21 replies to this topic

[Defiance]

manhime, on 14 May 2012 - 01:39 AM, said:

I read (do not know if true) that Jim got more and more paranoid of large audiences.   I do not want to start a false rumor.  Just asking if what I heard was true

As Dylan said, 'You don't need a weatherman to know which way the wind blows'.

Jim was oblivious to the dangers of large crowds for the first few years. In 1967, he viewed audience members as simply people he would meet on the street. By 1969, every other concert attendee was a potential undercover informant/police. They no longer could allow the backstage area to be a community. Everyone was viewed with suspicion.

Of course Jim got more and more paranoid, partly due to his own relationship with the stage. Jim wrote that he diagnosed himself as crazy based on the fact that he got onto a stage. Anyone who wants to go on a stage is insane...hence any politician you can find is totally insane.

Jim slowly came to realize that the stage was his nemesis.

The part about someone taking a shot at him is what he deduced from the situation. Towards the end of The Beatles touring period in the mid-60s, someone down South threw a firecracker near the stage. When it went off, Lennon and others with the group immediatley thought that it was a gun. It wasn't an actual gun, but the fact became clear that it could very well have been a gun.

It was inevitable that a musical artist would be murdered on stage. Such a thing never came to fruition until Dec. 8, 2004 when Dimebag Darrell Abbott of Pantera/Damageplan fame was shot in the head and died on stage.

[Defiance]

crazyhorse80, on 16 May 2012 - 02:20 AM, said:

This is one of those legal mumbo-jumbos I've always had a hard time grasping. If a band signed a release at a fest like this, or for anything, and expressed their consent for the footage to be used as in the case of The Doors at the IOW, who rightfully owns the material? Murray Lerner already used portions of The Doors' performance on his documentary of the festival, so did The Doors sign off on what was used or the whole performance? Seems like it's in Lerner's hand as to what to do with the footage, unless there is the same lergal B.S. that held up the Matrix masters, and if that's the case, a professional filmer/recorder has the same rights as a bootlegger when it comes to releasing this stuff these days. Is there a statute of limitations/ownership on this stuff, or who rightfully owns this stuff if the band signed off on it? I know the Hendrix camp already released his IOW performance, so did how did they acquire the rights? Perhaps that will answer what The Doors have to do to get it out there...

If you remember back to when Ray and Robby wanted to use film of their cover band doing Doors songs for a video/audio project for VH1, they were unable to ever air it on TV or release it on DVD due to the denial of Sync-rights.

Since there were images that were being used with the music, a Sync-license was needed and Densmore did not want to allow it.

When you say 'material', it can mean two different things. There is the actual physical film stock with the images and an audio track to go with it, like what we saw inserted into the IOW film. Then there is the intellectual material which the Doors own regardless of who captured it on a recording medium and regardless of how long ago.

For The Doors to allow someone else to release an entire concert of their band would be to give up executive power. What it means is that Ray could not direct the production like he had done with The Doors' Hollywood Bowl film of which he was director on and therefore made all decisions.

As long as the person who holds the tapes keeps them, they own them and therefore can not be forced to share them. However, they can not do anything with the footage since images are involved.

Jimi was a producer and a documentor. He likely planned on releasing a film or album of what he did there, as did Townshend of The Who. There was no leader in The Doors to take the initiative back then.... it was just 4 individual guys who left things up to the others in the band.

In addition, I feel that the world looks upon Jimi more favorably than they do on Morrison. Jimi's fans are guitar players, but Morrison's fans are not as musically inclined (i.e. more guitarists influenced by Jimi than singers influenced by Morrison). What I mean is that people like to immitate Jim, but not actually learn music the way that Morrison did. Singers like to take shortcuts around the Blues and try to just sing like Jim.... but they always fail.

Quote

Isle of Wight (album)
From Wikipedia, the free encyclopedia

Live album by Jimi Hendrix
Released-November 1971
Recorded-August 30, 1970 at the Isle of Wight Festival in England
Length- 34:01

Isle of Wight was a posthumous live album by Jimi Hendrix, released in November 1971 by Polydor. The album documents Hendrix's performance at the 1970 Isle of Wight Festival on August 30, 1970; his last performance in England before his death in September. The album was engineered by Carlos Ohlms (a British based engineer). The record company did not use a picture from the Isle of Wight concert. The cover photo is from a live concert from Berlin, Deutschlandhalle, September 4, 1970. The album spent only two weeks in the U.K. albums chart, peaking at No. 17.[1]

Isle of Wight contains just part of the concert. The entire performance was released on the 2002 album Blue Wild Angel: Live at the Isle of Wight.

Edited by Defiance, 16 May 2012 - 10:25 PM.