There won't be a set covering this period, alas. This set wouldn't have happened had it not been for retaining the copyright on the undubbed masters. In the same way, all of the retail sets since 2018 have all happened in order to retain copyright. The copyright has already gone in Europe for any unreleased material up to and including the end of 1970. And why there will be an EOT set next year. After that, I really don't expect any more boxed sets unless some interesting lost tapes appear.Walter Hale 4 wrote: ↑Tue Nov 16, 2021 12:53 amThat's where Ernst or Roger SEMON should have some clout to follow this up with whomever folks are responsible for the design. Same thing with proofreading matters.emjel wrote: ↑Tue Nov 16, 2021 12:18 amMine came out pretty easily apart from disc 3 which was harder, but they are all clean. I’ve now put them in rice sleeves and trimmed the bottom edges so they are curved and re-inserted them. No problem in getting them out now but as I have copied the discs to my HD, I doubt I will ever need to do so. But Sony need to address this problem with a design change.elvis-fan wrote: ↑Mon Nov 15, 2021 11:34 pmGuaranteed... in fact most of the scratches (I believe) came from when the CD's were first inserted in production...Walter Hale 4 wrote: ↑Mon Nov 15, 2021 10:41 pmSO as it stands, those of us who purchase a physical copy, run the risk of damaging the cd's or the packaging the first time we take them out!
Also it's not like this hasn't happened before , either. DO NOT let complacency set in.
By virtue of good , positive mainstream sales, I expect there will be a 1966-1968 Nashville multi disc, so that's the time to involve a different design.
But there are places for them to go with the idea if someone was feeling inspired - and they don't seem to be inspired at all this year. It's utterly bonkers, for example, that Sony have never done a retail set compiling all of the songs from the first four movies, together with key alternates. As you have said, the 1966-1968 studio sessions are ripe for re-evaluation. The same is true for the 1960-1961 films. It's not out of the question - A Boy from Tupelo had nothing to do with copyright a few years ago. But I don't think anyone cares enough right now. I came away from Back in Nashville feeling that those who put it together found it a chore.
The boxes since 2018 have killed two birds with one stone - copyright retention and money coming in from people buying the set. Even if they only break even, they have still served their purpose.