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REVIEW ARCHIVES:
A B C D E F G H I J K L M N O P Q R S T U V W Y Z

"Shore of Sumatra" from Originals (MP3 edit)

"Enter the Ironman" from Remixes (MP3 edit)

Chappell Recorded Music Library Works — Originals & Remixes
Jack Arel & Others
Vadim Music

Jack Arel, the French library music legend, is renown for his work on the Chappell label during the late '60s and early '70s. His collaborations with Jean-Claude Petit and Pierre Dutour can be heard on several compilations released over the years, but this Vadim 2CD set goes two steps further by digging deeper into the original catalogue and offering an exciting batch of remixes.

The Originals disc kicks off with "Shore of Sumatra," a groovy exotic dance number featuring a Middle Eastern wind instrument and big band brass over a perculating rhythm made modern by electric guitar and organ. The disc goes on to explore laidback moods ("Jungle Soul"), psycho-beat dance ("Strange Galaxy"), breezy jazz ("Walking Together") and cinematic-type themes ("Strange Valley").

While some of these tracks ("Ahmedabab Theme," "Sideral Rhythmic," "De Paris a Liverpool") have turned up on other comps, many others ("Bienvenue Mister Jones," "Riffs and Blues," "Visit to Florida") appear to be making their first appearance on CD. Perhaps half of the 25 originals are making their digital debut, which makes this set a must-have for library music collectors. Surprisingly one of Arel's best loved numbers "Psychedelic Portrait," which was used in TV's The Prisoner, is not included here.

The remix disc features 18 modern takes on both the familiar and rare tracks featured on the Originals disc. Naturally, there is some repetition of material — "Picture of Spring" is remixed four times — but there's plenty of creativity on display to keep the project interesting. The guest list is indeed impressive, with Shawn Lee, Mocean Worker, Swayzak, Luke Vibert, Marc Collin, Telepopmusik among the mashers. Instead of merely serving up a bunch of club-ready mixes, the remixers frequently push the envelope with imaginative, dynamic juxtapositions and beat constructions.

As was apparent on the Ennio Morricone remix projects, the quality of a remix can really depend on the quality of the original material. By working with Jack Arel's fantastic tracks, the remixers manage to create some of the most appealing electronica this reviewer has heard in quite a while.

Highly recommended.

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"3M" by Herb Philhofer (MP3 edit)

"Bobcat" by Thes One (MP3 edit)

Lifestyle Marketing
Thes One & Herb Philhofer
Tres Records

Lifestyle Marketing is one of the early contenders for "remix project of the year" (another is Vadim Music's 2CD Jack Arel collection — see review). Like the Arel set, it presents a disc of vintage library music and a second disc of remixes. Unlike the Arel set, the originals are mostly radio jingles with vocals and there is only one remixer on this project.

The curiously named Thes One of L.A. hip-hop group People Under the Stairs is the mind behind Lifestyle Marketing. As the deejay explains in the liner notes he first discovered the jingles of Herb Pilhofer in 1994, and dreamed of remixing the music for many years, finally setting out to do so four years ago. At last, we can enjoy the fruits of Thes One's labor, and gain an appreciation for Pilhofer original and addictive music.

There is quite a lot of stylistic range in Pilhofer's work. Sometimes there is an experimental jazz-funk aggressiveness ("Sound 80 Theme"). At other times it's easy listening with sweeping strings, chirping flutes and and smooth brass swells ("Pan-Am Suite"). Things get Moogy on "Songs from Setzuan," abstract and exotic on "Hail Cesar," hillbilly on "Montage Cat," mellow and romantic on "Conwed Ceiling Tile," and groovy on "3M." And that's only half of it.

For his part, Thes One samples, filters, mashes up and drops beats on elements from Pilhofer's recordings. The deejay wisely decided not to add other, unrelated material. That means his remixes — while certainly creative — don't stray too far from their source; in other words, one can still hear Pilhofer at the heart of it. That makes Lifestyle Marketing a beautifully executed homage to an artist who is finally getting his moment in the sound library spotlight. Bravo, Thes One! We'll be listening to this all summer.

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Kid Loco v/s Godchild
Godchild/Kid Loco
Royal Belleville

Here's a welcome concept: Take an obscure sound library-type recording made in Europe circa early to mid '70s, reissue it with a disc of remixes by some DJ hotshot circa 2002. That's essentially what you get with Kid Loco v/s Godchild.

Originally released in France circa '75, Godchild is an enjoyable albeit not particularly cinematic jazz funk excursion. Guitars, bass and drums are joined by trumpets, trombones, sax, piano and the occasional electric accordian.

The remix disc is something of a let down. The individual tracks aren't bad -- actually they're quite funky -- but there are only three of them. If three is all the Kid could come up with, perhaps he should have invited a few friends to contribute tracks, as well. It's a cool concept. Let's hope more labels and DJs take the initiative to do more.

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Get Carter (Special Edition w/ Remixes)
Roy Budd
Phantom

This special edition of Roy Budd's score for the original Get Carter, starring Michael Caine (not that half-baked retread starring Sylvester Stallone) boasts a full disc of main theme remixes.

Although the Get Carter soundtrack has received a few slightly different reissues, this one remains the most desirable.

Get Carter is one of Budd's best, thanks in part to its stylistic variety. But given its reliance on vocal numbers, it really isn't the type of score that offers a consistant mood.

The main theme -- with its reverbed electric harpsichord, Latin percussion and rolling bass line -- is arguably the best thing Budd ever wrote for the screen. But the rest of the score pales in comparison when considering "cinematic" quality.

The score's other music favors rock, folk, gospel and soul, with the occasional bluesy lounge number -- always featuring Budd's own virtuoso keyboard style.

There's an unusual amount of dialogue on this and other Get Carter reissues that will mean little to anyone who hasn't seen the movie -- its dour content is hardly the stuff of a sample-happy DJ's dreams.

The remix disc, which features Deadly Avenger, Lionrock and others, takes its cues entirely from the main theme, which is no surprise since it easily lends itself to re-interpretation.

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Michelangelo in Space - The Bunny Remixes
Various Artists
Ata Tak

Inspired by Ata Tak's reissue of Charles Wilp's ultra-obscure lounge record fotografiert Bunny, this CD collects 18 tracks by a diverse selection of electronica artists plus one by Wilp himself.

Wilp was an influential advertising and photography renaissance man in Germany during the 60s. At the height of his influence, he composed and produced a limited edition album of the advertising music mentioned above.

The remix collection features such favorites as Yasuharu Konishi of Pizzicato Five, Tipsy, Elektrotwist, Maxwell Implosion, To Rococco Rot, Stereo Total, A Certain Frank and many others.

Stylistically, the remixes range from electro lounge to house to hardcore techno. Amazingly, it all blends very well, making for a satisfying electronica mix and a highly sensual one to boot. The entire affair is saturated with sexiness, aided undoubtedly by the suggestive, but never lurid vocal samples.

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Pop Shopping Mixed Up
Various Artists
Crippled Dick Hot Wax

This EP features remixes of tracks from Crippled Dick's outstanding collection of German advertising "jingles" (actually, they're more like full length funky pop singles played by session musicians). Considering the huge amount of juicy source material, this remix EP only scratches the surface.

There are seven tracks remixed by artists such as Ursula 1000 and Pizzicato Five's Yasuharu Konishi. All but one track (Rune Lindbaek's lackluster "Sweet and Sexy") deliver high energy dance music.

Aside from the Lindbaek's lounge number and the limited source selection (no "Mini Killers" remix, unfortunately), the mix is fun, but not outstanding like the original Pop Shopping.

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Bollywood Breaks
Various Artists
Outcaste

Brought to you by the label that gave you the excellent Bollywood Funk, this remix collection boasts an infectious blend of Indian pop grooves and breakbeats. Like the phenomenal Bombay the Hard Way, Bollywood Breaks exhibits a great ear for hooks and beats. Unlike the Dan the Automater mix, this one avoids the cheeky dialogue samples and sticks to the groove, which often features sitar, tabla, brass, strings, piano and guitar, not to mention phat bass and funky drumming. This collection is also shorter than the Motel Records release, at a running time of 32 minutes. Too bad, since I could have used another 20 minutes at least.

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Morricone RMX
Various Artists
Cinesoundz/Reprise

When it comes to remix albums, it's a wonder there aren't more movie composer tributes. Sure there have been good multi-composer tributes, such as the Easy Tempo Experience series, Mancini Beats: Today & Tomorrow and a Peter Thomas tribute Warp Back to Earth 66/99. Still, where are the trip hop remix tributes to John Barry and Lalo Schifrin?

So here is an Ennio Morricone tribute that was well worth the wait. Featuring the talents of such contemporary artists as Fantastic Plastic Machine, Nightmares on Wax, Thievery Corporation, Terranova, et al.

Much of the selections will be familiar to fans of il Maestro. "The Man with the Harmonica," "For a Few Dollars More," "Clan of the Sicilians," "La Lucertola." And all get the downtempo trip hop treatment, mostly to great effect.

Generally, the remix artists know precisely how to update or interpret the highly melodic source material. Latin rhythms proliferate. Respect for the material is also apparent.

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Diamonds are Forever...The Remix Album
Shirley Bassey/Various Artists
Liberty/EMI

When I first heard about a remix of Diamonds are Forever, I hoped in vain that it was a remix of the entire John Barry soundtrack. The idea of a full length remix of a James Bond soundtrack (a good one, at that) was enticing, but only if it was a lone DJ or duo.

But, as I'd soon discover, the disc's title comes from the theme song itself, one of the best in the JB canon. (When it comes to Bond vocalists, Shirley Bassey beats all. She did three JB themes, after all.)

The music remixed on this disc isn't entirely soundtrack related, but features remixes of two great movie themes: "Goldfinger" and "Diamonds are Forever." The other eight tracks are pop songs from the same era: "Spinning Wheel," "Light My Fire" (twice), "Big Spender" and so on.

Shirley's vocals are, for the most part, true to the originals. The original funky soul cum easy listening recordings get tweeked by such artists as Propellerheads, Kenny Dope, Nightmares on Wax, and Groove Armada. The results, however, are hit and miss.

"Diamonds are Forever" gets a simple update via beatbox and sequencers. Mantronik's mix is clearly for the dancefloor. By favoring an electro production style, the already effervescent John Barry original is suitably enhanced.

Propellerheads' mix of "Goldfinger" is a bit more adventurous, with a completely new one-minute intro, a fairly dodgy piano solo and loads of latin percussion. Propellerheads did a better job, however, with the Bond music from On Her Majesty's Secret Service.

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Bombay the Hard Way: Guns, Cars & Sitars
Kalyanji & Anandji
Motel

Bombay the Hard Way is not a soundtrack in the purest sense, it's more like a souped-up soundtrack collage. Basically, DJ Dan the Automator sampled Bollywood soundtracks (music and English-dubbed dialogue), boosted the beats and voila: the funkiest Indian movie music ever. In case you were unaware, India has a hugely successful, ultra-productive movie industry (by some estimates, they produce five times the product of Hollywood movie studios). Bollywood product is populist entertainment, where all plots generally feature action, romance and song & dance numbers (often in unexpected combinations). Bombay the Hard Way isn't the first western effort to compile Bollywood soundtracks (the label Luaka Bop offered up a purer set with Dance Raga Dance in 1992, see below), but it's certainly the funkiest set yet.

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Bombay 2: Electric Vindaloo
Various Artists
Motel

It's been said that Bombay 2: Electric Vindaloo is a better album than its predecessor Bombay the Hard Way: Guns, Cars & Sitars. Bollywood beatheads who enjoyed the first volume may wonder how that is possible, since the first volume was one of the most entertaining discs of 1998. So, that must make the second volume one of the best discs of 2001. Right?

Right. Bombay 2 is a blast, and some of the tracks do outshine the music on Bombay the Hard Way.

Again, the source material is original Indian soundtracks by Kalyanji & Anandji. Unlike the first volume, however, the remixes are made by a wider variety of talent. The first album was produced by Dan the Automator, whereas the new album boasts Ursula 1000, DJ Me DJ You, Kid Koala, Dynomite D, Mixmaster Mike, (Skit), Spic-Beatz, Pak-Man and Steinski.

Thankfully, the outcome is consistently entertaining.

Like ...the Hard Way, Electric Vindaloo is jammed with humorous dialogue samples and "exotic" instrumentation -- sometimes using music samples heard on the first volume. Unlike ...the Hard Way, the new volume features much more aggressive turntablist scratching and a somewhat improved sound quality overall.

It's fair to say that fans of the first volume will love the second volume, but they are likely to love it more if they aren't Bollywood soundtrack purists.

Fans of more straight-forward, original Bollywood fare should look elsewhere (Doob Doob O Rama, Bollywood Funk, Dance Raja Dance).

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Raumpatrolle
Peter Thomas Orchestra
Bungalow

Warp Back to Earth 66/99
Peter Thomas Orchestra/Various Artists
Bungalow

Raumpatrolle or Space Patrol is the soundtrack for a Bavarian-produced TV sci-fi series of the 60s. Thomas' sound, as heard here as well as other recent reissues (100% Cotton, Kriminal Filmmuzik, Future Muzik), combines elements of Esquivel, Barry and Mancini. He's more than willing to experiment with instrumentation, particularily on this "futuristic" outing. Spacey organ riffs, expressive brass backing, soulful scat vocals, complex rhythmic changes, the occasional violin, bizarre percussion, eccentric jazz guitar fills and an astonishing range of thematic invention are all part of the Thomas' sound.

Bungalow followed the release of Raumpatrolle with the double disc Warp Back to Earth 66/99 which features a full disc of highly experimental Space Patrol outtakes and a disc of remixes by an impressive selection of contemporary electronica artists, including Stereolab, Saint Etienne, Tipsy, High Llamas, Stock, Hausen & Walkman, Coldcut, etc. All in all, these discs are a great place to start in Thomas' soundtrack universe.

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Coffee Table Music
Various Artists
Cup of Tea

This trip hop compilation, produced by Britain's Grantby, is an absorbing listening experience. Drawing upon samples from Bernard Herrmann, Roy
Budd, John Barry, Jerry Goldsmith and the like, artists like The Narcoleptics, Brothers Grimm and Grantby offer up something far more cinematic than the audio companion to a "coffee table book". This is cinematica at its most mesmerizing.

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Easy Tempo Experience, Vol. 1 & 2
Various Artists
Temposphere/Easy Tempo

This series strives to update the cinematic jazz funk found on the Easy Tempo nine volume series (see Series Spotlight). Each volume features dancefloor and down tempo remixes by electronica artists such as Gak Sato, Beanfield, The Karminsky Experience, Kid Loco and the High Llamas. The original music-makers include Berto Pisano, Lesiman, Armando Trovajoli, but most often Piero Umiliani. Generally speaking, the remixes maintain the mood of the originals, while enhancing the rhythm tracks. Although this restraint may disappoint those who enjoy the more experimental side of electronica, it isnÕt likely to disappoint fans of the original recordings. Like other remix compilations there is some overlap in terms of the source material — i.e. there is more than one version of "Lady Magnolia", "Sessomatto" and "Mah NaÕ Mah NaÕ", but never in the context of one volume.

The third installment is as good, and perhaps better than its predecessors. The combination of DJ talent (DJ Vadim, Kid Loco, Gak Sato, Captain Funk, et al) and great sound sources (Piero Piccioni's "Colpo Rovente", Lesiman's "Messaggio", Stefano Torossi's "Walking in the Dark", and a whole lotta Piero Umiliani) makes for a varied, but satisfying collection. It begins with an uncharacteristically solemn ambient version of Umiliani's "Panoramica" by Cinematic Orchestra, but then dives into intensive beat therapy from Benja & Fatalis. Raphael Sebbag is up next with the masterful jet setter theme music "L'uomo e la Citta" (which has become my summer theme music even though my travels are limited to the day job and back). Drum 'n' bass mayhem from Izuru Utsumi is then followed by exotica trip hop from Open Transport. This is followed by another masterwork, DJ Vadim's deconstruction of Torossi's "Walking in the Dark", then Marco Polo Cecere's manic house track "Discomania". Speaking of house, Captain Funk blows it down with "Malizie di Venere". Kid Loco then lowers the boom with another, seemingly inevitable downtempo version of "Lady Magnolia" (there's a version on each installment of this series). Astronaughty keeps the downtempo vibe going with "Hard Times". And Gak Sato wraps things up nicely with an entrancing version of Lesiman's "Messaggio" (then again, how hard is it to be mesmerizing when your covering Lesiman?). Get this disc before the summer is over!

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Kill Them All!
Various Artists - e.p.
Temposphere/Easy Tempo

Doris Troy (of Dark Side of the Moon fame) sings cinema's most vindictive theme song. Blame it on Berto Pisano's relentlessly pulsing trouble funk. The instrumental is a little easier to take on repetition than the intense vocal version. The first remix by Temposphere regular Gak Sato offers a stripped down version of the instrumental version, but it doesn't get much deconstruction. On the other hand, Luca Roccatagliati's remix is highly deconstructed. While the tension is there, the original track's sensibility is not. Four tracks is really all you'll need of "Kill Them All". Great stuff, but not for the faint of heart.

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Mancini Beats: Today & Tomorrow
Various Artists
Ion Records

This electronica tribute to Henry Mancini sets a welcome if problematic precedent for other potential electronica/soundtrack mutations. On one hand, the novelty of hearing familiar movie music remixed for the dance floor is certainly enjoyable, but it all depends on execution. In this case, artists like Beat Pharmacy, Repoman, and DJ Nickodemus and Jay B deliver trip hop, house and drum ÔnÕ bass versions of classic Mancini themes. Problem is there are only 6 different artists over the course of 12 tracks, and 4 of those 12 tracks are versions of "Baby Elephant Walk". Predictably, "The Pink Panther Theme" and "Peter Gunn" figure in to at least four other tracks. While thereÕs a nice mix of electronica styles, the choice in source material is pedestrian at best.

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Pop Fiction
Various Artists
Quango

This compilation of "new crime jazz" is a fine place to start when looking for "imaginary soundtracks". Featuring such artists as Portishead, Strange Cargo and Barry Adamson, the selection is rich in atmosphere and highly evocative of cinematic scenerios. Many of the cuts are downright haunting and bear repeated listening very well. Check out Grantby's "Timber", which uses John Barry's James Bond music to good effect. And when it comes to new crime jazz, who better than Barry Adamson to get it just right, with "Dead Heat". The disc also features Alex Reece, Patrick Pulsinger, Folk Implosion and Manna.

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Porn Beats
Various Artists
Dust2Dust

Suck It and See
Various Artists
Palm

Mixing porno soundtrack samples with hip hop funk has become a trendy sideshow in the carnival called electronica. Depending on one's expectations and one's taste, Suck it and See and Porn Beats are potentially enticing examples of this subgenre I like to call "techno sleaze". Both releases offer up trip hop and electro funk with titles like "Porno Paradise" and "Sex with the Neighbors". As one might expect, the tracks favor voice samples (i.e. lewd comments, moans, etc.) rather than the funky but generic music so often used in adult films. Thankfully, the artists featured on these discs -- most using pseudonyms -- choose to build new musical tracks to accompany the samples, rather than satisfy the urge to rely on the aforementioned "music to f*ck by". And, thankfully, not all of the tracks rely on lewd samples for their erotic appeal. Fantastic Plastic Machine's "Green Door" (after the Marilyn Chambers' movie) is deliriously sensual without being brazen. Not surprisingly, there's even an uninspired cover of the classic Serge Gainsbourg lust ballad "Je T'aime... Moi Non Plus". Other tracks are equally obvious, like "Favourite Final Geisha Show" by Chari Chari Chari, which loops big band stripper numbers to a big beat. Then there's "Scarlet Leather", which pairs narrated erotica about a young woman's sexual awakening through fetish wear, with an almost sensitive instrumental backing. Possibly the most successful (and sleaziest) track between either release is "Cum Dancing" by Inevidence, a wicked house track with a fat bottom and the sort of bewitching female utterances that would make Hugh Hefner blush. All in all, these tracks are really an acquired taste and not all are worth hearing. At its best, however, it's a guilty pleasure.

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Sesso Matto Experience
Various Artists
Temposphere/Easy Tempo

When it comes to randy Italian soundtrack music, Armando Travajoli's funky dance number "Sesso Matto" really can't be beat. It's easy to see why contemporary electronica artists would be attracted to the track for remix purposes. Here, The Karminsky Experience, Gak Sato, DJ Smash, Bel Air Project, Claudio Coccoluto and Raphael Sebbag of United Future Organization get into the act with a brace of revamps. The results are suprisingly varied. Sebbag maintains the retro sensibility, but streamlines the mix to great effect. Sato speeds things up with rapid fire beats, loops and makes great use of the female voices. The Karminsky Experience turns it into a down tempo exotica number worthy of Les Baxter. Bel Air Project's drum 'n' bass remix is more abstract yet. Coccoluto turns the heat back up, with a re-constructed, techno version. DJ Smash turns it into a house number. And Sebbag returns with a more abstract house mix. All in all, a good party disc, as long as you're shuffling it with others.

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The Spirit of Vampyros Lesbos
Various Artists
Sideburn/Crippled Dick Hot Wax

As the title indicates, this remix compilation pays tribute exclusively to Vampyros Lesbos, the psycho beat soundtrack classic. While this concept looks fine on paper, the disc itself is problematic. If youÕre looking for remixes that hold true to the original sexy psychadelic go-go sound, youÕre sure to be disappointed. Featuring artists like Alec Empire, Two Lone Swordsmen, Rockers Hi Fi and Minus 8, the disc leans heavily on a stripped down, techno style. While there is nothing inherently wrong with that sensibility, it doesn't really live up to the collection's name; i.e. itÕs not really in "the spirit" of the original. As is the case with too many tribute albums, there is a lot of repetition in the track selection. It seems every contributer was attracted to the same tracks. As a listening experience, the lack of thematic variety leaves a lot to be desired.

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Zombie
Funki Porcini
Crippled Dick Hot Wax

Electronica artist Funki Porcini returns to the CripDick fold with this soundtrack-inspired e.p. As the title suggests, the first two tracks pay homage to Lucio Fulci's classic horror flick Zombie. It's a successful marriage of breakbeats and terror tension. As a bonus, the rest of the disc features Porcini's previously-released remixes of Jerry Van Rooyan's beat jazz movie themes found on the Crippled Dick compilation Jerry Van Rooyan At 250 Miles Per Hour. The centerpiece, "Great Train Robbery" is a great example of how beat jazz soundtracks are effectively adapted to the electronica idiom.

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