Promo CD - Disc issued by composer's agent (or the composer himself) to promote that composer's talent.

Bootleg CD - Anything else released that is not commercially legal.

People do confuse these terms. Actually, people abuse the word "Promo" often, as it sounds legit and also attracts more people. Sure, even bootlegs say "for promotional use only." Don't be fooled. So, what you are referring to as a "fake" promo, should properly be labeled as a bootleg.

Simple answer, I know... though I hope it clears up any misunderstandings you may have.

Jeron

For example, I've got a Promo of the original Star Trek: The Motion Picture LP. It's got the exact same contents and value as any non-promo version.

And used CD stores don't seem to care if they're selling a promo or legit version, as I quickly found out - almost half of the CDs I've seen at the local CD Warehouse have punched-out bar codes .

Andrew Drannon
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Check out JAWS: Music of the Savage Ocean on the Scoring Stage @ ScoreSheet! In-depth analysis, musical examples, sound clips, and a poll for Williams' seminal epic! http://scoresheet.tripod.com/

[This message has been edited by Andrew Drannon (edited 23 July 2000).]

First, a little background on the true promo:

A promotional CD contains music that has not been paid for by the issuing label, thus the label CANNOT collect any monies off of the CD, AND the label retains complete ownership of the physical CD.

Notice this message stamped on true promos: "For promotional use only. Sale or other transfer is prohibited. Must be returned on demand of recording company."

Perhaps you've seen this before? If it weren't for used record stores who've been breaking this rule by selling these things at used prices, the only place you could find albums or CDs with this message was in a radio station or music review magazine's headquarters.

These days, this stamped message has been mostly replaced with the "hole-punch" in the bar code. This is an effective way to prevent the UPC on promo items from being scanned (on a sale).

Is there a difference between a promo and a commercial release of the same album? No. The number of promo copies a label distributes for review purposes has been pre-negotiated in the contract for music licensing. The agreement calls for a few hundred copies, to be marked as promos, that the label doesn't have to pay for. Otherwise, they'd be losing money on CDs sent to radio stations for airplay or review.

How does all this apply to the "composer promo"? If it's a commercial score album, like a Varese Sarabande release of a Goldsmith score, the composer or label's promo, to be distributed freely, is the one with the UPC punched out.

But what about all these "composer promos" of unreleased new and older scores? Often, these albums are mislabeled for marketing tools.

If a company like Intrada is selling a Marco Beltrami promo CD of Deep Water for $19.99, this is obviously not a promo (or shouldn't be). Labels will sometimes collect money to "cover the costs of production." But wait a minute. These days, it costs no more than five bucks (on the high end) to manufacture these. So, where is the other $15 going? Perhaps to cover the costs of the bulk of the stock the label is not able to sell because they are freely being distributed by the composer or agent? Yes, probably, but usually the negotiations licensing a "promo" doesn't usually extend to 20 CDs recouping the costs of 500 manufactured CDs. This is just one instances that blurs the definition and tradition of true promos.

If Beltrami licensed the music for promotional purposes (in which he paid money, albeit below the going rate), the album should be dubbed "limited promotional release," just as all the FSM discs are dubbed (although they are not "promotional" because they have a different licensing arrangement). Then, and only if the licensing agreement okays the use of collecting money to cover the costs, is it okay for Beltrami (or the company that paid the reduced license fee) to collect money on the albums. This isn't often the case.

This whole business of marketing CDs as "composer promos" really leaves me with a lot of questions. Traditionally, if you want to MARKET yourself, you paid money to do it. If I want to promote MovieMusic.com, I buy a bunch of bumper stickers, mugs, mousepads, etc. I give them away! You won't find the company that made the bumper stickers selling a few of 'em for $15 bucks each on their website, would you? To cover the costs? I think not, especially if there were 2,000 that were given away for free elsewhere. See the difference?

Logied is right, the use of the word "promo" is over used in these "composer promo" instances.

As for Andrew's comments about stores not caring about selling promo items? The tide is turning. In California, certain stores that buy used CDs from people do not accept CDs with the imprinted "promo" message or the hole-punched UPC. Why? It's against the law.

But, this in its entirely is peanuts when you look at whats happening in other worlds, like that of Napster. The film and music industries don't care much about a few hundred composer promos that may be illegally making money for someone, especially when, in a matter of months, people will freely be able to rip DVDs onto their hard drives, compress them in MPEG4 and email them to their friends. A much bigger headache, if you ask me!

PeterK

Hope that answers the question.

PeterK