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Here's the lowdown on Albert's tapes. I knew Albert fairly well and he gave me a number of his ten-inch reel-to-reel tapes to transfer and preserve, which I did, and the quality of those original tapes was superb. But many of them I did not get to because I was working on other projects. Sometime between a couple of years before Albert's death and Albert's death, those reel-to-reel tapes vanished, and all that were left were cassette dubs of the scores. Somebody told me that the Kritzerland release of TORMENTED was mastered from a cassette. Not having purchased it, I can't tell. When Albert was alive he would sometimes make reel-to-reel dubs of his tapes and send them to other people. Albert was probably the worst tape transferrer in history. Almost all of the dubs he made were distorted and can't be salvaged in any kind of decent sound.

The simple reason that THE BOY AND THE PIRATES sounds so good is because those were my tapes. I lent them to Mr. Kimmel, who released them, didn't return them to me, and whether or not he gave me credit I don't know. Where the tapes are now I don't know, but I believe he told me he was sending them to MGM/UA.

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On a completely different subject not at all related to the above matter pertaining to Glasser's music, over the past few years I helped a number of CD sountrack labels release scores that were in my personal collection, with the promise that the labels would pay the composer and publisher royalties they are obligated to pay under U. S. Copyright law. Because in many cases I was the legal representative of those composers and/or publishers, or else I had been entrusted with tapes by the owners and told that the music could not be released unless it was done in a TOTALLY LEGAL FASHION. Unfortunately, a number of these labels promised to pay the royalties, but after I provided them with the tapes they refused to pay a single penny, and when I demanded they honor their word and pay the royalties, they refused and basically told me where I could go.

As a result of this, I simply won't help these labels any more because they have broken their word with me, my writer/publisher clients, and with other composers I don't represent, but who deserve to be paid their proper royaltlies anyway. So the simple reason that a number of these scores are not likely to ever be released is because I won't them be released by crooks. And lest you think the composers' estates and publishers' estates were the only people being ripped off, you the customer were also ripped-off. Despite the fact that these labels don't pay royalties, they didn't lower their price by the amount they should have paid for those royalties. So basically they were ripping off the people who wrote and owned the music, and didn't pass any of their savings on to you, the soundtrack consumer. Welcome to the disgusting world of motion picture soundtracks! There are plenty of decent people in the business, but unfortunately there are some real bad eggs, too.