wildstar is never ever wrong about anything Nov 17, 2019 18:34:33 GMT
Post by My Avatar Is A Hot Babe on Nov 17, 2019 18:34:33 GMT
wildstar said:Yep - for the Beatles/ex-Beatles, Apple was a facade. They were NEVER Apple recording artists. Badfinger and Mary Hopkin et al were Apple Records artists - evidenced by their records all going OOP between Apple folding as a label (mid 70s) until Apple was re-activated in the early 90s (after all the group lawsuits had finally been settled). Certainly no Beatles/ex-Beatles albums went OOP in that same time period
Skokiaan said:...except Wonderwall Music, Electronic Sound, Two Virgins, Life with the Lions, Wedding Album, Live Peace in Toronto, Sentimental Journey, Beaucoups of Blues, Sometime in NYC (I think).......and Let It Be. All on Apple.
wildstar said:Let It Be went OOP? For how long? Why would EMI (NOT Apple) let a Beatles album go OOP? Did it have something to do with the United Artists/movie soundtrack connection?
The experimental albums were actually on Apple (rather than EMI IIRC) so they would have gone OOP along with all the other "real" Apple stuff anyway. So these ones you mentioned are out:
Life With the Lions
Also notice every Lennon album you mention is actually a John & Yoko record. Hardly a coincidence.
Those two Ringo albums (on EMI, not Apple) also wouldn't justify staying in print consistently due to their low sales potential.
OTOH ALL the real Apple stuff went (and stayed for at least a decade and a half) OOP despite (in some cases) fairly high sales potential). For example Mary Hopkin's Greatest Hits album and Badfinger's 'Straight Up' album - that won a mid-80s magazine reader's poll of albums most wanted to be released on CD. This was BEFORE 1987 when the Beatles catalog wasn't yet on CD.
Do you really think that James Taylor's debut didn't warrant remaining in print due to its sales potential/Taylor's superstar status throughout the 70s? Yet like EVERY other "real" Apple album in went OOP until the early 90s. He even had to re-record a song or two from his Apple album for his greatest hits album to be able to include them.
The fact that Ringo's Sentimental Journey (EMI) didn't justify itself (sales potential-wise) in remaining in print consistently hardly disproves that high sales potential albums by Mary Hopkin/Badfinger/James Taylor etc went OOP for different/opposite reasons.
If ALL of Ringo's EMI (let alone ALL of George's, John's or Paul's) album went out of print from the mid 70s to the early/mid 90s, you might have a point, as that would at least be circumstantial evidence of a logical connection.
ALL genuine Apple albums went OOP and stayed OOP for about a decade and a half. This is not a coincidence!
Ringo's Sentimental Journey (EMI - not Apple) going OOP due to extremely low sales potential hardly disproves this fact.
Arnold Grove said:Yes, sometime in mid-1970s, United Artists was in transition, and the Let It Be album went out of print in the USA.
wildstar said:Apple owns the "real" Apple albums (Badfinger/Mary Hopkin/James Taylor et al) and EMI owns the "fake" Apple albums - ie the Beatles and ex-Beatles albums (with a few exceptions - most notably the experimental albums which were on Apple (and 2 on Zapple) probably because EMI didn't want them, as I would assume EMI had first refusal on anything any band member wanted to release, since they were all signed collectively and individually to EMI until early '76).
quicksrt said:Really, I thought Paul owns and controls all his albums going back to his first solo album.
wildstar said:He managed to negotiate that with EMI in 1975 as part of his deal to re-sign with the label when the Beatles' recording contract (which also covered them as solo artists) ran out in early 1976. So he does NOW own everything 1970-75 but that didn't happen until the Beatles' record deal lapsed at the beginning of 1976, and his new solo deal with EMI commenced. Prior to that EMI owned those albums. Plus EMI still (AFAIK) owns all the John/George/Ringo regular/non avant-garde solo albums until the Beatles contract lapsed in early 1976.
What Paul (due to his huge success at the time which gave him increased bargaining power) was able to negotiate with EMI is irrelevant to the fact that prior to that EMI owned all the (so-called) Apple Beatles solo albums, and still does in the cases of John/George/Ringo. Not to mention that (roughly) between the mid 70s and mid 90s (the time during which no Beatles or solo albums bore an Apple label) everything bore EMI/Capitol labels, and that all the "real" Apple label stuff (ie Badfinger, Mary Hopkin, James Taylor et al) went OOP.