copyright extension 1967

[anytimecowboy]

What do we know the doors have from 1967 that would presumably require some sort of release in 2017 to ensure extending the copyright in the EU?

Based on what I know they have and would be a viable commercial release but hasn't been released yet.

1. The Matrix
2. Danbury High
3. Fillmore
4. Any studio session reels?

Maybe the decent audience recordings too.

Am I missing anything major or significant ?

[mystery_train67]

Over the years it has been mentioned that there are SB tapes from 1967.

What if there existed tapes from 1966- could not someone start bootlegging those soon?

There has got to be more 'devils in the detail' regarding this copyright stuff, surely? Otherwise, without official releases we can look forward to a few nice recordings coming out on legal bootlegs (if the bootleggers can get the low gen or 'master clones' of the tapes).

[anytimecowboy]

That would be awesome and its quite likely.

Pink floyd are in the middle of reissuing their catalogue on vinyl yet they rushed a ridiculous huge rarities box set costing £400, they rushed it out for the end of 2016. There is a lot of 66 and 67 material on it. Why? Copyright extension?

There are more and more semi official live releases of sixties and seventies bands appearing on amazon.

[afilosa09]

That would be awesome and its quite likely.

Pink floyd are in the middle of reissuing their catalogue on vinyl yet they rushed a ridiculous huge rarities box set costing £400, they rushed it out for the end of 2016. There is a lot of 66 and 67 material on it. Why? Copyright extension?

There are more and more semi official live releases of sixties and seventies bands appearing on amazon.

It seems like The Doors management might really be taking this copyright extension stuff seriously. Not every band does. The Beatles and The Stones are two famous examples were they've already let plenty of stuff fall into the public domain. But the Doors are already getting the Fog out before it is lost to public domain. I think that's a sign of things to come.

Aside from copyright, there is another "loophole" regarding concerts and such that were broadcast on the radio, leading to many semi-official releases of sixties, seventies, and even eighties concerts (and maybe even beyond, although I've not seen any).

[lizardkingteo]

can you explain this radio broadcast issue?

[wha happened]

What do we know the doors have from 1967 that would presumably require some sort of release in 2017 to ensure extending the copyright in the EU?

This is probably a good question for lovemygirl. If anyone around here is in the loop, it's him.

[Buda]

Apparently he is a girl. Calling himself Nicole. Be aware otherwise he will find you and send pms to straighten you out, as he tried with me.

[lovemygirl]

...chatter between " strange days" and " Lucille”.....

[anytimecowboy]

Who knows what recordings the doors may own from 67 that the general fan community dont know about. They could have a number of commercially viable tapes they have sat on.

This ' use it or loose it ' clause could strongarm them into releasing them next year.

But even if they dont release them, if any of those tapes have copies owned by other people once they are free of copyright after 2017, they could then be bootlegged or released on platforms like amazon without any copyright infringement. The doors may not even know copies exist or individuals may have the only copy of a particular recording.

Maybe some big collectors are just biding their time and wating to cash in or share their tapes.

Just a thought

[anytimecowboy]

It just seems likely to me that the next 5 years are one way or another gonna be exciting, satisfying or at least intetesting and revealing as a doors collector. For two main reasons

1. Once the copyright ends why would a tape owner wait on a deal with the doors?
2. Are the doors going to now start making deals but hold the tapes and loose the rights?

Therefor we should logically see new tapes released assuming any given owner either wants to maintain ownership, make mullah or share the recording thus if any given doors related recording isnt released during the relevant time, up until say 2022 then it pretty much never will be, or doesnt exsist id say.

[tombstone]

Doesn't it seem likely that their performances from the Fillmore in early 1968 still exist? Bill Graham's archives contain a wide range of acts, some pretty obscure. I find it hard to believe he didn't have the mindset to record the Doors but thought to record bands like Pentangle and such...

[zarza29]

Doesn't it seem likely that their performances from the Fillmore in early 1968 still exist? Bill Graham's archives contain a wide range of acts, some pretty obscure. I find it hard to believe he didn't have the mindset to record the Doors but thought to record bands like Pentangle and such...

It´s very strange.
In San Francisco (1967):
They played in January 6th, 7th, 8th, 13th, 14th and the 15th
And played again July 28, 29, and 30th (a date in june too)
Nov 16th Fillmore and then the Winterland 17th and 18th (and december too)
In New York (1968):
They played in March (two days)

Only survive the famous incomplete tape? It's hard to believe that no more concerts were recorded, in January 1967 were not famous but in June yes

[wha happened]

No doubt most of their shows were recorded. However they may no longer exist. Spoke to some BG insiders years ago and they said sometimes shows were recorded by sound men without consent and were kept by the sound men. Then there were examples where tapes were taken especially after BG died.

Like you said, there are recordings of some obscure bands. There's that nice recording of The Who from the Fillmore East just weeks after the Doors played there.

Botnick hinted that they do have some BG shows but the quality is lacking. Technical issues (such as missing instruments)? or degradation of the tape?

[zarza29]

No doubt most of their shows were recorded. However they may no longer exist. Spoke to some BG insiders years ago and they said sometimes shows were recorded by sound men without consent and were kept by the sound men. Then there were examples where tapes were taken especially after BG died.

Like you said, there are recordings of some obscure bands. There's that nice recording of The Who from the Fillmore East just weeks after the Doors played there.

Botnick hinted that they do have some BG shows but the quality is lacking. Technical issues (such as missing instruments)? or degradation of the tape?

Technical issues sounds familiar in Doors recordings

[zarza29]

I forgot that there was also a fire in the warehouse where the tapes were stored

http://articles.latimes.com/1985-05-08/ ... department

[wha happened]

Yes, there was that story that everything was destroyed. Fact is, very little was damaged. There have been stories about other tapes for years like they were lost in a flood. Mostly it was to keep the rabid fans and lawyers away.

Take a minute to browse the Wolfgangs Vault site and you'll see just how much paper memorabilia was left after that fire destroyed everything.

[anytimecowboy]

It would be nice if someone on the inside had something to say. There must be someone who is at least passively active on the online community who knows what is being discussed

[wha happened]

It would be nice if someone on the inside had something to say. There must be someone who is at least passively active on the online community who knows what is being discussed

there is.....lovemygirl

[Buda]

Don't shoot the messenger!

[lovemygirl]

...I have two live recordings by bear

[anytimecowboy]

...I have two live recordings by bear

who is bear? bear grylls?

[lovemygirl]

...who wants to know why the doors and the dead didn't get along...

[Roughie]

...I have two live recordings by bear

who is bear? bear grylls?

Smokey The Bear!

[lovemygirl]

....owesley Stanley (born Augustus Owsley Stanley III, January 19, 1935 – March 12, 2011), also known as Bear, was an American audio engineer and chemist. He was a key figure in the San Francisco Bay Area hippie movement during the 1960s and played a pivotal role in the counterculture of the 1960s....

[lizardkingteo]

....owesley Stanley (born Augustus Owsley Stanley III, January 19, 1935 – March 12, 2011), also known as Bear, was an American audio engineer and chemist. He was a key figure in the San Francisco Bay Area hippie movement during the 1960s and played a pivotal role in the counterculture of the 1960s....

are these 2 recordings that you have by the doors?

[lizardkingteo]

...who wants to know why the doors and the dead didn't get along...

didnt know they didnt get along . I have not read any article that I can recall mentioning the doors and dead on the same page.. can you elaborate?

[lovemygirl]

...sure , let's see...

of many Doors-revivals...

JACKSON: we're doing an issue of bam magazine on the doors

GARCIA: i never liked the doors. i found them terribly offensive...when we played with them. it was back when jim morrison was just a pure mick jagger copy. that was his whole shot, that he was a mick jagger imitation. not vocally, but his moves, his whole physical appearance were totally stolen from right around mick jagger's 1965 tour of the states. he used to move around alot, before he started to earn a reputation as a poet, which i thought was really undeserved. rimbaud was great at eighteen,nineteen, and verlaine. those guys were great. fuckin jim morrison was not great, i'm sorry. i could never see what it was about the doors. they had a very brittle sound live., a three piece band with no bass- the organ player (manzarek) used to do it. that and that kinda raga-rock guitar style was strange. it sounded very brittle and sharp -edged to me., not something i enjoyed listening to. i kind of apreciated some of the stuff they did later, and i appreciated a certain amount of morrison's sheer craziness, just because that's always a nice trait in rock n roll. no, i never knew him, but richard loren, who works for us, was his agent and had to babysit him through his most drunken scenes and all the times he got busted and all that crap. he's got lots of storeies to tell about morrison. i was never attracted to their music at all, so i couldn't find anything to like about them. when we played with them, i think i watched the first tune or two, then i went upstairs and fooled around with my guitar. there was nothing there that i wanted to know about. he was so patently an imitation of mick jagger that it was offensive. to me, when the doors played san francisco they typified los angeles coming to san francisco., which i equated with having the look right, but zero substance. this is way before that hit song, light my fire. probably at that time in their development it was too early for anyone to make a decent judgement of them, but i've always looked for something else in music, and whatever it was, they didn't have it. they didn't have anything of blues, for example , in their sound or feel. JACKSON: DID you sense the negativity?

jerry: no, not really. all i sensed was sham. as far as i was concerned, it was surface and no substance. then we played with them after the light my fire thing, when they were headliners. we opened for them in santa barbara some years later, when they were a little more popwerful. their sound had gotten better- they'd gotten more effectively amplified, so manzarek's bass lines and stuff like that had a little more throb, but their sound was still thin. it wasn't a succesful version of a three piece band, like the who or jimi hendrix, or cream, or any other guitar power trio type three piece bands. it's an interesting concept, a three piece band that's keyboard, guitar, drums, but it was missing some element i thought was vital. i couldn't say exactly what it was, but it was not satisfying for me to listen to them. when they were the headliners, it was sort of embarrasing for us to open for them, cause we sort of blew them off the stand with just sheer power. what we had with double drums and phil's bass playing-it got somewhere, and when they played there was an anticlimax feeling to it, even with their hits. in the part of my life when i was impressionable along that androgynous input, for me the people that were happening were james dean and elvis. early rock and roll- i'm like first generation rock and roll influence. for me, james dean was a real important figure. he was the romantic fulfillment of that vision.

[anytimecowboy]

...I have two live recordings by bear

Ok excellent what do you have?

[lovemygirl]

...did anyone see the interview ray have to Ben, I believe, with pig pens organ in the back ground? Ray spills the beans all about the friction

[lizardkingteo]

of many Doors-revivals...

JACKSON: we're doing an issue of bam magazine on the doors

GARCIA: i never liked the doors. i found them terribly offensive...when we played with them. it was back when jim morrison was just a pure mick jagger copy. that was his whole shot, that he was a mick jagger imitation. not vocally, but his moves, his whole physical appearance were totally stolen from right around mick jagger's 1965 tour of the states. he used to move around alot, before he started to earn a reputation as a poet, which i thought was really undeserved. rimbaud was great at eighteen,nineteen, and verlaine. those guys were great. fuckin jim morrison was not great, i'm sorry. i could never see what it was about the doors. they had a very brittle sound live., a three piece band with no bass- the organ player (manzarek) used to do it. that and that kinda raga-rock guitar style was strange. it sounded very brittle and sharp -edged to me., not something i enjoyed listening to. i kind of apreciated some of the stuff they did later, and i appreciated a certain amount of morrison's sheer craziness, just because that's always a nice trait in rock n roll. no, i never knew him, but richard loren, who works for us, was his agent and had to babysit him through his most drunken scenes and all the times he got busted and all that crap. he's got lots of storeies to tell about morrison. i was never attracted to their music at all, so i couldn't find anything to like about them. when we played with them, i think i watched the first tune or two, then i went upstairs and fooled around with my guitar. there was nothing there that i wanted to know about. he was so patently an imitation of mick jagger that it was offensive. to me, when the doors played san francisco they typified los angeles coming to san francisco., which i equated with having the look right, but zero substance. this is way before that hit song, light my fire. probably at that time in their development it was too early for anyone to make a decent judgement of them, but i've always looked for something else in music, and whatever it was, they didn't have it. they didn't have anything of blues, for example , in their sound or feel. JACKSON: DID you sense the negativity?

jerry: no, not really. all i sensed was sham. as far as i was concerned, it was surface and no substance. then we played with them after the light my fire thing, when they were headliners. we opened for them in santa barbara some years later, when they were a little more popwerful. their sound had gotten better- they'd gotten more effectively amplified, so manzarek's bass lines and stuff like that had a little more throb, but their sound was still thin. it wasn't a succesful version of a three piece band, like the who or jimi hendrix, or cream, or any other guitar power trio type three piece bands. it's an interesting concept, a three piece band that's keyboard, guitar, drums, but it was missing some element i thought was vital. i couldn't say exactly what it was, but it was not satisfying for me to listen to them. when they were the headliners, it was sort of embarrasing for us to open for them, cause we sort of blew them off the stand with just sheer power. what we had with double drums and phil's bass playing-it got somewhere, and when they played there was an anticlimax feeling to it, even with their hits. in the part of my life when i was impressionable along that androgynous input, for me the people that were happening were james dean and elvis. early rock and roll- i'm like first generation rock and roll influence. for me, james dean was a real important figure. he was the romantic fulfillment of that vision.

Jerry must have been really jealous of Jim and the music the doors produced..