 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
My understanding is that 'The Strange Affair' is one of several Basil Kirchin scores acquired from Basil's estate by Johnny Trunk of Trunk Records in UK and will be released in due course.
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
May 4, 2016 - 11:53 AM
|
|
|
|
By: |
Bob DiMucci
(Member)
|
So, Paramount did not preserve it's original recording session tapes from the films of this era? Where did FSM find ROBINSON CRUSOE ON MARS? You'd think if anything was going to stay lost it would be that, but THE ODD COUPLE?
Well, it's certainly not that Paramount didn't preserve ANY of its recorded scores from that 1965-74 period. The list shows that we've gotten 42 (30%) of them released already. And more are sure to come. It's that, relative to other periods in its history, a smaller percentage of scores may have survived. And, dating from 1964, ROBINSON CRUSOE ON MARS is technically outside of that decade, as I've defined it.
To be fair, Lukas, I'm sure, was just offering up his quick impression of the state of the Paramount vaults, based upon scores that he was interested in obtaining. He neither offered precise dates for this "lost decade," nor meant his casual remark to be some scientific pronouncement. I've just taken the thought and run with it, to see if we can determine what the actual state of affairs is. I suspect that some other studios (Columbia, for example) may have an even worse retention record over that period than Paramount.
|
|
|
|
|
|
|
There are a handful of titles that have turned up from that period. Robinson Crusoe on Mars was one of the last titles that was saved from the period when they pretty reliably have things.
Lukas
|
|
|
|
|
|
|
|
|
|
It would be nice to believe that Harkit and el have broken the code, and that their releases--many of which combine artists from different labels, add in tracks gleaned from the films themselves, and get at scores that seem unavailable to other labels--are all completely licensed and authorized. Let's just say I'm skeptical.
It's already addressed by Lukas, more than once as I recall. Here's some:
2009:
You may have heard, or will be hearing, rumblings about the thieves at Harkit issuing a CD of Goldsmith's Sebastian.
We had major problems with Harkit releasing pirate versions of Bell, Book and Candle and Klute before we did the official ones, and we had to have lawyers stomp on them to keep them from pirating The Man From U.N.C.L.E.
Anyway, if they do something with Sebastian, DON'T BUY IT.
Can't say any more -- it's not us working on a license -- but you would be VERY SORRY if you spent money on Harkit's inane vinyl transfer and then saw what was subsequently released for real.
Get it?
Thanks,
Lukas
2008:
Their CD of Klute was obviously ripped from the ancient vinyl. They were about to do a Man From U.N.C.L.E. release (obviously to be mastered from cassettes that had floated around forever) and it took WB legal to make sure that did not happen.
Not a fan.
lk
2004:
Harkit is a bootleg label manufacturing CDs from LPs. BOOOOOOO to them.
lk
I seem to recall a more definitive statement, but I can't find it.
For good measure, some others speaking out about Harkit:
La La Land Records:
2013:
Might be legit in Europe, but produced like SHIT! These guys are scumbags, plain and simple. And if you stick up for such scumbags you are a scumbag too!
Furthermore, legitimate companies -- Sony, WEA, Capitol, Varese, Intrada, Kritzerland, Music Box, La-La Land, etc -- bust our balls to make damn sure we deliver to you, the consumer, the absolute best product we can and do so within the confines of the law.
Shit releases like this just piss me off to no avail. There is no excuse for releasing such product except pure greed.
I draw a line in the sand. Choose your side.
Fuck you very much,
MV
Intrada:
2014:
If there is any one doubting our opinions on the Harkit label... doubt no more. They are absolutely the lowest of the scummiest. Bottom-feeding off the efforts of us real labels restoring and releasing this music legitimately courtesy the licensors and artist's estates. Would people STOP supporting their "work", they would dry up and disappear. They truly stink.
--Doug
2009:
Harkit isn't a legitimate label in my opinion. They often swipe music from any source they can find, slide in under international copyright irregularities, pretend the music is in public domain which it isn't, ignore U.S. copyright issues and import the titles illegally into U.S. territories via dealers who don't care about whether artists are compensated or studios receive royalties and so forth. I really wish people wouldn't support organizations like Harkit nor dealers who carry their questionable merchandise.
--Doug
2009: (Roger)
Most releases from Harkit are unlicensed. Amazon doesn't necessarily pay that much attention, so it's not a surprise they carry it. But we will not be supporting that label, only the labels that play by the rules.
As have some others, as I recall. In fact, there's really only been one label head who's been confused about the whole thing. I won't name the guy, since I'm not interested in turning this thread into his personal mental internet trashcan that ends in another locked thread.
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
