Intrada Soundtrack Forum

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I remember some time back Doug mentioned that when Varese issued their premiere release of Studs Lonigan some years back, they got the tapes from him because he'd rescued them years earlier (like he did for the Intrada-released City of Fear, I think). But he got no credit, not even a thank you in the booklet. GRRR. I like Varese but I think that's really a shameful oversight so I hope the Varese reissue of the Intrada-premiered Lock Up by Bill Conti of the same program has some small acknowledgement inside. After all, when there are older albums getting reissued or even expanded the original album producer is almost always credited. Maybe that just doesn't apply to the present day and competitors, but I seem to recall Quartet acknowledging Bruce Kimmel for his Casino Royale issue (even though they expanded on it). And when Bruce had saved the only tapes for Goldsmith's Islands in the Stream, Lukas Kendall (who had licensed the title for FSM) not only gave Bruce credit for it and prominently had him write up a story about it for Film Score Daily, he even put the Kritzerland label logo on the disc with the FSM one! That's just class.

Anyhow, I thank Varese for reissuing this title for people because the Intrada sold out fast (and long ago), but I just wanted to shout out a pointed thanks to the folks at Intrada for bringing this exact program to us as a premiere 10 years earlier.

Yavar

FINALLY! I've been waiting for that one to be re-released, but if what you say is true, then I hope they do give credit where it's due.

I suppose it all has to do with how much creative work one label puts into it prior to another label re-issuing it. There are so many reissues happening lately and giving credit to all of the persons involved in locating the elements or preparing them for an album can be tricky. In the case of Studs Lonigan, I did save the music after Dub Taylor found it back in the 1980's and I did master it for a CD release, only to see the credit go elsewhere. But I survived. It happens. To balance things out, Jose Benitez turned around and accorded me producer credit on his own subsequent reissue - so it sometimes works the other way.

We couldn't have done our Master Of The World release a few years back if it hadn't been for Bruce Kimmel saving his elements from the old LP Varese LP days. In kind, we saved everything from Quigley Down Under, making the expansion for Prometheus possible. But we didn't do anything particularly creative, we just passed on to them what apparently were the only surviving masters. They did all of their own work after that. So when little creative work is being transferred from one label to another, seeing the credits follow everywhere in kind isn't really practical. I've seen Kimmel, Redman and Kendall all accord credits to fellow labels in many instances so these courtesies can and do happen. It's nice when it does happen but it's just too impractical to expect on a regular basis. Seeing it done once in awhile is pleasure enough.

I've noticed most major labels doing reissues - such as with RCA's many Mancini albums throughout the years and Mercury & Verve's many jazz and soundtrack projects - all typically accord original album producers credit. But "us" boutique soundtrack labels are a much smaller breed.

I think the only time I really felt "cheated" was when, after several mediocre versions of Flesh + Blood came out on different labels with different producers, we located for the first time the 2" masters, where upon we undertook great time and expense to completely remix and restore the entire score, including extra material... only to see our album used as the source for another label's reissue - alas - with someone else taking credit for all of my creative work. Kind of a no-no in my book. But that's because genuine creative work was involved, including numerous artistic decisions, musical choices with regards to instrument positioning, solo colors, dynamics, panning of the orchestra and whatnot. I myself would feel bad slapping my name on artistic work done by someone else. Obviously, not everyone in the music industry feels this way.

I understand the Varese release of Lock Up uses our album - and my creative work - as their source. I certainly don't yet know this to be true so commenting on it is probably meaningless. But, sadly, the label has traditionally been guarded about according credit to their fellow labels, or sometimes even acknowledging that there are, in fact, other labels producing film music. That probably isn't going to change, but miracles do happen. Our finding all of Conan is proof enough of that.
--Doug

I'm glad to see Lock Up in circulation again especially for those who missed this awsome title the first time around.
My only question is would it not be fair for Varese to let Intrada have one of their most sought after titles to expand & produce the way they see fit?
As after all the work that went into getting Lock Up released in the first place.
I doubt this re-release will have much going for it regarding the inlay card apart from maybe a few screen shot photo's & we all know with an Intrada presentation we get some very interesting reading.
Just my thoughts really. I'm just imagining what Intrada could do with the likes of Predator 2, Starship Troopers, On Deadly Ground, Robocop 3 etc etc. But like I said to have this score in population again is a pleasant surprise.