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The whole movie is on Youtube. Just took a look and the first minutes of music are terrific.
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Well.....while you are dancing a jig, I'll be dancing a "fortune cookie" kind of waltz for ALL IN A NIGHT'S WORK!
Not only a delightful score by Previn, but a nice tribute to Shirley MacLaine who'll soon be receiving an AFI Career Achievement Award.
(I hope the masters are in really nice shape!---I've been looking forward to this for 50+ years!)
Masters were in beautiful shape, in stereo. There are two cues that had to be taken from stems and are in mono - they are brief. Originally, the main title was in mono, but at the eleventh hour the stereo was found for it. It's one of my favorite Previn scores.
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Got my copy of When a Strangers Calls!
Listening to it now. Vey cool... ominous music never sounded so good... well besides KLUTE
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Received I MARRIED A MONSTER CD this afternoon...great job all around (although some of the dance music source cues aren't my cup of tea) with nice liner notes and very good sound. Thanks, Bruce.
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I received both CDs today. Listening to When a Stranger Calls now. Very impressive.
I like meandering music like this that draws you in and allows you to listen in to the inner textures of the individual instruments. The excellent recording allows the close detail to come through well.
Might be a bit dark and moody for some tastes, but if you like a solid dose of well-crafted mystery and menace now and then, but without having to put up with sudden loud crashings and bangings that disfigure so many scores of this genre, this is well worth considering.
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There should be more love on this forum for When a Stranger Calls. With all the '70s/'80s horror fans around here, I can't believe it has NOT sold out! It's a great album, presented as it should be. It's one of the strongest cases for C&C releases I can think of because there is a real progression, a symphony of terror as BK described it. It allows you to revisit the movie in your mind, accompanied only by the music which you can now here with all its nuances and detail and building tension without sound effects in the way. The sound quality is superb and it's just a perfect soundtrack to one of the great horror films of all time.
I want to see some gushing around here for this remarkable release. NOW!
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There should be more love on this forum for When a Stranger Calls. With all the '70s/'80s horror fans around here, I can't believe it has NOT sold out! It's a great album, presented as it should be. It's one of the strongest cases for C&C releases I can think of because there is a real progression, a symphony of terror as BK described it. It allows you to revisit the movie in your mind, accompanied only by the music which you can now here with all its nuances and detail and building tension without sound effects in the way. The sound quality is superb and it's just a perfect soundtrack to one of the great horror films of all time.
I want to see some gushing around here for this remarkable release. NOW!
I'll gush - oh.
If anyone wants this, though, it's getting close to being gone - I think we have around sixty left.
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If anyone wants this [WHEN A STRANGER CALLS, 1979], though, it's getting close to being gone - I think we have around sixty left.
I want it. But at $20 +S/H + INCONVENIENT/ANTIQUATED CD format... not that bad. In fact, I haven't bought a CD in 5 years, let alone one THIS pricey.
What's up with the "limited 1000 copies" sales gimmick? That one is so old, I'm surprised it's still used.
Come on ... kritzerland ... get real and iTunes or FLAC this puppy.
I do hope you've posted the exact same thing in every other thread involving every other label. You have, haven't you? I'll go check.
If it's inconvenient and antiquated then you have no need for it, do you?
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Posted: |
Jul 30, 2012 - 2:11 PM
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By: |
HM1313
(Member)
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Bruce/Gary:
Your replies completely (probab. deliberately) neglect real-world economics, and MAJORITY (gen. public) views.
In fact, I was retro-reflecting on my comments before posting: I.e., before I posted, I ran my msg by several work colleagues in cubicles next to me (all everyday ordinary joes). And they pointed out these criticisms (and more) before I did. Including comments like ... "and then they wonder why Napster, fire-sharing and b**tlegging" got so popular.
An effective counter-reply should be: "we all have certain hobbies that we enjoy and are willing to pay for. Like Easton Press Collector's Editions books* [when epub and mobi versions are way cheaper and more convenient] We like having the physical 'corporeal' object on our shelves. End of story."
Instead, we get unreflected responses like yours ... it seems not many in this joint are capable of thinking outside the box. So we all have to live with 1980s-era medium-rez CDs and their absurd pricings.
BTW: KRITZERLAND should be praised for giving away the liner notes and pix. Perfect for your your iTunes folder.
http://www.kritzerland.com/KL_WhenStranger_Notes.pdf
http://www.kritzerland.com/whenStranger_pix.htm
And I'll betcha dollars to donuts lossless downloads are-a-comin'. CD sales are behind downloads now, and sinking fast:
http://www.guardian.co.uk/media/2012/jan/06/downloads-physical-sales-us
* Speaking of books, here's an appropriate quote this TROLL offers you as sound advice:
“We have no need of other worlds. We need mirrors. We don't know what to do with other worlds. A single world, our own, suffices us; but we can't accept it for what it is.”
Stalislaw Lem, Solaris
(hint: read the book, first instead of the listening to the ST )
http://www.goodreads.com/quotes/140020-we-have-no-need-of-other-worlds-we-need-mirrors
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Bruce/Gary:
Your replies completely (probab. deliberately) neglect real-world economics, and MAJORITY (gen. public) views.
In fact, I was retro-reflecting on my comments before posting: I.e., before I posted, I ran my msg by several work colleagues in cubicles next to me (all everyday ordinary joes). And they pointed out these criticisms (and more) before I did. Including comments like ... "and then they wonder why Napster, fire-sharing and b**tlegging" got so popular.
An effective counter-reply should be: "we all have certain hobbies that we enjoy and are willing to pay for. Like Easton Press Collector's Editions books* [when epub and mobi versions are way cheaper and more convenient] We like having the physical 'corporeal' object on our shelves. End of story."
Instead, we get unreflected responses like yours ... it seems not many in this joint are capable of thinking outside the box. So we all have to live with 1980s-era CD and their absurd pricings.
BTW: KRITZERLAND should be praised for giving away the liner notes and pix. Perfect your your iTunes folder.
http://www.kritzerland.com/KL_WhenStranger_Notes.pdf
http://www.kritzerland.com/whenStranger_pix.htm
And I'll betcha dollars to donuts lossless downloads are-a-comin'. CD sales are behind downloads now, and sinking fast:
http://www.guardian.co.uk/media/2012/jan/06/downloads-physical-sales-us
* Speaking of books, here's an appropriate quote this TROLL offers you as sound advice:
“We have no need of other worlds. We need mirrors. We don't know what to do with other worlds. A single world, our own, suffices us; but we can't accept it for what it is.”
Stalislaw Lem, Solaris
(hint: read the book, first instead of the listening to the ST )
http://www.goodreads.com/quotes/140020-we-have-no-need-of-other-worlds-we-need-mirrors
Here's the real world for you: Why are you singling us out when every other label releasing limited edition soundtracks, which includes FSM, Intrada, La La Land, Quartet, BSX and others have not incurred your wrath? Please explain.
Here's more of the real world for you: We'd ALL love to make our titles available as downloads - but - now listen carefully even though you probably knew this already - we CAN'T. We are not given those rights. They will not give us those rights, not any of us. Surely you've noticed that? They retain those rights and if they feel like making them available at some point, they will. And let me just explain on more real world fact to you: If you think in your wildest imaginings that we would made more money with downloads than we made doing the limited edition, you are living in a bigger Fantasyland than is imaginable. The thing with downloads is simple - you would have either paid for two tracks or four tracks - but you would not have bought the entire thing, and even if you bought the entire thing, the return on it is not - listen carefully - worth anyone's time. So, if you like When a Stranger Calls, get it. If you don't, you've said your piece, albeit only to one label rather than to all (why not start a thread and address ALL labels - why not indeed), and there's no need to pollute a nice, positive thread about a release that's made not only a lot of people here happy, but the composer.
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If anyone wants this [WHEN A STRANGER CALLS, 1979], though, it's getting close to being gone - I think we have around sixty left.
I want it. But at $20 +S/H + INCONVENIENT/ANTIQUATED CD format... not that bad. In fact, I haven't bought a CD in 5 years, let alone one THIS pricey.
What's up with the "limited 1000 copies" sales gimmick? That one is so old, I'm surprised it's still used.
Come on ... kritzerland ... get real and iTunes or FLAC this puppy.
Your reply is deeply un-informed, but that's okay, you can't be expected to know the in's & out's of the business. But as an adult you should know the in's & out's of being curtious.
CD's are not antiquated in the film score market, especially limited editions. Disney and a couple others are pushing downloads, but as MovieScore Media reported, the download sales on their limited editions, were not as expected.
If you haven't bought a CD that pricey in five years, then I suggest a trip to the soundtrack section of FYE, Barnes & Noble, and other retailers who still carry film score CD's. Check out new prices for recent Varese Sarabande regular edition soundtracks:
$16.98 (not including shipping) all the way down (except two $18.98) the New Releases page. That's not far off from a limited edition.
And you have to understand, since you don't, labels have bills they incur. Legal fees, designing and writting of notes, paying extra people hourly money to package and ship CD's, the overhead of the place of business, but most importantly:
The American Federation of Musicians re-use fees.
The AFM charges various rates for the music, which can drive up the price of a CD substantially depending on many factors, including what orchestra, how many players, and extra fees for chorus. And many other fees for mastering and other aspects in regards to master tapes.
La La Land Records has posted here on the Film Score Monthly board that is can cost $20,000 and more to make just one release.
And the amount pressed depends on what they think can sell and sometimes is stipulated by the studio.
If you think you can do it for cheaper for online downloads, but all means--prove all the experienced labels wrong.
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Posted: |
Jul 31, 2012 - 9:19 PM
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By: |
HM1313
(Member)
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Here's the real world for you: Why are you singling us out when every other label releasing limited edition soundtracks, which includes FSM, Intrada, La La Land, Quartet, BSX and others have not incurred your wrath? Please explain.
Yes, my comments/criticisms apply to the above as well. I didn't realize THIS was a LABEL-generated thread; It was/is in FSM's in "Gen. Disc." sub-forum. FSM, perhaps, should have a sub-forum for INDUSTRY/LABEL-sponsored (or generated) threads to help the community discriminate among "interested" parties.
Here's more of the real world for you: We'd ALL love to make our titles available as downloads - but - now listen carefully even though you probably knew this already - we CAN'T. We are not given those rights. They will not give us those rights, not any of us. Surely you've noticed that? They retain those rights and if they feel like making them available at some point, they will. And let me just explain on more real world fact to you: If you think in your wildest imaginings that we would made more money with downloads than we made doing the limited edition, you are living in a bigger Fantasyland than is imaginable. The thing with downloads is simple - you would have either paid for two tracks or four tracks - but you would not have bought the entire thing, and even if you bought the entire thing, the return on it is not - listen carefully - worth anyone's time. So, if you like When a Stranger Calls, get it. If you don't, you've said your piece, albeit only to one label rather than to all (why not start a thread and address ALL labels - why not indeed), and there's no need to pollute a nice, positive thread about a release that's made not only a lot of people here happy, but the composer.
The composer MAY be better off ON THEIR OWN.
The one for WASC has his own web site. Not sure he owns the complete rights to his tracks. But lotsa artists market DIRECTLY via download-only (iTunes, etc.). I think some may be a bit intimidated by the initial technical-know-how curve. But this is hardly rocket-science. If an artist can buy/sell on (for example) eBay, or even do simple PC tasks for that matter, the same artist can direct-market via iTunes or Amazon.
Have you seen the award-winning video made ENTIRELY on an iPhone:
https://vimeo.com/12819723
This is where the future is headed .... so ...
Bottom line: your comments above -- about selling indv. vs multiple tracks -- are quite behind-the-TIMEs. As a matter of fact it is only a matter of TIME before small-time labels realize the economic benefits of iPad/iPod/iPhone-direct sales. We, here on this forum (and hard-core/dedicated ST collectors) represent only a minor % of the TOTAL ST sales. Direct-download via iTunes and Amazon and (to a smaller extent) HDTracks ... that's where the $$ is. Sure, the small-time labels will have to lower their $20/album price. They'll make it back with volume. Read Chris Anderson's "THE LONG TAIL" about how e-commerce works in the 21st century.
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Here's the real world for you: Why are you singling us out when every other label releasing limited edition soundtracks, which includes FSM, Intrada, La La Land, Quartet, BSX and others have not incurred your wrath? Please explain.
Yes, my comments/criticisms apply to the above as well. I didn't realize THIS was a LABEL-generated thread; It was/is in FSM's in "Gen. Disc." sub-forum. FSM, perhaps, should have a sub-forum for INDUSTRY/LABEL-sponsored (or generated) threads to help the community discriminate among "interested" parties.
Here's more of the real world for you: We'd ALL love to make our titles available as downloads - but - now listen carefully even though you probably knew this already - we CAN'T. We are not given those rights. They will not give us those rights, not any of us. Surely you've noticed that? They retain those rights and if they feel like making them available at some point, they will. And let me just explain on more real world fact to you: If you think in your wildest imaginings that we would made more money with downloads than we made doing the limited edition, you are living in a bigger Fantasyland than is imaginable. The thing with downloads is simple - you would have either paid for two tracks or four tracks - but you would not have bought the entire thing, and even if you bought the entire thing, the return on it is not - listen carefully - worth anyone's time. So, if you like When a Stranger Calls, get it. If you don't, you've said your piece, albeit only to one label rather than to all (why not start a thread and address ALL labels - why not indeed), and there's no need to pollute a nice, positive thread about a release that's made not only a lot of people here happy, but the composer.
The composer MAY be better off ON THEIR OWN.
The one for WASC has his own web site. Not sure he owns the complete rights to his tracks. But lotsa artists market DIRECTLY via download-only (iTunes, etc.). I think some may be a bit intimidated by the initial technical-know-how curve. But this is hardly rocket-science. If an artist can buy/sell on (for example) eBay, or even do simple PC tasks for that matter, the same artist can direct-market via iTunes or Amazon.
Have you seen the award-winning video made ENTIRELY on an iPhone:
https://vimeo.com/12819723
This is where the future is headed .... so ...
Bottom line: your comments above -- about selling indv. vs multiple tracks -- are quite behind-the-TIMEs. As a matter of fact it is only a matter of TIME before small-time labels realize the economic benefits of iPad/iPod/iPhone-direct sales. We, here on this forum (and hard-core/dedicated ST collectors) represent only a minor % of the TOTAL ST sales. Direct-download via iTunes and Amazon and (to a smaller extent) HDTracks ... that's where the $$ is. Sure, the small-time labels will have to lower their $20/album price. They'll make it back with volume. Read Chris Anderson's "THE LONG TAIL" about how e-commerce works in the 21st century.
I don't want to offend you, but I don't know how to respond without doing so - you really can't be this ignorant, can you? What volume? We are doing a finite number of CDs, that's how the licensing works. There's no volume. Our audience is right here. I understand exactly how eCommerce works, but you seem rather willfully bent on ignoring simple facts. And again, why don't you just address my central issue - why aren't you starting a thread of your own about this where you can then accuse all the labels of this? Why are you limiting your insults to us? Where, as the poster above yours asks, is your common sense of courtesy? But you just ignore those questions - stop polluting this thread and make your own. Amscray before I get irritated.
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This complaint is especially odd considering that the message board itself is related to a record company which produces… CDs.
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