Intrada Soundtrack Forum

They're not in it for the charity, that's for sure. Neither is Intrada or FSM or Lalaland or Perseverance or any of the others. I doubt the licensor let Kimmel press another edition for free. "Promises, Promises" isn't my thing, but all the work it seems he did to fix problems inherent in the previous release deserve to be heard by as many people as want to buy it, I think.

Not to dredge up foul memories, but the overwhelming response (by a few really loud individuals) against Doug's idea of pressing another run of "Inchon" since he misjudged the demand made me sad. It'd be nice if the soundtrack community was more of a "live and let listen" kind of place, but it's obviously not.

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Karl Morton IV

"Enjoy every sandwich."
-- Warren Zevon

They HAVE to be in it for the money. It's the only way they can afford to do this. But regardless, I don't think there's a one of them (at all our favorite specialty soundtrack labels) that isn't in it for the love of the music too. There's a lot of easier ways to make a buck with fewer scars involved in the battles to clear material, deal with composer/estate egos, fix poorly kept source materials, get vault employees to assist instead of hinder, etc. It takes a level of passion and desire for the result themselves that I'm certain drives most or all of them. And a certain level of financial risk and speculation is involved. If it weren't for them, entire treasure troves of the music we all love and enjoy daily would be lost forever to deterioration and lack of interest. They're in it for the money alright, and thank god for that or they wouldn't be investing the time, energy, emotional toil and money to make our fantasies a reality.

I don't think that some labels are in it for the money. I believe all of them are in it for the money. You cannot put all that effort, all that time, all these hours necessary to run a record label into something that doesn't pay off in some way. Housing needs to be paid, children need to be fed, gasoline gets more expensive... are Intrada, FSM, Varese, LaLaLand etc. in it for the money? Hell, yes they are, you better believe it. Why are you going to work? You may like your job, but would you do it if you would't get paid a dime?
However, I also do believe that these labels are not in it only for the money. Nobody who's only in anything justfor the money is going to start a specialty soundtrack label. Take a look at the people at and behind these labels, at Douglass Fake, Lukas Kendall, Robert Townson, whoever... these are first and foremost fans. They have a real and honest passion for film scores. This passion shines through the words of anything I have ever read by these folks and all those CD releases are evidence of that passion. It's real, it's honest.

The difference between them and many of those who buy these releases is that they have managed to turn that passion into something that affords them to make a living out of it. They did the jump and opened up their own label, producing CDs that they feel passionate about in the hope that at least a few others will feel likewise so that in the end of the day, the effort and time put into producing such a CD will pay off. Running a record label, any record label, is a business. But to build and run a soundtrack specialty label practically requires a passion and a love for the medium to begin with, otherwise, why bother? I applaud all these labels for what they are, and I don't think any of these specialty labels are in it only for the money. If they're doing sound business, all the better, because that means these labels will be around and continually produce more of those fine soundtrack CDs, quite a few of which will eventually end up on my shelf.

If a label was in it for the money, they'd choose an entirely different line of work.

Well I really hope you lot do make a bit of money out of all this.

The problem I have with that damn Kimmel are those bit parts he did on Mork And Mindy back in the day.

I'm still waiting for promised release of The Last Man On Earth score.

Everyone is in it for the money. Making money is the only reason I find myself around people that I would "normally" avoid being anywhere near.

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"I used to worry about losing my mind. Now that I've lost it I don't worry about it anymore." -Wavy Gravy

If is about the music, then why limit the releases?
I am in it for the music, I am not a bottle cap collector, there are
certain things I have passed on, like the new Spartacus set, because
I know that later down the road some label (probably Varese) will
release a slimmed down version of just the score, and I already own
the old stereo CD.

Oh, come on. It is about the music and has always been. Much has been said about these "limited" CDs. It's all a question of negotiation. Years ago, there were astronomical re-use fees that made the releases of many soundtrack CDs, particularly full length soundtrack CDs, all but impossible. So then these specialty labels got some of the studios to make special deals. Since full licensing costs were out of reach, why not negotiate a special deal for a certain number of copies. That way, the music could get out in reasonable numbers, but without having to pay for full unlimited licensing. This proved to be a benefit for the labels as well as for the collectors. The labels could calculate more precisely. Hundreds of outstanding releases, many of which for rather obscure movies that appeal to but a handful of collectors, were all of a sudden available. Great times. It's these "limited edition" deals that made this possible in the first place.
Now it has come to the point where many of these releases sell out quickly. I remember the days when stuff like THE TOWERING INFERNO or POSEIDON ADVENTURE were around for months and years, nowadays, it's a matter of days when some of these sell out. It is only natural, that in those cases the same or another label issues another edition of these soundtracks. POSEIDON ADVENTURE was obviously a big success, since it sold out quickly.
There are some scores, like STAR TREK II or ALIEN that are released in "unlimited" quantities by these labels, since they know they can risk it, but why negotiate more expensive "unlimited" editions for something that may barely sell 2000 copies.
And if some limited edition sells out yet the demand is there, why not release another edition of the music? There are limited editions of the book The Lord of the Rings, but sure as hell this doesn't mean they are the only releases.
In fact, when Inchon sold out so quickly, I thought the best resolution is to re-issue the score at some other point in some other edition. That way, everybody should be happy. Those who bought it as a "limited" edition because that edition is still limited, and those who would still like a copy, since they can get the music on another edition.
Perhaps I've been around too long, perhaps I remember the time all too well when much of the stuff was unavailable, that I am just happy with all these releases these labels come up with, that I cannot get myself to gripe if here or there an edition is released in too high or too low numbers for some people to be satisfied.

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Karl Morton IV

"Enjoy every sandwich."
-- Warren Zevon