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source of recent official live releases

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    source of recent official live releases

    Hi folks,

    I do not recall where I heard or read about this but I know I am not making it up

    The story was that a woman's husband had died and she had a large closet full of essentially PF bootlegs
    Somehow the band were contacted and took them from her

    Does anyone remember this? Was the person known?

    I noticed that a lot of the stuff from the early years and also the live collection from 72 and also some other bootlegs they have legitimized to protect copyright and I wondered where these came from and could it be traced back to this story

    I guess it would not be hard for someone to collect al these things, the band/management/record company must know it exists but I was wondering how these things came to be.

    Thanks
    Wave upon wave of demented avengers march cheerfully out of obscurity into the dream

    #2
    IIRC most of what’s been officially released sourced from bootlegs was from inferior quality sources to what’s available, even to the extent of using MP3 sources. Better quality material was presented to the “band” by some of the members here for the Early Years set and was turned down. They’re aware it exists, they just don’t care (enough). They only needed material for that set and material for copyright preservation.

    As for the story of the dead man’s closet, I can’t say anything about that, but if the story is true it almost certainly had nothing to do with plans for an eventual release.
    Last edited by Emdy; 11-16-2024, 11:23 PM.

    Comment


    • Flat Eggs
      Flat Eggs commented
      Editing a comment
      < They’re aware it exists, they just don’t care. >
      How sad, we fans are right at the bottom of the list?

    • Emdy
      Emdy commented
      Editing a comment
      Well, hardcore grand wizard level fans who already have terabytes of multiple cruddy recordings of the same performance, yeah.

      To be perfectly fair, TEY had something like 26 versions of SFOS, so they were clearly aiming for the less-than-casual consumer here. I’m sure time constraints had something to do with it too, better sources introduced after the mastering was done and the discs were pressed, that kind of thing.
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