropriate "Copyright Extension" releases.
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Matt Etherton
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« Reply #7 on: April 06, 2018, 05:22:25 PM »

It's my understanding Captiol can release whatever they want, and it doesn't matter what any member of the group want. I could be wrong, but that's what I was told. Also, as I understand, once the 1969 unissued Capitol stuff is out, Brother can choose to do nothing about 1970 onward.  I could be wrong, would love to know more.
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HeyJude
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« Reply #8 on: April 09, 2018, 06:22:12 AM »

It's my understanding Captiol can release whatever they want, and it doesn't matter what any member of the group want. I could be wrong, but that's what I was told. Also, as I understand, once the 1969 unissued Capitol stuff is out, Brother can choose to do nothing about 1970 onward.  I could be wrong, would love to know more.

Capitol can repackage whatever they want as far as *previously released* material, meaning specifically original album and single releases from the 60s. They cannot release archival material from the 60s without BRI signing off. Capitol owns the tapes, but they have to get BRI's approval.

Post-1969, most of the all of the material (meaning aside from a few soundtrack songs and other bits here and there) is owned by BRI, and they can obviously do whatever they want with it (or nothing at all). The only area they're beholden to any other company on that material is any standing licensing agreements. They of course currently have a licensing agreement with Capitol/UME for the 70s/80s albums up to 1985, as well as various archival material.

It may be that Capitol/UME has what would generally be called "first rights of refusal" as part of this licensing agreement, meaning if BRI decides to do a "Sunflower" outtakes boxed set or something, they must first offer it to Capitol to release, and if Capitol declines, BRI can shop it to other labels.
« Last Edit: April 09, 2018, 06:23:03 AM by HeyJude » Logged

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« Reply #9 on: April 09, 2018, 09:00:28 AM »

HeyJude, didn't the Beach Boys get the rights to Pet Sounds - 20/20 when they parted with Capitol in '69?
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HeyJude
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« Reply #10 on: April 09, 2018, 10:15:56 AM »

HeyJude, didn't the Beach Boys get the rights to Pet Sounds - 20/20 when they parted with Capitol in '69?

I don't know if they temporarily got the rights or just licensed them back from Capitol to put them out on Brother/Reprise.

But today, Capitol owns all of those albums. I would tend to doubt they never *didn't* own them; I'm just not super familiar with Brother/Reprise's reissues of those albums (the WH/20/20/SS/Friends two-fer reissues in the 70s; the pairing of So Tough with PS), so I'm not sure if Brother/Reprise just paid to license them, or if perhaps Brother/the BBs in one of the Capitol lawsuit settlements got some temporary rights to release the albums themselves.
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« Reply #11 on: April 09, 2018, 10:24:50 AM »

1. Live Download Archive - Released 1-2 soundboard shows per month. They could do this for YEARS without running out of material.
2. Targeted/Themed Boxed Sets - A "Bedroom Tapes" (however inaccurate the moniker would technically be) boxed set focusing on mid-era Brother Brian stuff.
3. A separate boxed set focusing on key 70s and 80s BB studio material.
4. A wider download program of additional studio material, themed by album or year or whatever.
5. If still viable, album-by-album reissues with 1-2 bonus discs per package of rarities.
6. "Live" tour highlights CD set, 2 or more CDs, with the best of what would eventually be released from the live archive.

This kind of offering would be a dream come true. Any day now, right?  Tongue
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