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Interview - Wall Crumpler "Howlin’ Wolf Records" - Part 05

Do you feel that "digital format only" [as recently announced by Walt Disney Records] is hurting the industry or helping?

I know and I am constantly reminded by the newer generation that digital and downloads are the way of the future. I am still a product of the record store generation and though I love how digital and download capability expands what we have access to – I will still pay a little more money and purchase a pressed CD if given the option. I like the idea of the availability of both pressed CDs and digital downloads…I believe that Movie Score Media (a fantastic label) has the right approach by releasing VERY limited pressings and concurrently making digital downloads available. I know that many of the labels are starting to adopt this strategy including Varese Sarabande and Buysoundtrax. Paul, my creative partner has expressed a great deal of interest in digital downloads and we hope eventually to make downloads available for some of the scores we release as well.

If you offer a limited release, do you feel after all your copies are sold, that traders can start trading your music?

Once a CD has been purchased and the composer/copyright holder has been compensated for their creative property, I think it is most acceptable for a collector to view that purchase as an investment and if the titles sells out or goes out of print, then I see nothing wrong with the collector benefiting from a wise investment. I think it is a problem when others purchase a creative property belonging to someone and then duplicate it with intent to profit without compensating the artist or copyright holder. My hope is that scores will be made more readily available through digital download in a manner that benefits collectors while at the same time providing the well deserved royalties to the composer.

What are your personal influences in way of score music?

Because I have appreciated films scores for as long as I can remember, there are quite a wide range of composers and scores that have influenced my interest over the years. Scores for the James Bond films by John Barry always grabbed me when I was younger and serve as a great example of early symphonic scores that I loved while John Carpenter’s very simple but VERY effective score for HALLOWEEN remains one of my favorite horror film scores. Probably the first instrumental music that inspired me when I was very young was listening to an old vinyl of Gershwin’s Rhapsody In Blue that my parents owned.

If you tell your patrons something about your goals, what would you say? What things can we expect from the coming years from "Howlin Wolf Records"?

Our goal at Howlin’ Wolf Records is first and foremost to have the opportunity to continue presenting films scores from great composers. We additionally hope to preserve some interesting scores from the pre-digital era, which might be in danger of being forever lost. Finally, we hope with the interactive aspects of on-line and blogging that we might be able to really nurture a collaborative spirit with those who enjoy film scores. I will state one final time that we are grateful always to hear from others about films scores or new composers that excite them.

Jeremy thanks so much for the opportunity to participate in this Q and A.

Wall Crumpler
Howlin’ Wolf Records

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