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As for a re-recording that was mislabeled, the original Arista LP release of THE FURY, now known to be a re-recording, was labeled "Original Soundtrack Recording."
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Nonsense.
I have a room full of LPs. I do not keep my soundtracks segregated into one section. They are spread all over the room by genre.
I don't have time to go through all of them, but I'll tell you what: Whenever I find one that says "soundtrack" that was in fact a re-recording, I will post it.
Thank you.
The people who laid out LP album designs and wrote the copy were not necessarily people who knew or cared about the difference between a "soundtrack" and an album of re-recorded highlights from a film score. I think you are correct that there were some such mislabeled albums -- I remember being frustrated some times during those years about misleading nomenclature -- but I think you have (not uncharacteristically) overstated the pervasiveness of that practice. ("Music from" was a term that could mean pretty much whatever the album producer wanted it to mean, and not necessarily that the music was the actual scoring cues taken directly from the soundstage recordings.)
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An ancillary question is why (or rather how) some scores were issued in soundtrack form and others were newly recorded for records. We know the basic reasons: Economy (to avoid re-use fees) and composer preference (when an artist preferred to rework his music). But who made the decisions and on what basis? Why, for example, were so many Fox films of the late fifties represented by actual soundtracks while other studios and record companies had differing practices?
It’s hard to generalize, but I will anyway. Here are the primary Fox “soundtrack” LPs/EPs of the 1950s and who released them:
THE ROBE – Decca – Music From the 20th Century Fox CinemaScope Production
THE EGYPTIAN – Decca – Music From Daryl F. Zanuck’s THE EGYPTIAN
CARMEN JONES – RCA Victor – From the Original Sound Track of the Otto Preminger Film
THERE’S NO BUSINESS LIKE SHOW BUSINESS – Decca – Selections from the Sound Track
DADDY LONG LEGS – Capitol – Songs from the 20th Century Fox Picture
ANASTASIA – Decca – Music from the Sound Track
CAROUSEL – Capitol – From the Sound Track of the Motion Picture
THE KING AND I – Capitol - From the Sound Track of the Motion Picture
APRIL LOVE – Dot – Music From the Sound Track
BOY ON A DOLPHIN – Decca – Music from the Sound Track
PEYTON PLACE – RCA Victor – An Original Soundtrack Recording
THE BARBARIAN AND THE GEISHA – 20th Century Fox – Original Film Soundtrack
A CERTAIN SMILE – Columbia – An Original Sound Track Recording
THE INN OF THE SIXTH HAPPINESS - 20th Century Fox – Original Film Soundtrack
THE LONG HOT SUMMER – Roulette – Original Sound Track Album
THE ROOTS OF HEAVEN - 20th Century Fox – Original Film Soundtrack
SOUTH PACIFIC - RCA Victor – An Original Soundtrack Recording
THE YOUNG LIONS - Decca – The Sound Track Album
THE DIARY OF ANNE FRANK - 20th Century Fox – Original Film Soundtrack
A DOG OF FLANDERS - 20th Century Fox – Original Film Soundtrack
THE SOUND AND THE FURY - Decca – The Sound Track Album
So, Fox started issuing re-recorded dramatic scores on Decca and ended the decade with original soundtracks released on Decca and their own label (with the occasional outlier). Fox musicals, on the other hand, were generally released on RCA or Capitol, and of necessity, were original soundtracks.
Why did other studios differ? Explanations vary. We know that Henry Mancini liked to re-record all of his scores during his 1960’s RCA contract, regardless of studio, in order to enhance listenability (and presumably record sales). M-G-M had a studio orchestra and generally paid the re-use fees to release original soundtracks on their own label, but BEN-HUR and KING OF KINGS were notable exceptions. Columbia primarily released original tracks on their Colpix and Colgems labels. Paramount did a mixture of original soundtracks and re-recordings during the 1960s. Warners had an orchestra and a label, and usually released original soundtracks, but occasionally mislabeled a re-recording.
United Artists had no studio, and therefore no studio orchestra. When they started their record label in 1958, it was less expensive to create releases by re-recording smaller orchestras than by re-paying the orchestras on the actual soundtracks. So they became big proponents of the “Original Motion Picture Score” releases, particularly for soundtracks recorded in the U.S. If the original soundtrack was recorded overseas, there was generally no big cost savings in a re-recording, so the original soundtrack was usually released.
Even Fox fell back into some re-recordings during the 1960s, primarily with Goldsmith scores (the FLINT films, STAGECOACH, JUSTINE, and PATTON). Many of these were originally recorded in the U.S. But Fox released (on their own and other labels) the original soundtracks for a lot of scores recorded overseas: FRANCIS OF ASSISI, ZORBA THE GREEK, THE LION, NINE HOURS TO RAMA, THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES, THE BIBLE, THE BLUE MAX, MODESTY BLAISE, etc.
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