Sean has updated the Offers page today, but there wasn't time to do anything with the Incoming list. If you spot anything interesting that we've missed, drop me a line at admin@zetaminor.com

There are a few juicy new bargains in the Offers page, including a couple of cheap Gerry Anderson box sets; Joss Whedon's quirky science-fiction Western series Firefly; The Champions set for less than £25; a half-price The Prisoner box set; the new Donnie Darko Director's Cut for £8.99; and the forthcoming BBC science-fiction series releases The Invisible Man and The Nightmare Man, and the two Dominick Hyde plays for less than a tenner each. What are you waiting for - get clicking!

And now some slightly overdue soundtrack news...

Thanks to delays at HM customs, I have information about four new score CDs from Film Score Monthly to offer you this week, including what is arguably their most ambitious project yet: a three-disc set featuring Bronislau Kaper's masterpiece Mutiny On The Bounty.

First, though, the stragglers from the last batch: Alex North's I'll Cry Tomorrow, and The Man From U.N.C.L.E. - Volume 3.

Alex North seems to be one of those composers whose fine work is in danger of vanishing completely as time erodes the appeal of many of the films he scored. Of course, his estate will be raking in the royalties for Unchained Melody for decades to come, but his other work would become increasingly more obscure, if it wasn't for the sterling efforts of Lukas Kendall's adventurous label.

Daniel Mann's 1955 film I'll Cry Tomorrow, a biopic about a young singer / actress, Lillian Roth, who battle with alcoholism was the subject of a best-selling autobiography, is now chiefly remembered as a film that gave Susan Heywood one of her most memorable roles. It's also one of the first films North scored after moving to Hollywood, and gave him the opportunity to work with Mann again, who had earlier directed  The Rose Tattoo, the first of what would eventually be a string of collaborations with the composer.

North's complete, slightly-jazzy, melodic score for I'll Cry Tomorrow is presented in stereo, on FSM's disc, which also features about twenty-five minutes of bonus material, including alternate score cues, and a selection of source music and songs (including a recording of When The Red, Red Robin Comes Bob, Bob Bobbin' Along with Sandy Ellis performing the vocals, in case the studio felt that Heywood's own delivery wasn't up to scratch).

It's a mark of the quality of the music composed for the Man From U.N.C.L.E. that even now, after three packed double-disc FSM CD releases, there are no signs that the well is running dry (this will, however, be the final release - there's only a finite amount of music available!)

The new set features music from all four Man From U.N.C.L.E. seasons (by Walter Scharf, Morton Stevens, Lalo Schifrin, Gerald Fried, Robert Drasnin, Robert Shores, and Jerry Goldsmith), and from the single season of The Girl From U.N.C.L.E. (music composed by Dave Grusin, Robert Shores and Jack Marshall).

The disc features an extended version of Goldsmith's first season Man From U.N.C.L.E. theme (arranged by Morton Stevens), and the Girl From U.N.C.L.E. Main Title and End Title (based on Goldsmith's Man From U.N.C.L.E. theme, re-arranged by Dave Grusin).

A suite of cues written by Jerry Goldsmith for three earlier episodes were re-recorded - in glorious stereo - for the fourth season episode The Deadly Quest, by the head of M-G-M's music department, Robert Armbruster, and this suite rounds out the disc, bringing FSM's superb U.N.C.L.E. series to a close in spectacular fashion. Stay tuned at the end of disc two for a nice little bonus!

There are two complete scores offered on FSM's December Golden Age Classics release, both for M-G-M's 1958 Cinemascope Western, Saddle The Wind. Aside from it's score, a relatively minor work by Elmer Bernstein, which replaced a score by Jeff Alexander, the film is chiefly notable for the involvement of Emmy-winning Twilight Zone creator Rod Serling (the film's co-writer), actress / singer Julie London, and actor / director John Cassavetes (no disrespect to star Robert Taylor).

Alexander's score is believed to have been the victim of changes made to the film in post-production (some drastic re-editing and re-shoots were needed to give the film a more upbeat ending). The film also features a song performed by Julie London, which was written into the script, and subsequently woven into both composer's scores. Perhaps the most remarkable aspect of Saddle The Wind's music - the chance to now contrast and compare the two scores aside - is the opportunity to hear Bernstein's work for the genre a couple of years before his best-loved score, for 1960's The Magnificent Seven, practically typecast him for decades.

The disc offers an alternate version of Julie London's title song from the one used in the film (and subsequently released on numerous London compilations). Licensing restrictions have meant that the film version isn't on the FSM album, but the alternate version, arranged by André Previn and orchestrated by Alexander Courage, is a fine stand-in.

Few film music fans will need much persuasion to secure a copy of FSM's epic three-disc set of Bronislau Kaper's Mutiny on the Bounty - the label's hundredth release: a landmark by any measure.

Kaper's influential score, which took more than a year to complete, is one of the key scores of the sixties - a powerful, sweeping thematic work with numerous memorable cues.

Several versions of the score have been released over the years, but this new CD is by far the most comprehensive.

A huge amount of music was recorded for the film. Because of the constant editorial changes, many cues were re-written and re-recorded. FSM's set presents a disc and a half - more than a hundred minutes - of the score as heard in the film; another disc and a half - ninety-two minutes - of alternate versions, forming a virtual second score; and forty-four minutes of source cues, versions re-recorded for the original album and more alternate cues. The sound quality is generally very impressive, although there's a little inherent distortion in the louder passages.  It's an astonishing collection of remarkable music!

The entire soundtrack is presented in stereo, from the original 35mm six-track masters.

Each FSM disc comes with a lavishly-illustrated booklet containing extensive liner notes and track-by-track breakdown (I'll Cry Tomorrow by Lukas Kendall; The Man From U.N.C.L.E. by Jon Burlingame; Saddle The Wind by Kendall and Jeff Bond; and Mutiny on the Bounty by Bond, Kendall and Joe Sikoryak. The latter is a forty-eight page tome worthy of such a monumental score. It goes into some detail about the film's turbulent production, which rivalled that of of Fox's Cleopatra - also in production at that time; and the self-centred petulance of its star, Marlon Brando, whose indifferent performance almost scuppered its chances at the box office. The booklet also includes the liner notes from the original LP.

As usual, these discs are available through specialist retailers, or directly from the Film Score Monthly website. Congratulations to Lukas and his team on the release of the hundredth release - and here's to many more!