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The last two have SOLD OUT from Intrada.

Losw qauntity alert from LLLR:

Two releases coming from Kritzerland; silver age, and composers previously on the label. One title appears to have already been guessed very quickly:

"Who's Got the Action?" (George Duning)

Intrada's next two CD's appear to be:

"Flight of the Intruder"
and "Joe Kidd" (this one is nailed 100% yet)

JK is a good Schifrin score; it's been on my personal want list since I saw the film a decade or so ago. I can't comment on the Poledouris.

Shouldn't that be Howard Blake?

Silva Screen announce an upcoming Doctor Who soundtrack release from the Peter Davidson era:

The Caves of Androzani - Roger Limb & The BBC Radiophonic Workshop

http://www.doctorwhomusic.com/

I am hoping that this will be listenable!

[Edit] Watching clips on YouTube, I am not holding out much hope of the music being something of interest to me.

Urgh...I have some of those...they are utterly unlistenable.
Early small scope, atonal electronics. Yuck.

On a sadder note, Disques Cinémusiques seem to have pulled their announced Alfred Newman double-header The Diary Of Anne Frank / Anastasia.

I have Anastasia already (which is lovely), but I was really stoked to add Anne Frank to my collection. An outstanding score, which is in dire need of another release.

Got it in one!
Many moons ago a music teacher at the Royal Conservatory lent me his copy when he learned I was into film scores, raving about it.
It nigh broke my heart to give it back to him the next week and not being able to come up with much more than "interesting" as a qualification (which wasn't even vaguely near my true feelings about the whole thing...)



Utterly depends on what you're listening to!

It's because it was a bootleg, not really cleared with the studio, La-La Land has it in works.

Using other countries grey area laws is an excuse to work around what's right. FSM, Lukas, is right.

For basic starters, the tapes, paper work, etc., are owned by an American company. Note how a upstanding label such as Intrada Records, will work on the rights issues and payments of Canadian laws, rather them circumvent them and source from an inferior source. They didn't say "Screw it" on "Funeral Home", instead they worked with the Canadian Musician's Union and paid the fees, which they publically expressed were high. They played ball with the rights holders in Canada. And because they did, who knows what this will yield in the future*.
And for those who have read FSM for many years, you've no doubt seen that labels have expressed costs and rights issues for other overseas scores, rather than stating they'll work around it and do what ever they want. DCM is not special. They simply have no respect.


Some of you are forgetting the special things that can arise out of relationships with studios and following the laws. Case in point, here are some examples of doing right by the rights holders:


-- Access to a wealth of master which often contain a good deal of material not on inferior sources or bootleg sources, and entirely dropped score.

-- Rejected scores not previously known, dropped songs, an entire alternate original score take ("Alien", "Back to the Future", others to varying degrees of amounts).

-- First generation, second generation tapes, which, depending on age and medium recorded on, can be in such fantastic shape and to provide sonic clarity that cannot be achieved from LP transfer and badly sourced or aged tapes.

-- Dicovery. Some of you have forgotten what searching for one score have yielded: finding masters previously thought lost or destroyed, that DCM would not have had. Finding previously lost or thought destroyed tapes to other scores while in the search for one. Getting in contact with composers, musicians, etc., that yield other finds and leads. The world of bootleg material doesn't encompass everything, neither does old LP releases. Just the passed few months Intrada releases two scores just two years prior they said they could not locate master tapes to.

-- Establishing relationships. These have fostered unprecidented access to the Disney vaults, Universal vaults, other vaults. They have produced things that would NEVER have been possible under a label like DCM. And we are continuously witnessing the results, be it older releases, or the occassional new score for a tie-in, as Intrada does sometimes (and stated will happen more).

-- AFM fees*. Why have we been getting all this impossible music? These longer releases from labels like Varese (whether you like it or not)? Labels like Varese and Film Score Monthly played ball and did things the legal way and were able to negociate new re-use fees and even changes to the FSM re-use years ago. All of you own the fruits of these labors In the future, Intrada could ahieve something like that with the Canadian Musician's Union, and they and other labels could also negociate new fees for other country's music unions (where presant). This can also lead to more masters discovery.


A grey area isn't an invitation to do as you wish just because you can. It gets you only as far as poorly sourced releases you want to crank out.

And yet another feeble excercise in trying to impose America-centric copyright concepts on the rest of the world using a massive amount of arguments that have fuck-all to do with what's "right".

Every single reason you bring to the table has everything to do with being put over a barrel because massively powerful lobbyists extending, expanding and twisting the original concept and intention of copyright (protecting a creator and his work) beyond all recognition, have made sure that laws are created, maintained and extended to the purpose of massive industry standards that will squeeze money out of property. Not creation.

If you accept the law as it stands (in America!), then fine. In which case you deserve to still have to pay top dollar for material that should have been in the public domain for decades.
But that premise is ludicrous to me.

But the TRULY disturbing factor is that Americans KEEP on harping about "grey areas" for NO reason other than that any laws that do not completely and explicitly confirm to American standards are deemed incapable of being valid in their own right. In other words: foreign national law and international law are irrelevant when not American.
A deeply disturbing attitude, all the more because so many seemingly smart people actually buy INTO it!

In fact, most copyright laws in the western world are LONG due for an overhaul and update.
American copyright laws currently serve to stifle creativity and maximise profit -as said- for owners (not creators).
And that is not a grey area.
That is wrong.

Jolly well and utterly correctly put, and more succinctly than I did.
(Which in itself generally isn't too hard, mind.)

I just saw the film. The music reminded me greatly of Jeff Wayne's "War of the Worlds" that was released two years earlier.

On the subject of geography and releases, it has always baffled me as to why there is geographic restrictions on some digital releases but not on CDs?