Saturday, January 12, 2013

70 NOT 50

Bob Dylan ‎– The 50th Anniversary Collection / The Copyright Extension Collection Vol. I

Genre: Blues, Pop, Folk, World, & Country
Year: 2012 Tracklist ▼

Going Down To New Orleans (Mx. CO 70085-1)
Going Down To New Orleans (Mx. CO 70085-2)
Sally Gal (Mx. CO 70086-2)
Sally Gal (Mx. CO 70086-3)
Rambling Gambling Willie (Mx. CO 70087-1)
Rambling Gambling Willie (Mx. CO 70087-3)
Corrina, Corrina (Mx. CO 70088-1)
Corrina, Corrina (Mx. CO 70088-2)
The Death Of Emmett Till (Mx. CO 70089-1)
(I Heard That) Lonesome Whistle (Mx. CO 70091-2) Rocks And Gravel (Solid Road) (Mx. CO 70096-3)
Sally Gal (Mx. CO 70086-4)
Sally Gal (Mx. CO 70086-5)
Baby, Please Don't Go (Mx. CO 70099-1)
Baby, Please Don't Go (Mx. CO 70099-3)
Milk Cow (Calf's) Blues (Good Morning Blues) (Mx. CO 70100-1)
Milk Cow (Calf's) Blues (Good Morning Blues) (Mx. CO 70100-3)
Wichita Blues (Going To Louisiana) (Mx. CO 70101-1)
Talking Bear Mountain Picnic Massacre Blues (Mx. CO 70102-2)
Milk Cow (Calf's) Blues (Good Morning Blues) (Mx. CO 70100-4)
Wichita Blues (Going To Louisiana) (Mx. CO 70101-2)
Baby, I'm In The Mood For You (Mx. CO 75717-2)
Blowin' In The Wind (Mx. CO 75719-1)
Blowin' In The Wind (Mx. CO 75719-2)
Worried Blues (Mx. CO 75723-1)
Baby, I'm In The Mood For You (Mx. CO 75717-4)
Bob Dylan's Blues (Mx. CO 75718-2)
Bob Dylan's Blues (Mx. CO 75718-3)
Corrina, Corrina (Mx. CO 76981-2)
Corrina, Corrina (Mx. CO 76981-3)
That's All Right, Mama (Mx. CO 76983-1)
That's All Right, Mama (Mx. CO 76983-3)
That's All Right, Mama (Mx. CO 76983-5)
Mixed Up Confusion (Mx. CO 76982-3)
Mixed Up Confusion (Mx. CO 76982-5)
Mixed Up Confusion (Mx. CO 76982-6)
Mixed Up Confusion (mx. CO 76982-7)
Mixed Up Confusion (Mx. CO 76982-9)
Mixed Up Confusion (Mx. CO 76982-10)
Mixed Up Confusion (Mx. CO 76982-11)
That's All Right, Mama (remake/overdub CO76893-3)
Rocks And Gravel (Solid Road) (Mx. CO 76986-2)
Ballad Of Hollis Brown (Mx. CO 77003-2)
Kingsport Town (Mx. CO 77004-1)
When Death Comes Creepin' (Whatcha Gonna Do?) (Mx. CO 77005-1)
Hero Blues (mx. CO 77020-1)
When Death Comes Creepin' (Whatcha Gonna Do?) (Mx. CO 77021-1)
I Shall Be Free (Mx. CO 77023-3)
I Shall Be Free (Mx. CO 77023-5)
Hero Blues (Mx. CO 77020-2)
Hero Blues (Mx. CO 77020-4)
Hard Times In New York Town (Mackenzie Home Tapes)
The Death Of Emmett Till (Mackenzie Home Tapes)
I Rode Out One Morning (Mackenzie Home Tapes)
House Of The Rising Sun (Mackenzie Home Tapes)
See That My Grave Is Kept Clean (Mackenzie Home Tapes)
Ballad Of Donald White (Mackenzie Home Tapes)
Honey, Just Allow Me One More Chance (Gerde's Folk City)
Talkin' New York (Gerde's Folk City)
Corrina, Corrina (Gerde's Folk City)
Deep Ellum Blues (Gerde's Folk City)
Blowin' In The Wind (Gerde's Folk City)
The Death Of Emmett Till (Finjan Club, Montreal)
Stealin' (Finjan Club, Montreal)
Hiram Hubbard (Finjan Club, Montreal)
Blowin' In The Wind (Finjan Club, Montreal)
Rocks And Gravel (Solid Road) (Finjan Club, Montreal)
Quit Your Low Down Ways (Finjan Club, Montreal)
He Was A Friend Of Mine (Finjan Club, Montreal)
Let Me Die In My Footsteps (Finjan Club, Montreal)
Two Trains Runnin' (Finjan Club, Montreal)
Ramblin' On My Mind (Finjan Club, Montreal)
Muleskinner Blues (Finjan Club, Montreal)
Muleskinner Blues (part 2) (Finjan Club, Montreal)
Sally Gal (Carnegie Hall Hootenanny)
Highway 51 (Carnegie Hall Hootenanny)
Talking John Birch Paranoid Blues (Carnegie Hall Hootenanny)
The Ballad Of Hollis Brown (Carnegie Hall Hootenanny)
A Hard Rain's A-Gonna Fall (Carnegie Hall Hootenanny)
See That My Grave Is Kept Clean (The Gaslight Café, NYC)
No More Auction Block (The Gaslight Café, NYC)
A Motherless Child (The Gaslight Café, NYC)
Kindhearted Woman Blues (The Gaslight Café, NYC)
Black Cross (The Gaslight Café, NYC)
The Ballad of Hollis Brown (The Gaslight Café, NYC)
Ain't No More Cane (The Gaslight Café, NYC)

Wild!

The Beatles' classic recording of 1962 single Love Me Do has - debatably - slipped into the public domain in the EU. That means any record label in the land could theoretically now reissue the track and original B-side P.S. I Love You as a 'new' release without paying performance royalties to the band. Classical reissue specialist Pristine Classical has already taken advantage: it is now offering a remastered version of Love Me Do as a single track. One word: scamps. Under traditional EU law, the copyright on recorded music in Europe runs out after 50 years since a track or album was first released. That's in contrast to the songwriter's publishing copyright, which lasts until 70 years after a composer dies. To the jubilation of the record industry, Brussels last year agreed to extend the recordings copyright term from 50 to 70 years. Only problem is, that law hasn't yet come into effect - it will be rubber stamped in the UK some time before November. As such, the owners of Love Me Do's recording copyright for the past 50 years - the band plus label EMI (last year acquired by Universal) - find themselves watching a song they fully owned just weeks ago now being exploited by third parties. However, Universal/EMI still fully owns distribution of the song as part of the Beatles' debut LP, Please Please Me and Greatest Hits, 1. In another twist, the EU Term Extension conditions include a 'use it or lose it' clause for anything recorded before 1963. That means that if they want to stop pre-1963 recordings slipping into public domain, labels and performers must prove they were still invested in bringing them to new audiences in the decades that followed. Sony Music has already taken exactly that step for one of its artists whose recordings copyrights are beginning to expire: Bob Dylan. Sony's very limited, 100-copy release of the 50th Anniversary Collection box set, released late last year, includes 86 unreleased Dylan tracks dating back to 1962 and 1963 - or, you've guessed it, 50 and 51 years. "This isn't a scheme to make money," a Sony Music source reassured Rolling Stone. "The copyright law in Europe was recently extended from 50 to 70 years for everything recorded in 1963 and beyond. With everything before that, there's a new 'Use It or Lose It' provision. It basically said, 'If you haven't used the recordings in the first 50 years, you aren't going to get any more." They added; ""The whole point of copyrighting this stuff is that we intend to do something with it at some point in the future."

11 comments:

Mr Bigpants Cock (of the) Walk said...

what is this?

Rich said...

It's a European only release, 4CDR set limited to 100 copies. If they don't release it now, it would go under public domain and anyone could. Like with Elvis and Sinatra et al, in Europe now. Bob's first album has apparently gone into public domain over there. Love Me Do/PS I Love You has.

So, I am downloading the fuck out of this right now as I type.

I just love that they actually called it "The 50th Anniversary Collection / The Copyright Extension Collection Vol. I"

Rich said...

From NPR:

Bob Dylan has made some puzzling moves in his celebrated career, but the compilation that his record label recently released may be as odd as anything he's ever put out.

The compilation, 50th Anniversary Collection, is a limited-edition, four-CD set that was only released in Europe. It seems to have been designed by the label to exploit a recent change in European copyright law.

The collection is a scrapbook of recordings from the first years of Bob Dylan's career: unreleased home tapes, live performances from Greenwich Village folk clubs and outtakes from the sessions for his second studio album, The Freewheelin' Bob Dylan.

The packaging of the 50th Anniversary Collection is minimal — just four discs, a brown paper cover and a cursory list of the 86 tracks.

Dylan's record label declined requests to talk about the collection or its unconventional release strategy.

But the subtitle, The Copyright Extension Collection, Volume 1, speaks for itself.

"Even record executives occasionally stray into honesty," says James Boyle, a law professor at Duke University. "This is, in fact, a copyright extension collection. That's what it is."

Boyle says Dylan's label appears to be exploiting an obscure but potentially lucrative change in European copyright law.

The European Union recently extended the term of copyright for sound recordings from 50 years to 70 years. But, there's a catch.

"You actually have to have, at some point, distributed these songs during that initial 50-year period. These were masters that were lying in the vaults," Boyle says, "and none of them had ever seen the light of day. And so he had to get them out before that 50-year period expired in order to get the extra 20 years."

Because this material was recorded in 1962 and 1963, the label essentially has to use it or lose it to the public domain.

In Britain, the European Union copyright extension is known as Cliff's Law — named after Sir Cliff Richard, the 1960s-era singer who pushed hard for its passage.

In an interview with the BBC, Richard says it's not fair that artists should lose the right to collect royalties from their records just because those records happen to be 50 years old.

"That's my creative juices," Richard says. "I created it, I helped to arrange it. I helped sometimes to produce it. And you make this record. And then someone takes it away before you're even dead."

But critics say the copyright extension will mainly help record companies and artists like The Beatles, The Rolling Stones and The Who, whose recordings might otherwise begin entering the public domain in the next few years.

"The vast majority of musicians won't see a dime," Boyle says. "The evidence was that in fact, the benefits would go to very, very few people — the megastars."

Boyle says the European Union law does include a few provisions that are supposed to help common musicians, too. After 50 years, for example, they can terminate their original contracts with their record labels and get ownership of their recordings back. But Boyle says there's a catch here, too.

"In order for them to be able to exercise this termination, it had to be that the record label hadn't put a new version out within a year of the directive passing," Boyle says. "So we're probably going to see a large number of reissued songs, or aging rockers are gonna be terminating their deals and getting their rights back over their recordings."

Whatever its intentions, Boyle thinks the copyright extension will ultimately end up hurting the public. Dylan fans in Europe might beg to differ, though: If they weren't lucky enough to snatch up one of the 100 physical copies of the discs, they can buy MP3s of the Copyright Extension Collection from Dylan's website.

The rest of us can bid for one of those copies on eBay — where one recently sold for more than $1,000 — or wait for a proper U.S. release.

Rich said...

I don't see any of these mp3's on Dylan's website though, hence the downloading.

Mr Bigpants Cock (of the) Walk said...

good research. dnlding it now too. dying for seven versions of mixed up confusion

Mr Bigpants Cock (of the) Walk said...

you ever gice 'Cosmos' a chance yet?

Rich said...

Yeah, absolutely. More than a chance. I can't believe I've never mentioned it. I absolutely love it.

Richard said...

Look below! All fixed up!

Mr Bigpants Cock (of the) Walk said...

Fuck you Padma, seriously fuck off. You are vanna white and nothing more

Rich said...

At the risk of being pedantic, Vanna had to see those rectangles light up and walk over and turn them around.

Padma does...ummm...no...I know...

whats the quote about its better to be silent and be thought of as unintelligent than open your mouth and confirm it?

At least Collichio's blog fesses up.

But here's the thing...

Yes, it's a reality TV show

Yes, it's a competition...

But...

Isn't that the all the more reason Kristen should have stayed?

it's not a meritocracy to slide by, and "play the game"

Fucking ridiculous.

Bravo Andy fucking loves it.

I umm, I mean imagine keeping fucking Robin over Kevin Gillespie, or what the fuck ever

Rich said...

But for real why does sub-Vanna get a fucking vote?

Seriously.

Be the hostess, show up at the beginning and end and as you said, fuck off.