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#16
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![]() i've just read the liner notes of the set - and it left me even more bewildered than before. the fact that a) christopher hjort is the author and b) still time and place of the recordings are up to guesswork is way beyond me.
i assume that there must be certain (legal?) reasons for keeping the recording details hidden. long before their release the tracks could be assigned to their origins pretty easily by anyone who has serious interest in the early mac. so the only reason christopher (who's surely in the know about it) didn't mention these details is probably this: he somehow isn't allowed to. he futhermore avoids name-checking paul butterfield as special guest on the carousel tracks - reference is only made to "the horn-like harmonica player" or simply "the harmonica". has anyone of you any ideas or assumptions on this whole matter? i'm really curious to know why a brand like sony music would see the need to be that secretive about their product. p.s. the only really enjoyable aspect of this release - for my money - are the photographs in the booklet, many of which i haven't seen before. |
#17
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![]() . . . and now that i've discovered that - apart from the regular jewelcase and vinyl versions - there's also a box set in 7" booklet format available, i started thinking of actually getting out and buying exactly that . . . simply for having another good looking item in my collection. blimey - they got me again!
![]() p.s. bklynblue aka rich orlando suspects the sound of the carousel tracks being somewhat superior to the previously available boots. so at least there's another reason for me to purchase this one. ![]() |
#18
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![]() This is strange, especially considering it’s a Sony release with Hjort’s input.
I have two Warehouse shows from ‘70. I’ll have to look and see which one is included here. One starts with a masterful version of “Before The Beginning”. I’m guessing that’s this one? |
#19
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![]() Quote:
"Your guesses as to the lack of information is most likely spot-on – the material on the set was originally broadcast on 'local' (San Francisco / New Orleans) radio stations in the U.S. and of course over the BBC in England and these are the original sources of the material (and the bootlegs that have been in circulation for so long) You may have noticed that the 'Fillmore / Carousel' show and the Warehouse tracks are being sold under a few different labels. I believe what has happened is that the European copyrights have expired this year – many other live broadcasts by other 'classic rock' groups are also beginning to appear. The worst offence to me is the listing of the BBC recordings as 'Demos' – but remember, Snapper / Receiver did the same thing with the 'Vaudeville Years' / 'Show-Biz Blues' sets. I would love to know what the 'GK Edit' is on ‘If It Ain’t Me’ refers to! I would say that they don’t mention Paul Butterfield as they never cleared the release of the material with his estate. I admit I’m confused by Sony Music having anything to do with this release. The notes on the back of the jewel case say that Sony licensed the collection – they didn’t initiate it. I haven’t listened to the full collection or listened with the care required to make a final assessment, but from what I heard, I do think the sound is better on the 'Fillmore / Carousel' show – it sounds louder and sharper than the bootleg that I have of the shows. I do hope to have a full breakdown / review of the set up on my site within the next few weeks (just need to find the time)." |
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