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Paypal is excruciating to use in terms of setting up the postal stuff - anyone in Canada, please e-mail me and we'll adjust your shipping charges down, but I can only do it by refunding once the payment has been made - I'm checking to see if there's some way we can adjust it permanently, but I know we've tried before.
As to other countries - as far as I know we're charging exactly what the post office charges, maybe .25 more to help cover the packages we use - we've been losing money on shipping because of the package cost, but I'm not sure why any other online dealer would be able to ship overseas cheaper (except to Canada, obviously). But I'm checking again just to make sure.
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I immediately ordered it once I saw the announcement. Aside from these scores being from two of my favorite John Ford films in Liberty Valance Mockridge used Alfred Newman's love theme from Young Mr. Lincoln which I consider to be one of the most beautiful themes ever written. To finally get this on CD certainly made me very happy especially as the score for Young Mr. Lincoln supposedly does not not exist anymore (though I do hope I just fell for some unsubstantiated internet rumors). Thanks, Bruce, for this terrific release.
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Liberty Valance is a badass Lee Marvin. In the case anybody didn't know about this.
With Lee Van Cleef and Strother Martin as his two compatriots. Wonderful film!
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For those who purchased - Won Ton Ton and Centennial Summer are shipping in the morning.
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Posted: |
Aug 5, 2014 - 8:32 PM
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By: |
PFK
(Member)
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I LOVE Alfred Newman's work as do most of us.
I've told this story before, but now it's appropriate once again in this thread.
Many decades ago I was talking with Hugo Friedhofer about the Newman-Mockridge connection in which some film (I don't remember which one) was credited to Mockridge, but the main theme was seemingly adapted from one of Newman's. We discussed how well Mockridge integrated his work with Newman's and Hugo said that yes, Mockridge was very attuned to Newman's style.
Then, with a twinkle in his eye he said, "Mockridge sometimes writes Alfred Newman music better than Alfred Newman." I thought this was an odd thing to say so I asked him if he was saying that some of the things we think are Newman's are, in fact, really Mockridge's. Hugo would not go down this road any further, so the conversation ended there.
But I inferred from this that some of the things we've always thought of as being Newman's, particularly in the area of collaborative scores, may actually be Mockridge, stealing from himself. Mockridge may have contributed something to a Newman-credited score, and, eventually he uses it in one of his own scores and WE THINK he's adapted it from Newman, whereas it may actually be his.
I keep waiting for Jon Burlingame's book on the Newmans to sort all of this out, but I'm beginning to think the chances are getting slimmer every year that the book will ever be published.
There are so many never revealed things about the Newman-Mockridge, Newman-Friedhofer, Friedhofer-Lange-Emil Newman, and Lionel Newman collaborations that would be fascinating to discover, I'm sure. Friedhofer once told me that his score for WOMAN OBSESSED (which he is credited with and as I recall, would sometimes refer to as WOMAN POSSESSED!!!) had multiple hands doing the composing.
We'll probably never know, and in fact, it bolsters the idea that filmmaking in those days was a very highly skilled occupation presided over by mostly compatible below-the-line and behind-the-scenes collaborators who, for the most part, didn't have outsized egos racing after screen credits on everything.
Very interesting Manderley, thanks for posting it.
You might find this interesting: A friend worked on the Intrada CD to The Last Wagon.
He said: " The fingerprints of Alfred Newman, Hugo Friedhofer and Cyril Mockridge were
all over it! The official paperwork said Lionel Newman, so that's what we
had to go with. "
I'm sure in the days of the studio system people often pitched in and helped others, especially with release dates closing in.
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I LOVE Alfred Newman's work as do most of us.
I've told this story before, but now it's appropriate once again in this thread.
Many decades ago I was talking with Hugo Friedhofer about the Newman-Mockridge connection in which some film (I don't remember which one) was credited to Mockridge, but the main theme was seemingly adapted from one of Newman's. We discussed how well Mockridge integrated his work with Newman's and Hugo said that yes, Mockridge was very attuned to Newman's style.
Then, with a twinkle in his eye he said, "Mockridge sometimes writes Alfred Newman music better than Alfred Newman." I thought this was an odd thing to say so I asked him if he was saying that some of the things we think are Newman's are, in fact, really Mockridge's. Hugo would not go down this road any further, so the conversation ended there.
But I inferred from this that some of the things we've always thought of as being Newman's, particularly in the area of collaborative scores, may actually be Mockridge, stealing from himself. Mockridge may have contributed something to a Newman-credited score, and, eventually he uses it in one of his own scores and WE THINK he's adapted it from Newman, whereas it may actually be his.
I keep waiting for Jon Burlingame's book on the Newmans to sort all of this out, but I'm beginning to think the chances are getting slimmer every year that the book will ever be published.
There are so many never revealed things about the Newman-Mockridge, Newman-Friedhofer, Friedhofer-Lange-Emil Newman, and Lionel Newman collaborations that would be fascinating to discover, I'm sure. Friedhofer once told me that his score for WOMAN OBSESSED (which he is credited with and as I recall, would sometimes refer to as WOMAN POSSESSED!!!) had multiple hands doing the composing.
We'll probably never know, and in fact, it bolsters the idea that filmmaking in those days was a very highly skilled occupation presided over by mostly compatible below-the-line and behind-the-scenes collaborators who, for the most part, didn't have outsized egos racing after screen credits on everything.
Very interesting Manderley, thanks for posting it.
You might find this interesting: A friend worked on the Intrada CD to The Last Wagon.
He said: " The fingerprints of Alfred Newman, Hugo Friedhofer and Cyril Mockridge were
all over it! The official paperwork said Lionel Newman, so that's what we
had to go with. "
I'm sure in the days of the studio system people often pitched in and helped others, especially with release dates closing in.
It wasn't just then, it happens now all the time. I could name a fan favorite film from the 80s scored by a beloved film composer - several of the biggest cues were written by someone else and that someone else has never been credited. You have to go with what's on the cue sheets and any side deals or whatever remain just that. But having now listened several times, other than the very first part they are very different pieces.
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Posted: |
Aug 5, 2014 - 9:26 PM
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By: |
PFK
(Member)
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I LOVE Alfred Newman's work as do most of us.
I've told this story before, but now it's appropriate once again in this thread.
Many decades ago I was talking with Hugo Friedhofer about the Newman-Mockridge connection in which some film (I don't remember which one) was credited to Mockridge, but the main theme was seemingly adapted from one of Newman's. We discussed how well Mockridge integrated his work with Newman's and Hugo said that yes, Mockridge was very attuned to Newman's style.
Then, with a twinkle in his eye he said, "Mockridge sometimes writes Alfred Newman music better than Alfred Newman." I thought this was an odd thing to say so I asked him if he was saying that some of the things we think are Newman's are, in fact, really Mockridge's. Hugo would not go down this road any further, so the conversation ended there.
But I inferred from this that some of the things we've always thought of as being Newman's, particularly in the area of collaborative scores, may actually be Mockridge, stealing from himself. Mockridge may have contributed something to a Newman-credited score, and, eventually he uses it in one of his own scores and WE THINK he's adapted it from Newman, whereas it may actually be his.
I keep waiting for Jon Burlingame's book on the Newmans to sort all of this out, but I'm beginning to think the chances are getting slimmer every year that the book will ever be published.
There are so many never revealed things about the Newman-Mockridge, Newman-Friedhofer, Friedhofer-Lange-Emil Newman, and Lionel Newman collaborations that would be fascinating to discover, I'm sure. Friedhofer once told me that his score for WOMAN OBSESSED (which he is credited with and as I recall, would sometimes refer to as WOMAN POSSESSED!!!) had multiple hands doing the composing.
We'll probably never know, and in fact, it bolsters the idea that filmmaking in those days was a very highly skilled occupation presided over by mostly compatible below-the-line and behind-the-scenes collaborators who, for the most part, didn't have outsized egos racing after screen credits on everything.
Very interesting Manderley, thanks for posting it.
You might find this interesting: A friend worked on the Intrada CD to The Last Wagon.
He said: " The fingerprints of Alfred Newman, Hugo Friedhofer and Cyril Mockridge were
all over it! The official paperwork said Lionel Newman, so that's what we
had to go with. "
I'm sure in the days of the studio system people often pitched in and helped others, especially with release dates closing in.
It wasn't just then, it happens now all the time. I could name a fan favorite film from the 80s scored by a beloved film composer - several of the biggest cues were written by someone else and that someone else has never been credited. You have to go with what's on the cue sheets and any side deals or whatever remain just that. But having now listened several times, other than the very first part they are very different pieces.
Guess it does happen all the time. I think a very confusing time was Universal Pictures in the 1940s with Hans Salter and Frank Skinner. They almost seem like one person!
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Paypal is excruciating to use in terms of setting up the postal stuff - anyone in Canada, please e-mail me and we'll adjust your shipping charges down, but I can only do it by refunding once the payment has been made - I'm checking to see if there's some way we can adjust it permanently, but I know we've tried before.
As to other countries - as far as I know we're charging exactly what the post office charges, maybe .25 more to help cover the packages we use - we've been losing money on shipping because of the package cost, but I'm not sure why any other online dealer would be able to ship overseas cheaper (except to Canada, obviously). But I'm checking again just to make sure.
Thanks, Bruce. Will do for the next release. I purchased this one elsewhere because I was worried it'd be sold out quickly.
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Liberty Valance is a badass Lee Marvin. In the case anybody didn't know about this.
Mr. Marvin is also in Donovan's Reef and is hilarious.
It was part of a semi trilogy that also had "The Comancheros".
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Wonderful release. Bruce, can you comment on the high shipping cost to Canada? I notice this time around that shipping for a single CD is almost $13. I just ordered 5 CDs from one of the other usual suspects and the shipping came to $11.25. Are you perhaps using a shipping service that is charging too much? Not meant as a criticism but because I prefer to order my CDs directly from you, it's disappointing. Wasn't able to do so this time around.
The last Kritzerland package of 2x CDs to the UK cost $12.75 to post. It was post marked JUL 25 2014 and arrived on the morning of JUL 30 2014 - not even 5 days. Is that fast enough, or, service enough for what it cost?
Again, maybe other companies do enough volume where they get some kind of break, although I am not aware of the USPS doing that. Perhaps they have a deal with another shipping service. CDs weigh a certain amount (around four ounces) and we use a postage service that automatically calculates based on the weight of the package.
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Bruce, any idea yet when this cd might ship? Thanks.
Well, it's really not slated to ship for another four to five weeks - but I'm hopeful we'll have them by the end of next week or so.
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[startquoteThe last Kritzerland package of 2x CDs to the UK cost $12.75 to post. It was post marked JUL 25 2014 and arrived on the morning of JUL 30 2014 - not even 5 days. Is that fast enough, or, service enough for what it cost?
Again, maybe other companies do enough volume where they get some kind of break, although I am not aware of the USPS doing that. Perhaps they have a deal with another shipping service. CDs weigh a certain amount (around four ounces) and we use a postage service that automatically calculates based on the weight of the package.
The time of year ,when ordered,also has a bearing on how long stuff takes.Around the summer period Mail volume drops.One reason, for example,is that 'normal'  people order less as they need the cash for their hols.So our precious get through quicker.
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