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  1. Cyndi Freel

    This is why La-La Land continues to be the premier ‘film score’ record label. While we fans continue to watch their rivals re-release vintage works, frequently with minimal new content or virtually indiscernible restoration work, La-La Land intuitively knows not only what fans want, but the importance of releasing and ‘saving’ unacknowledged but brilliant music from composers. The work done by composers Kristopher Carter, Harvey R. Cohen, Michael McCuistion, Lolita Ritmanis & Shirley Walker, from groundbreaking classic SUPERMAN: THE ANIMATED SERIES reflects a time at Warner Animation where live orchestra sessions were still used in scoring an animated series. La-La Land has consistently recognized the historic importance of the music and composers from any film or television series based upon the project and and music’s cultural, intellectual and dramatic historical impact . Their efforts and courage in releasing soundtracks for the DC Universe Animated Original Films introduced the world to the brilliance of previously unknown composers such as Christopher Drake. Now they have insured the innovative combination of traditional orchestra and electronic scoring from SUPERMAN: THE ANIMATED SERIES will live on forever. Here again is La-La Land releasing music other labels don’t even have the vision to see the importance of, and the pent-up desire for it on the part of film score fans. This is why, when fans look at an advance notice such as this, detailing a 4 disc set complete with the type of insightful liner notes we’ve come to always get from La-L-La Land, we don’t bat an eye at the price of $59.98. We instead realize what an incredible deal it is, await the noon hour we can order it, and continue to ignore announcements from other labels regarding inferior soundtrack re-releases. From a Superman fan, thank you so much for this upcoming release. I cannot wait to dive in, enjoy it, and treasure it for years to come.

  2. Traveling Matt

    I am in agreement with your enthusiasm for the DC Universe scores, Cyndi, as well as for your appreciation of LLL as a label particularly, but strongly disagree with your take on the music provided by other labels. Each one of them – and there aren’t many – fill a particular niche among soundtrack collectors (which also don’t number many). Intrada and Kritzerland, in particular, issue premiere releases all the time; Intrada’s been doing it since the 1980s (their deal with Disney continues to bear fruit) while Kritzerland has recently picked up the ball on premiere releases of more vintage soundtracks from 40s, 50s and 60s no one else has touched – ever.

    I’m so, so happy LLL does what they do, especially when they focus on more contemporary scores. But please understand that doesn’t negate what the other labels do. There’s enough out there to interest everyone.

    • Cyndi Freel

      It is encouraging to hear that Kritzerland has a line-up of soundtracks from the 40s, 50s and 60s which have never been released. Knowing unreleased scores from the past masters, both legendary and under-appreciated, to look forward to is exciting. It also means their efforts in re-releasing past scores I already own will be minimal. For those of us who have been collecting scores since vinyl, it has become frustrating to see the ‘double-dip’ phenomenon that has been occurring with so many scores on labels such as Kritzerland and Intrada. When you’ve been collecting scores on CD since the advent of the format as I have, you grow tired of the re-releases of scores you already own that add little to the CD release you already own.

      Kritzerland’s approach with these vintage scores is THE way to go – offer new, unearthed works that further preserves the music and gives the fans NEW scores.

      The entire music industry is in a tail-spin. All genres saw a decline in physical and download sales last year – and I’m referring to rock, rap, country, alternative rock = the non-soundtrack world. Labels such as Kritzerland and Intrada need to stop the double-dipping and release NEW classic scores if they want to survive. Short of rereleasing a score with 30+ minutes of new material, fans do not have the money – nor dare I say interest – to ‘upgrade’ their soundtrack collection with new releases of scores they already own. Re-releases that, in many cases, are just duplicates of what they already own.

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