Joe Walsh - So What QS LP
- Thread starter Bob Romano
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Universal did it twice...
Edit: Not even from tape though...
True, but Universal themselves do not have the same standards that AF do. That much is crystal clear.
Neb-Maat-Re
400 Club - QQ All-Star
If it can be proven it is the original tape does it matter who the source is?
It's entirely possible some of these collectors may be taking better care of these tapes than the record companies appear to be doing.
from my limited expeirience with 2 MCA titles, where the tapes should be and where they actually are is not neccesarily the same place......and that fire they had caused alot of problems..
This would be nothing less than a "QUAD QRIME"
Where's a super hero when you need one! Oh but wait is it a bird? a plane?.....no it's THE SUPER CONVERTERS!!!!!
I agree. But it certainly explains why ABC jumped in whole hog with Quad product that seemingly dried up overnight. 1972-1974 with quite a number of popular titles that were well engineered and nicely mixed. Then *Poof*.... nothing. 1974 rolls around and the releases grind to a halt. I think Three Dog Night's "Coming Down Your Way" is one of - if not the only 1975 ABC release. (Please, Correct me if I'm wrong!) but that was an album that was surely recorded months prior.
It's an atrocimacy! (As Archie Bunker would say) I could see tossing the Mono stuff. Sure, it could within reason be re-created from multitrack if absolutely necessary. But to dump the multis??? In the middle of the Quad era where they're absolutely necessary? That's right up there with rubber beaks on woodpeckers if you ask me.
I mean we all dream of the unreleased Quad stuff in the RCA, CBS, (etc.) vaults.... imagine what was mixed and got tossed at ABC? There very well may have been plans for Steppenwolf, more Three Dog Night, more Grass Roots.... I've even seen catalog entries for Hamilton, Joe Frank & Reynolds, Tommy Roe and even The Troggs!!
Hopefully (again, staying on topic) Joe Walsh was a shrewd enough businessman that he got to keep control and possession of his own work. If I'm not mistaken, he owns all his Barnstorm stuff, so we could only hope he still has a lot of his multis socked away somewhere.
UGH....all this is making me somewhat ill. Crime? Hell yeah...
Hope JOE WALSH also has ABC'S JAMES GANG!!
Oh man...no doubt. Funk #49 in Quad....!!!
I try to organize my collection (which is in two locations, unfortunately) as best as can be done, but it would take a lot more money and work to perfect than I have. Record companies, on the other hand, had the money but some considered paying for storage for a lot of stuff they couldn't imagine ever using again in the digital age (multitracks, mono mixes, outtakes, etc.) that they destroyed a lot or tossed them away (when such things--always insured--didn't get fried in a convenient fire) a needless expense, hence the destruction, purges, or loss rumors we've heard about over the years.
Even leaving all that out of the speculation, we know from recent history--the Meat Loaf SACD of BAT OUT OF HELL, the first ELP--that while one would think that all the multis for a given album would be found in the same place--and be complete--it sometimes just isn't so. The Moodies' LOST CHORD was not released because too much was missing to fairly replicate the original stereo mix in quad (though I'm sure some songs could have been remixed fairly intact). In 1970, while Sly Stone was out in the ozone somewhere, Columbia had to rechannel three songs for the GREATEST HITS album because they couldn't find them (rumor had it that, to mix the quad Lp later on, they went to Sly and it turned out HE had them).
In a perfect world, if record companies kept their tape libraries organized, none of this would have been an issue. And in an even better world, maybe it would have made more sense to, after a time, let the artists have most of their tapes revert to them for their caretaking (though this is as dubious a proposition as one can imagine).
The SO WHAT quad mix that's been circulating 'privately' is not bad at all, and I'm sure indicative of its potential IF a tape proper could be located, and then Joe signed off on its release. But as it is, only Mr. Walsh can tell us if he has or knows of what became of ANY of his masters.
ED
Even leaving all that out of the speculation, we know from recent history--the Meat Loaf SACD of BAT OUT OF HELL, the first ELP--that while one would think that all the multis for a given album would be found in the same place--and be complete--it sometimes just isn't so. The Moodies' LOST CHORD was not released because too much was missing to fairly replicate the original stereo mix in quad (though I'm sure some songs could have been remixed fairly intact). In 1970, while Sly Stone was out in the ozone somewhere, Columbia had to rechannel three songs for the GREATEST HITS album because they couldn't find them (rumor had it that, to mix the quad Lp later on, they went to Sly and it turned out HE had them).
In a perfect world, if record companies kept their tape libraries organized, none of this would have been an issue. And in an even better world, maybe it would have made more sense to, after a time, let the artists have most of their tapes revert to them for their caretaking (though this is as dubious a proposition as one can imagine).
The SO WHAT quad mix that's been circulating 'privately' is not bad at all, and I'm sure indicative of its potential IF a tape proper could be located, and then Joe signed off on its release. But as it is, only Mr. Walsh can tell us if he has or knows of what became of ANY of his masters.
ED
Normally, the only way an artist can preserve his multis and original mixdowns is if he sends his then-label ONLY the stereo, mono or quad mixdown masters--and even then, copies, not the originals. I believe early on, Prince was doing this, pretty much sending Warner Bros. what he wanted released, and he kept everything else stashed away somewhere (again, only a rumor--no way to verify this). It would make sense, right?
More importantly, some major league acts like Paul Simon, Bob Seger and Bruce Springsteen made deals that gave them ownership and control--a kind of partnership with their record company (which might explain why these guys have decades-long associations with the same company). This has its drawbacks--Seger keeps his earlier Capitol material away from retail, generally--but well, them's the breaks.
Again, we'd like to know how much Joe has and what he can control, but unless someone 'in the know' clues us in, we're not going to know anything. I doubt Joe has much to say about the James Gang, though (not least because he left the group).
ED
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