That wasn't the half of it, and I don't know half of it myself. But, my
experience during the '80s and '90s was that most of the catalogs were so
unstable that by the time awareness of a particular recording matured, you
couldn't get it anymore. I'm speaking of the classical realm. That seemed to
be true of all the Polygram labels, both new productions and reissues. EMI,
too. What were they thinking? The long tail was constantly chopped off.

Was this driven by the US offices and only suffered here? Was it a result of
US tax regulations regarding inventory accounting? A pop music concept of
product cycle life-time? Or were the business organizations so messed up
that they couldn't properly support their product and serve their markets?

If small firms like BIS and Bridge could/can (at least intend to) keep all
their work in print, how was it the majors couldn't or wouldn't? This
question of availability seems to have an additional aspect now, with the
debate over copyright longevity.

-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Tom Fine
Sent: Saturday, March 22, 2014 8:45 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] Old Mercury recording venue gets a rebuild

Polygram was foolish not to provide something putting Mercury's best foot
forward. They did the same to Chicago, I am pretty sure, judging from how
bad the Kubelik material sounds as released on that CSO anniversary
compilation put out on RCA. I think both of these were put out in the era
when Polygram was putting out Mercury Golden Imports, so they had 2-track
Dolby-ized dubs that they could have provided, the same tapes they cut the
Golden Imports LPs from. Definitely not ideal, but better than leaving
someone to make their own dubs off scratchy old LPs. Further proof of what a
bad brand-owner Philips was. They never missed an opportunity to avoid
promoting something they owned.

----- Original Message -----
From: "Dennis Rooney" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Saturday, March 22, 2014 1:58 PM
Subject: Re: [ARSCLIST] Old Mercury recording venue gets a rebuild

> Dear Carl,
> That 75th anniversary gatefold Lp set was something that can pass into
> history. Vox was releasing the MinnOrk's recordings and the
> Prokofiev/Stravinsky was slipped in as a bonus; however, the U.S. Vox (or
> Candide, or whatever they released it as) had a nasty bass cut (you had to
> obtain the French mastering to hear the real quality of those masters). I
> transferred the shellac material from my own copies. The Mercury material
> came from commercial Lp pressings after we could not obtain copies of the
> master tapes from Polygram. An anniversary collection of photographs was
> offered with the discs. I regret only that the Mitropoulos/MSO Fantasia
> Fugue never appeared in improved form due to a producer at Sony Classical
> who decided in 1990 to have the original session lacquers scrapped!
> Ciao,
> On Fri, Mar 14, 2014 at 5:31 PM, Carl Pultz <[log in to unmask]> wrote:
>> I have a souvenir of your days in Minneapolis, DDR. The Minnesota
>> Orchestra's 75th anniversary album. First the disk has that Ormandy
>> Weinberger, a couple selections with Verbrugghen, two with Mitropoulos,
>> evergreens with Dorati and Skrowaczewski, spanning 1925 to 1961. Fast
>> forward to 1977 for the second LP, where Dennis' productions of
>> and the Three Oranges Suite were recorded in the Orchestra's current
>> again and hopefully permanent) home. An enjoyable set.