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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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"Quasars" (MP3 edit)

Solar Flares
Sven Libaek
Vadim Music

Sven Libaek's Solar Flares, one of the most coveted library music albums ever recorded, is finally getting released on CD thanks to Vadim Music. Like all library music albums, it was recorded for use in radio, TV and film productions and not released commercially. Because of its rarity, Solar Flares has been highly sought after by collectors of jazzy, experimental pop grooves who typically pay top dollar for vintage vinyl.

For this 1974 Peer International Library recording Libaek, a Norway-to-Australia transplant, assembled top shelf talent from the jazz scene Down Under (such as Johnny Sangster, Don Burrows and others).

As collectors know, library grooves are very much a thing of their time (usually a good thing!) and Solar Flares is no exception. Being from the late psychedelic era of funky fusion and progressive rock, the album has its fair share of wah guitar rhythms, Moog keyboards, bubbling bass lines, funky beats and groovy horn arrangements. Plus, Libaek has a legitimate gift for haunting melodies.

Some of these tracks (such as the proggy, energetic "Quasars" and the spacey, sophisticated title track) have turned up on library compilations in recent years, and rightly so. They are outstanding examples of Libaek's ability to juxtapose hard-edged sounds (fuzz-toned guitar) with softer sounds (vibes) in a surpremely cool and laid back sonic world.

It's easy listening for the psychedelic set.

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"Packing, Printing & Light Assembly" (MP3 edit)
"Destruction of the Flies" (MP3 edit)

Abstractions of the Industrial North / Music of the Future
Basil Kirchin / Desmond Leslie
Trunk

Two new releases from England's Trunk Records — Basil Kirchin's Abstractions of the Industrial North and Desmond Leslie's Music of the Future — offer fans of experimental library music a rare treat.

Ironically, Abstractions... is the more accessible of the two CDs. Imagine what a jazz drummer with a gift for melody might do in an avant-garde setting and you'll get a rough idea of what to expect on this CD. With arrangements that favor keyboards, vibes, penny whistle, flute and saxes, this pastoral jazz suite is a thing of great beauty. Unlike a lot of library music, which can have an impersonal off-the-rack quality, Abstractions... is clearly the work of inspiration and not just a made-to-order approximation of "dramatic music". Despite the title's suggestion of industrial abrasiveness, the music can be very pretty and delicate — imagine a combination of Robert Wyatt, Philip Glass and maybe Roland Kirk. However, on a track like "Heavy Machinery" the sound is much more aggressive, though still very melodic and not sonorously abrasive due to the mostly acoustic orchestration.

In addition to the 11 "industrial" tracks, Abstractions... also includes nine other Kirchin library cues of interest. These are often similiar in terms of instrumentation and are equally strong on melody and rhythm. There are even a couple of tracks that rock with a strong backbeat and raw intensity. One of the jazzier tracks, however, features a dual guitar workout between a pre-Zep Jimmy Page and Big Jim Sullivan suitably titled "Pageing Sullivan".

Overall, Abstractions... is one of the best library reissues this year.

A far more experimental work is Desmond Leslie's Music of the Future, which features music from the film The Day the Sky Fell In as well as suites titled Music of the Voids of Outer Space and Sacrifice, B.C. 5,000, and finally an "esoteric tone poem" called Death of Satan.

All of these works can be described as musique concrete, which is certain to give avant-garde classical fans a quickening of the pulse while simply bewildering the uninitiated. What it really means is that Leslie used primitive tape recorder manipulations to warp recordings of various instruments and found sounds. In other words, if you need a hummable melody to hold your attention you'll be out to sea without a paddle listening to Music of the Future. But if one of your favorite tracks on The Beatles' White Album is "Revolution #9" you'll be happy as a clam.

The beauty of such an album is its otherworldliness. The dissonant, disconcerting sounds emitting from your speakers remove any temptation to dismiss Music of the Future as a space age composer's quaint idea of what a sci-fi tomorrow might sound like. Listen to it in the dark with the volume full blast, and you're likely to pray that the future described by Leslie's experiments never arrives! Still, with titles like "Destruction of the Flies" and "The Warhorns of Mars" what's not to love. Get it, if you dare.

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Action Drive: KPM Music Library Compilation
Various Artists
FinderFinger

It's hard to imagine the need for another KPM collection beyond the groove-adelic Music for Dancefloors on Strut Records or GrooveAttack's beatlicious Setting the Scene, but this FinderFinger LP-only comp makes a sound case for one. Thanks to the production label's deep vaults, there isn't much overlap between the three collections.

Like any sound library set, this one is full of dramatically rockin' beat jazz cues. One minute you're on a dangerous mission, the next you're mixed up in a torrid love affair. That's the magic of production music -- it has no cinematic history, but it aspires to one nonetheless.

The usual suspects are here (Keith Mansfield, John Cameron, Alan Hawkshaw, Johnny Pearson...) playing tracks with titles like "Thunderbird," "Mini Motoring," "Action Drive," and "Action Replay."

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Action Passing
Various Artists
Finderfinger

Swiss label Finderfinger Records follows its KPM compilation, Action Drive, with another sound library comp, Action Passing. DJ Deeno returns as the chief compiler, with a collection of unreleased and rare funk workouts from the Selected Sound library. Fans of the genre might recall that the German label, Spinning Wheel, devoted the third volume of its Pop Boutique collection to Selected Sound, as well. Despite both collections' focus on music makers such as Barry Lipman, Bob Elger and Roland Kovac, there are no common tracks between the comps.

You know a DJ is responsible when the CD starts off with a breakbeat. Roland Kovac's "Training Pulse (Satan Superstar)" has a rockin' break and features distorted guitar, organ and horns. Many of the tracks follow suit with upbeat grooves and tight arrangements. The set takes its title from a Barry Lipman track that features a flanged out synth line and wah-wah guitar solo. Production tricks are not uncommon here, as everything from scat vocals to brass vamps seem to get a psychedelic treatment at one point or another.

Other tracks include: "Souling", "Happening", "Love Training", "Super Blocking", "Moto Cross", "Racer Beat" and "Sport Extra". There are 14 originals and one bonus remix by Deeno and Robomax.

Action Passing is just the thing to crank in car on the way to work.

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"Sidetrack" (MP3 edit)

Aim High
Brian Bennett
RPM

This compilation of Brian Bennett's work at KPM from 1973 to '76 is a must have for sound library fans — not just for the excellent music, but also for the highly informative liner notes.

Described as a "televisual soundtrack... to a film that was never produced," Aim High is really just a compilation of session tracks for various KPM releases like Fusion, Amusement, Counterpoint in Rhythm, Chartbusters, Metropolis, Industry and others. The use of period movie stills in the liner notes and the montage cover art might lead one to think it's a legitimate soundtrack, but Bennett's comments regarding each track's history (a nice bonus) proves otherwise.

Bennett, the drummer on all of these tracks, shows his compositional chops as well. There are hard-driving chase themes, action funk, party rock and slick jet-setter loungecore. Way cool.

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Retro
Syd Dale
Amphonic

Kitsch UK
Cocktail Lounge
Swinging '60s
Various Artists
Amphonic

 

Amphonic was founded by library legend Syd Dale. Sound library recordings made in Great Britain during the '60s and '70s have a breeziness not typically found in production music of Italy and France (which, along with the UK, have received the most exposure in recent years thanks to CD compilations from hip indie labels). Listening to the music of Syd Dale in particular, one can't help but feel seduced by the easy charm of his arrangements, which always emphasize the melody.

Retro, Amphonic's compilation of 25 recordings by its founder Syd Dale, is a welcome addition to any sound library collection. It brims with wistful cinematic atmospheres and lightly funky rhythms. Even the titles evoke these things: "Nightraider" "Sidewalks of the City" "Dawn to Midnight" "Let Me Take You There" and so on. Amphonic has thoughtfully included brief descriptions for each track, making it easier to find that instrumental that's just right for the moment: "Funky, strong underlay, progressive, cool" or will it be "Detective, espionage, chase, urban."

Kitsch UK also collects several Syd Dale themes in addition to work by Keith Mansfield, James Clarke, Dick Hyman and others. Again the track titles and descriptions prepare the listener for more retro Carnaby Street fun. "The Groupie" "A Real Swinger" "High Ball" and so on. Certain tracks boast "retro style" and "classic kitsch" while others are just "good fun." Dale's "Lucky Seven" is a particular fave. This set definitely has the "kitsch" factor.

Swinging '60s opens with the already familiar "Wild Elephants" by Clarke. It's been used in a Gap TV ad, and probably others. Again Syd Dale is a featured artist, performing more evocative lounge core numbers like "Portabello Market" "London Life" and "Boogaloo". Tracks are described as "animated, groovy, psychadelic" "Carnaby chic, carefree, percussive" and "Travel, light, holidays, positive". There's something for every mood and this set favors action.

And then there's Cocktail Lounge, which also lives up to the concept. The arrangements are more "sophisticated", jazzy and elegant. Surprisingly Dale doesn't enter the picture at all, as the disc favors work by Cairn/Johnson, Chris Taylor and Crispin Merrell, along with others. Tracks include: "Romantic Hideaway" "At the Waldorf" "Supper Club" and "High Stakes". Not surprisingly "romantic" is mentioned in numerous descriptions as is "pleasant".

While the music is generally of high quality, it is occasionally bland in that generic production music manner. Plus, the packaging leaves a lot to be desired. The artwork relies on cheesy cliches like dayglo flowers to denote the "swinging '60s". There isn't any biographical info about the artists or the label. And the tracklisting presentation is pure overkill -- the Cocktail Lounge CD for instance lists the tracks four times on the insert alone, in order to provide German, French, Spanish and English descriptions of each track.

The Amphonic titles are available only through Movie Grooves.

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Barry 7's Connectors
Various Artists
Lo Recordings

When Lo Recordings released Nuggets, a Luke Vibert selection of French sound library tracks, several months ago there was no indication that the label would soon release another collection from the same libraries, selected by another electronica artist. Although they are not part of an official series, Barry 7's Connectors and Nuggets belong next to one another in your collection.

Vibert, who has released his own work under various names including Wagon Christ and Plug, selected 28 tracks recorded for Chappell, Southern, iM and PIL studios for use in film, TV and advertising. Barry 7, member of the analog synth terror trio Add N to (X), collected 21 from the same libraries (excepting iM). Thankfully, there is no overlap between the collections.

Interestingly enough, Barry 7's Connectors sounds surprisingly different from Vibert's selection -- despite the fact that many of the same artists appear on both collections, including Nino Nardini, Roger Roger, Anthony King. Perhaps the absence of funky one Eddie Warner makes the difference. Warner accounted for one fourth of the material on the Vibert disc, but doesn't show up at all on Barry 7's disc.

So, what's the music like? It's quite diverse in style and feel. Some of it, as would be expected given Barry 7's penchant for vintage synths, is purely electronic and experimental sounding. Other tracks have a distinctly cosmopolitan Euro-60s easy beat flair. Some of it evokes the spooky atmosphere of a sci-fi thriller, while other tracks have an almost prog rock pomp -- guitar solos et al. It's a colorful set, to say the least. A must for sound library fans. And fans of Add N to (X) may be surprised by the sheer gamut of styles on display. It's never less than intriguing.

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Barry 7's Connectors Vol. 2
Various Artists
Lo Recordings

The new Barry 7's Connectors compilation hits the streets hot on the heels of the new Add N to (X) record, Loud Like Nature (another great one from the world's most lethal analog synth band of which Barry 7 is a member).

The second Connectors compilation breaks with the French sound library theme that ran through its predecessors (including Luke Vibert's Nuggets and Further Nuggets -- also on Lo). This time Barry digs into the vault at CAM in Italy. Although it's touted as a library selection, many of the tracks come from legit soundtracks. Regardless of origins, it is an unusually great set. Barry truly has an ear for psycho beat grooves.

The disc features rare work by Giuseppe De Luca, Giampiero Boneschi, Piero Piccioni, Stefano Torossi, Danielle Patucchi and Ennio Morricone. Sources include the soundtrack for a '70 production of The Picture of Dorian Gray and Escalation, among other lesser known titles.

Given Barry 7's history with electronic music, one would be tempted to imagine a mostly electronic set. Like the first Connectors comp, however, this one balances electronic with more traditional jazz, rock and orchestral instrumentation. There's a strong psychadelic feel to the set, particularly on tracks that contrast the electronic with the traditional.

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Cinemaphonic Electro Soul
Various Artists
Emperor Norton

When Emperor Norton set out to present a collection of lost soundtrack or "library" music from the long defunct American label Major Records, they didn't fool around: They put a naked chick on the cover! Even if Cinemaphonic Electro Soul had a vacuum cleaner on the cover, it would still be worth non-stop rotation. Fact is, this disc is chuck full of solid vintage grooves -- tracks created for film, TV and radio by obscure musicmakers, a few of whom managed to score a hit or two along the way (like Walter Murphy, whose "A Fifth of Beethoven" was a Saturday Night Fever hit). Cinemaphonic is of special interest as a "library music" collection since most of the available re-issues of lost tracks have been European (Italian, in fact). This being an "all-American" selection is only part of its appeal, of course; the fact that it's a strong set just makes it that much more desirable.

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Cinemaphonic Volume 2: Soul Punch
Various Artists
Motel

Last year's Cinemaphonic Electro Soul (on Emperor Norton) delivered a set of rare sound library jams from the studios Major and Valentino. For the second set (this time on Motel), the Cinemaphonic project moves to the U.K. to plunder the libraries of Amphonic, JW Media and Themes International (circa 1970-76). Again, the set is compiled by Lil' Earl aka David Hollander.

So, what is Sound Library, you may ask. Simply put, it's multi-stylistic instrumental sounds for film, TV and radio productions. It was produced in mass quantities by session musicians and much of it was never used. That hardly means it wasn't good enough. Take one listen and you're sure to imagine yourself being the star of the secret crime drama that may or may not be your life. Like most sound library compilations, this set focuses on funky soul jazz.

Sparse organ riffs, brash brass, rolling bass lines, wah-wah guitar, swank strings, pulsating electronics and percolating break beats proliferate on Cinemaphonic Soul Punch. The track list gives further details. "Number One Spy" by Syd Dale is a "rhythmic theme with strong mood, featuring electric piano and flute. "Purple Blues" by Don Harper is an "exciting, punchy theme, with increased excitement over the relentlessly continuing theme to climax."

And here's something rare for most sound library compilations (and the number is steadily growing): time-oriented detail. Here's an example: "Flute Salad" features "brighter, double tempo under flute solo from 1.10 to 2.20." That's sure to appeal to music producers and DJs looking for something special.

Although the artists who appear on sound library comps such as this one are generally little known, a few names are noteworthy. Syd Dale, who created Amphonic Music, cut a lot of work for another British studio, KPM. Alan Hawkshaw cut the soundtrack for "I am a Groupie" (1971) and led a session group called The Mohawks. Brian Bennett, who wrote hits for Cliff Richard, also composed the soundtracks for the American TV shows Dallas and Knots Landing. Last, but certainly not least, is Dick Hyman, who has had a long and illustrious jazz career and cut his fair share of Moog classics in the 60s (and was sampled by Beck on Odelay).

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De Wolfe Sessions
Karl Jenkins' Soft Machine
Turning Point Music

Where did jazzy prog rockers go when the fickle record buying public lost interest? To the studio to cut some production music -- or so one might assume from this De Wolfe compilation featuring a late incarnation of Soft Machine.

Soft Machine was never as huge as fellow prog groups like Yes, Genesis and EL&P -- they were too jazzy! So, it makes sense for them to cut a few sides for a music library like De Wolfe. Joined by John Marshall, Roy Babbington, John Etheridge and Carol Barratt, Jenkins recorded several sessions in '76.

The tracks are generally rock oriented and include such titles as "Crunch" "Hi-Power" "Rubber Riff" "City Steps" and "Jombles". Each track is accompanied by a description, like "driving, riffy, dramatic" or "slow, forceful, beaty" or "breezy fast". Soft, serene tracks are also featured.

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Dingo!
Various Artists/DJ BNX
Pulp Flavor/Fantomas

Just in case you were wondering, this Pulp Flavor release was "Sexopolized" by DJ BNX. Dingo! is an unique mix of French pop, soundtrack and sound library stuff. It's a continuation of "Our Man from Bordeaux's" exploration begun on Sexopolis (to be added to our archives soon, I promise). Although that set clearly has something *particular* in mind, Dingo! does not. It's simply an intriguing mix of rare (and not too rare) tracks by Francis Lai, France Gall, Jack Ary, Jack Arel and many others.

By turns jazzy, primitive, easy, rousing, cheeky, exotic, hypnotic and utterly groovy, Dingo! delivers a rich, sumptuous mood that just gets deeper and deeper. It's truly a master set of tracks, regardless of their origins, for the cinema of your mind.

See other Pulp Flavor reviews on Sound Library, Moog & Mood and ElectroLounge.

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"Happy Hour" by Gert Wilden (MP3 edit)
"Young Sound" by Heinz Kiessling (MP3 edit)

Dolce Far Niente / Holiday in Brazil
Various Artists
Brigade Mondaine

Get easy all over again! Zack Stingl, who compiled two previous Brillant Musik compilations for Royal Ear Force in 2001 (Days of Summer and Like a Breeze) has mined more jet-setter gems from the German library label for his new label, the Nuremberg-based Brigade Mondaine. Thankfully, there doesn't appear to be any overlap between the REF comps and the relatively recent Dolce Far Niente and Holiday in Brazil, despite the fact that many of the same artists are featured.

On Dolce Far Niente, one gets 27 "suave cocktail classics" by Charlie Steinmann, Syd Dale, Heinz Kiessling and many others (there are even cocktail recipes in the booklet). Most surprisingly, there are two tracks by Gert Wilden, whose Schoolgirl Report compilation was a major release during the original wave of sleazy listening reissues in the late '90s. Gert even provides some personal notes on Dolce, where he claims to not remember why or when he recorded "Happy Hour" and "How Nice," the big band numbers featured on this disc. He adds, enthusiastically, that "my colleagues, the sound engineers, who worked on this CD, are the the 'creme de la creme' of the beautiful easy listening and now sound time." It certainly sounds like it. Though a word of warning, nothing on Dolce Far Niente is as rock oriented as Schoolgirl Report. This is definitely cocktail lounge at its most sophisticated and polished, mostly from the mid to late '60s, and most of it has never been released before.

Holiday in Brazil offers 24 "bossa nova and jet set hymns" by such the Brillant Musik regulars such as Kiessling, Steinmann, Pete Jacques and several others — all Germans, of course. Breezing along with jazzy grooves (hardly hymns) like "Round Trip to Rio" and "Viva La Samba" one quickly forgets that non-Latin Europeans were behind the lilting rhythms and upbeat carnival moods. In a way, the comp is vaguely reminiscent of Les Baxter's Que Mango. In other words, it's a masterful blend of exotic grooves and highly polished musicianship. Most of these tracks were originally released on hard-to-find Brillant Muzik releases of the late '60s and early '70s.

Brigade Mondaine also released a collection of big band grooves by library session leader Ambros Seelos (see review below).

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"Straight Ahead" (MP3 edit)

Days of Summer
Various Artists
Brigade Mondaine

Brigade Mondaine's latest collection of Brillant library music is a reissue of an identically titled Royal Ear Force compilation that is presumably out of print. It was hard to come by in the first place. So, this is a welcome repackaging.

Compiled by Zack Stingl, Days of Summer lives up to its cover description of "dreamy vocals and bossa nova pearls." Featuring the work of session pros like Addy Flor, Johnny Pearson, Pete Jacques and Heinz Kiessling (one of Brillant's co-founders), Days of Summer swings between the breezy and the brassy with style to spare.

A track like Kiessling's "Straight Ahead" inspires one to imagine cruising along the Autobahn for a holiday in Hamburg to scope out the flesh on display in the Reeperbahn. Yummy.

Charlie Steinmann's "Manatara" finds you cruising the cafes on a brilliant afternoon in sunny Portugal. You're making the scene and not even breaking a sweat. Don't look now, but that blonde on vacation from Munich is checking you out.

"Bonfa's Way" by Addy Flor catches up with you in Rio where your attractive new friends that you met on the beach have taken you to a hip lounge to hear some easy Latin grooves. They're putting you at ease about the flight you missed an hour ago. There will always be another, they tell you. So stay while.

Like Brigade Mondaine's other Brillant compilations, this one is solid from top to bottom. Stingl really knows how to pick 'em. If library music is a soundtrack for your imagination, Days of Summer is sure to have a happy ending and a lot of jetsetter romance along the way.

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"Russel Square" Heinz Kiessling (MP3 edit)

Girls on the Rocks
Various Artists
Brigade Mondaine

Girls on the Rocks is Brigade Mondaine's latest and greatest collection of rare grooves and jazzy funk from Germany's Brillant Musik Library. This collection also features ultra rare tracks from the Quadriga archive. In short, it's a killer set of sleazy listening straight out of the Gert Wilden Schoolgirl Report mold with a bit of disco mixed in.

Focused primarily on the work of Pete Jacques and Heinz Kiessling, Girls has hot horn vamps, tight beats, juicy bass lines, wah-wah guitars and cool liquid keyboard lines that attract library music fans and beat junkies alike. "Drift," "Porterhouse," "Neptune's Walk," "Spicy," "Love Cage," "Orbiter" and "Scotch & Soda" are just a few of the 22 collected here.

Compiler Zack Stingl has already earned accolades for releasing such solid platters as Dolce far Niente and Holiday in Brazil as well as Ambros Seelos Funky Songs for Private Eyes. With Girls, he's gifted us with the best library comp of the year.

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"Soul Train" by Les Hurdle (MP3 edit)

Dramatic Funk Themes Vol. 1
Various Artists
Showup Records

Okay, this is a no-brainer: Dramatic Funk Themes Vol. 1, a compendium of British Rare Grooves from the Themes International Music Library, 1973-76, is the most exciting library compilation of a young 2008. Will it be the best of the year? Only time will tell, but I'm putting it on the short list.

Themes International Music Library was started by KPM session aces Alan Parker (guitars), Mike Moran and Alan Hawkshaw (keys) and Barry Morgan (drums) as well as KPM producer Graham Walker. Library collectors know Themes for having eye-catching album cover art, which was unusual for library records at the time.

These 20 funky power rock tracks with titles like "Flashpoint," "High Diver" and "Speed Run" are all about action or getting some. They come from albums with titles such as Dramatic Action, Breath of Danger and The Rock Machine. There is a widescreen vitality in these tracks thanks to driving rhythms, vibrant horn sections and blazing guitar work.

If you don't feel quite like you're in a movie listening to this music then you'll at least feel like you're in a very cool '70s car commercial. You're behind the wheel of a powerful V8. You're rockin' the wide lapels, open collar and knotted scarf look with outsized shades and feathered hair, but you're also packing heat in a shoulder holster and the chick in the passenger seat thinks you're god's gift. Life is good — at least that's the vibe I'm getting from this sweet slab of library funk.

You'd better get it before it's too late.

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Exotic Themes for Films, Radio & TV
I Gres
Plastic

I Gres' Exotic Themes for Films, Radio and TV is not as exotic as it is funky, but that's no slight. I Gres is one of the best acts that Plastic has to offer. And speaking of Plastic's offerings, check out the genre/style descriptions listed next to each cut (on this and other releases): "sentimental tension", "futurism, hypnosis", "juvenile atmosphere" and "fashion, erotism". Kind of gets your imagination cranked up.

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"Training Round" (MP3 edit)

Formula 1
Beltran Moner
Wah Wah

Originally recorded for use on a Spanish auto racing program, Beltran Moner's Formula 1 is the sort of library record that collectors covet the most. The concept is way cool and the execution is red hot. Luckily, this one has been reissued — though it's only available on limited edition vinyl (in a novelty circular sleeve).

Moner and his crew crank up a high octane blend of rumbling bass lines, crackling Latin percussion, brash brass and fuzz guitar stings on tracks like "Formula 1," "Aces of the Wheel," and "Training Round." Some cuts have a groovy pop feel while others are hard driving and dramatic as well as abstract and atmospheric.

Originally released in '73, Formula 1 will have library fans ready to put the pedal to the metal on their wheel of steel.

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Locomotion / Cortex (Jazz Lab Collection)
Martial Solal / Cortex
Follow Me Records

"A touch of French '70s music" is what the covers of these two Jazz Lab re-issues promises. "French '70s music" is certainly a generalization, but when you hear these two discs you'll realize the necessity of such a statement.

Martial Solal's '74 library release Locomotion is the better of the two by a long shot. Recorded for use on TV sports highlight programs, these piano-driven tracks are hardly what most people would expect to hear on a sports show. The melodies are angular and cerebral, with the bass guitar following the piano and electric piano lines. The drumming is efficiently funky. Very cool and distinctively French.

Cortex, a jazz-funk quartet, is also piano-driven, but the flavor is much closer to disco than to jazz. Bouncy rhythms accompany a generic sounding electric guitar and clean keyboard lines. The group is very professional sounding, but a bit too ordinary in its approach to the material.

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"The Master Said" from Love That (MP3 edit)
"Guru" from The Master Said (MP3 edit)

Love That / The Master Said
Roland Kovac New Set
Selected Sound / Garden of Delights

Don't let the utilitarian covers on these Selected Sound library record reissues fool you into thinking this is run-of-the-mill music for hire. In fact, these platters by Roland Kovac New Set are anything but typical.

Having heard and enjoyed some of Kovac's groovy Selected Sound recordings on a Pop Boutique compilation I figured I knew what to expect. (By the way, the liner notes indicate that the Austrian musician's last name is of Slovenian origin and is pronounced "Kovatch".)

The real surprise, however, is the music. It's difficult imaging this psychedelic space rock being used as background filler on radio stations (as the liner notes suggest), but apparently some of it also turned up in movies of the period.

First came The Master Said in '71, with Kovac on keys, Charly Antolini on drums, Siegfried Schwab (of Vampyros Lesbos fame) on guitar and bassist Franz Loffler. The centerpiece is the 17-minute title track that fluctuates between funky grooves and spacy jamming. It's followed by the trippy 10-minute "Birth of a Saint" as well as the much shorter Procol Harum-esque "Eternal Dimension" and mellow closer "David's Dance." The longer tracks are definitely the attraction, but don't expect tightly constructed library compositions— these are sprawling, episodic, lysergic concoctions.

A year later Kovac recorded the equally trippy Love That, joined by Brian Auger on organ, Keith Forsey on drums, Peter Trunk on bass and Schwab again on guitar. The tracks are generally shorter, averaging a relatively tidy 5 minutes each, except for the 9-minute "Genesis." Regardless of duration, these numbers also sprawl out into spacy jamming. Like jazz tracks, they often start with an idea or riff, move out into improvisation and close with a reiteration of the "theme." The melodies never linger, but the contact buzz is fairly intense.

Big props to Garden of Delights for putting these albums on CD as the originals tend to sell for astronomical sums. Unfortunately the master tapes weren't available, so the label resorted to vinyl transfers, but the sound quality is certainly clean and acceptable.

The liner notes break down each track into subsections based on solos, etc., and there are decent pics of the band members. No surprise, the booklet also includes a full color catalog of other psychedelic releases on the Garden of Delights label. So, dig out that old bong yours — these "Kovatch" releases are dope!

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Luke Vibert's Further Nuggets
Various Artists
Lo Recordings

Luke Vibert and Lo are at it again -- presenting more than two dozen stunning tracks from sound libraries such as Chappell, Southern, iM, Bruton, Peer and Parry. Fans of the first collection -- Luke Vibert presents Nuggets -- and Barry 7's Connectors (also on Lo), will definitely want a few spoonfuls of the Further Nuggets set.

Originally conceived to accompany film, TV and radio productions, this music represents the missing link between soundtracks and diverse musics such as jazz, funk, rock, easy and electronic experimental.

Like any library music collection, this one offers helpful descriptions of each track. "Expansive light hearted orchestral funk." "Funky country moog stormer." "Ethereal choir and orchestra piece."

The artist list is far ranging, including some familiar players: Johnny Hawksworth, Roger Roger, Jack Arel and Pierre Dutour. Like contemporary electronica, little emphasis can be placed on the performers' personalities. Each track has it's own distinctive vibe. There in lies its essential appeal. Just get it already.

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The Future Sound of Lesiman
Lesiman
Easy Tempo

Paolo Renosto aka Lesiman was a serious composer who, like many of his contemporaries, produced a significant amount of stock studio or "library" music. What sets Lesiman apart is his extraordinarily modern style. Spare, driving, swirling, pulsating rhythm tracks countered with spacey, abstract keyboard melodies. The end result is nothing less than entrancing, making it the best soundtrack music to go uncredited to any particular film -- at least not on this Easy Tempo collection (the only currently available collection of his work). Listening to Lesiman is like being sucked into an intensely absorbing film. Essential stuff.

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"Night Clipper" (MP3 edit)

German Funk Fieber
Various Artists
Show Up Records

Germans love American music — from swing to soul to rock and roll — and haven't been shy about performing and recording their own version of it. Just listen to German Funk Fieber (or "fever").

Its funky grooves often feature American-English lyrics (Messengers' "Gang Bang"). There are spot-on covers of American hits (Veit Marvos Red Point Orchestra's take of Sly Stone's "Family Affair"). And there are tracks that wouldn't sound out of place on some American rare groove compilation (Martin Philippi Blues Band's version of Muddy Waters' "I Got My Mojo Workin'").

It's easy to imagine James Brown busting a move to SWF Orchestra's library funk number "Gate One".

Hell, I think I've heard the opening vamp from Klaus Wunderlich's Hammond-fueled version of "Summertime" sampled by an American deejay.

Aside from the occasional German vocal you'll find yourself forgetting the origins of many of these tracks, and that's good, because great funk is a universal thing.

Of special interest to ScoreBaby readers are the library tracks "La Avispa" by The Rainbow Orchestra (Brillant), "Uptown" by Orchestra Heinz Kiessling (Brillant) and "Night Clipper" by Orchestra Gus Brendel (Golden Ring) and the aforementioned SWF track.

So, if you've never heard German big band funk before then this platter of "infectious rare grooves & krauty schlager wonders" from '69-'77 is a superb, satisfying introduction.

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Give Peas a Chance
Various Artists
Crippled Dick Hot Wax

Just when you thought there coudn't possibly be any more funky sound library tracks to discover, along comes this CripDick compilation. Sure, the title is likely to make you groan, but at least the artwork isn't embarrassing. Oddly, the cover doesn't "sell" the CD as a collection of sound library tracks -- perhaps in hope of avoiding formality. Instead, it promises "21 obscure hits" (which is surely an oximoron if there ever was one) and "jazzy gems."

Scanning the tracklisting, one can quickly identify De Wolfe, KPM, Selected Sound and other production houses as the sources for collection. Boasting such talent as Alan Hawkshaw, John Cameron, Dieter Reith and Jonny Teupen -- along with many other more obscure artists -- Give Peas a Chance proves to be one of the finest CripDick releases in memory.

There is a lot of hard driving, high energy funk rock and soul jazz to be found on this disc, much of which will be fresh to the ears of sound library fans who think they've heard it all. With titles like "Gateway to Crime," "Heavy Steel," "Eat Art," "Knock Out" and "Powerplay" how could you possibly miss.

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Dance & Mood Music
Jack Arel
Gravure Universelle

 

Ace session musician Jack Arel cut some amazing stuff for Chappell Recorded Music Library in the late '60s, early '70s. Funky, cinematic and psychedelic, tracks such as "The Man from Nowhere," Psychedelic Portrait" and "Strange Valley" will galvanize yo' groove thang. This essential collection of "dance & mood music" also features Arel's "picture series" (e.g. "Picture of Spring," "Picture of Summer," etc.)

Arel is assisted by fellow sound library mavericks Jean Claude Petit and Pierre Dutour. The set was compiled by the fine folks at House of Bamboo for Gravure Universelle. Track it down today.

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"Freezing" (MP3 edit)

Funky Songs for Private Eyes
Ambros Seelos
Brigade Mondaine

Somewhere between Puppet Jazz and Dolce Far Niente is Ambros Seelos. In fact, the German jazzman appears on the former compilation, but he's a far too funky for the latter, which was also released by new German label Brigade Mondaine. This excellent "groove collection" of the versatile horn player's big band library work spans '71 to '81.

Associating these funky tracks with private eyes is perhaps a stretch, but the eye-catching cover photos want you to believe that this is an ersatz soundtrack for a caucasian John Shaft. In fact, Seelos covers the Isaac Hayes classic on this collection; thankfully it's an instrumental and not some cheesy German-language version.

There are 20 tracks in all, originally released by Agil, Eddyton, Euphon, Domo, Irving and Seelos Music (but mostly Agil). On the best tracks, like "Freezing" and "Brass Glitter," the groove is as funky as Gert Wilden on Schoolgirl Report. Some of the later stuff is more on the disco tip with female backing vocals and slick string arrangements.

Get yo' groove on.

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Music for Film, Television & Radio Vol. 1
Harmonic 33
Warp Records

For Harmonic 33's first full length, Mark Pritchard and Dave Brinkworth depart from the hip-hop exotica charted on their two EPs (compiled on CD by Alphabet Zoo as Extraordinary People).

On Music for Film, Television & Radio Vol. 1, Harmonic 33 morphs into a sound library project that sounds convincingly vintage. Without resorting to easy breakbeat mood music, Pritch and Brink seek out the most authentic sounds for a time-warp trip back to the late '60s. Between the Moogs, Mellotrons and harpsichords (all probably digital samples), the listener would swear he's listening to some long lost Patchwork Orchestra release by Vladimir Cosma or Cecil Leuter.

Beyond the novelty, Pritch and Brink deliver gently pulsating and utterly entrancing melodies that, by turns, suggest unreleased tracks from John Barry's The Ipcress File or outtakes from Raymond Scott's Manhattan Research.

Very strange, and very satisfying. Can't wait for Vol. 2.

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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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"Das Stundenhotel von St. Pauli" by Erwin Halletz (MP3 edit)

The In-Kraut
Various Artists
Marina

Compiled by Stefan Kassel and Frank Jastfelder, the guys who brought us such groovy platters as The Mad, Mad World of Soundtracks as well as the Lalo Schifrin compilations Mission Impossible... and More and Most Wanted, The In-Kraut is only partially related to soundtracks but worth noting here all the same.

The one soundtrack recording included here is Erwin Halletz's rockin' big band number "Das Stundenhotel von St. Pauli." Another familiar artist of the genre is Peter Thomas whose Sound Orchestra delivers a fun cheesy version of the Rolling Stones' "Jumpin' Jack Flash."

The In-Kraut blends pop vocal tracks with instrumentals in the beat/now sound/soul vein — all from the groovy '60s and funky '70s. Many of these tracks are previously unreleased on CD, so if you have the German volume of the Get Easy series from a few years back fear not — there's no overlap. Artists range from Hildegard Knef to France Gall to Kuno & and the Marihuana Brass. In other words, there are quite a few unfamiliar artists mixed in with a handful of better known ones. It makes for a fresh listening experience and a kicking party platter.

 

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"Wildkatze" (MP3 edit)

The In-Kraut Vol. 2
Various Artists
Marina

The In-Kraut series — compiled by Stefan Kassel and Frank Jastfelder — is a treasure chest of now sound nuggets from Germany circa '60s and '70s. Volume Two measures up to the hip-shaking excellence of its predecessor with catchy tracks by James Last, Charly Antolini's Power Dozen, Ambros Seelos, Hazy Osterwald Jet Set and many others.

Volume Two differs from One by featuring more soundtrack rarities. There's a funky track by Christer Bladin from the movie Gina Wildkatze ('74). Rolf Wilhelm gets down with "Do It Yourself," a groovy number written for a German TV courtroom drama. The Inner Space (an early incarnation of Krautrockers Can) deliver the underground movie track "Kamera Song." Uli Roever delivers a sexploitation ditty from a flick called "Hot Sand on Sylt" from '68. Hase Casar performs "Eine Kleine Hasenmusik" from the the lat '60s/early '70s kids' show Schlager for Schlappohren. And The Dometown Gang plays Heinz Gietz's "Rock In," a b-side to the soundtrack-related single "The Killer of Soho."

Library fans will want to hear Tommy Haggard's "Pealed Tomato" from Bavaria's Raphaele Records (Tommy Haggard is a nom de plume for a group of session players including guitarist Pierre Cavalli).

If you're a fan of big band groove and beat lounge then you need to get in with The In-Kraut. Best of all, I don't think I've heard any of these tracks elsewhere. Kassel and Jastfelder have a knack for coming up with rare gems and this collection is no exception.

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Jazzissima
Enzo Scoppa & Cicci Santucci
Black Cat

From the first track "Deep Look," Jazzissima takes hold of the ear with modal jazz intensity. The hipnotic bass lines, bop drumming, trumpet and saxophone interplay and electric piano fills all recall Miles Davis 60s quintet (by most accounts, one of the best ever).

While that sounds like hyperbole, the compliment works both ways. By sounding like Miles Davis Quintet and a half dozen other modern jazz quintets of the 60s, Scoppa & Santucci stand to appeal to a historically small audience: the modern jazz fan.

But with playing this tight and compositions this cinematic, the music manages transcend expecations on many of the 23 tracks.

If you're a jazz head, you'll love this disc. If you're a funky sound library card member, you may begin to yearn for a less abstract groove. All in all, a respectable collection of Italian Library Jazz. (I hear there's a second volume on the horizon from Black Cat.)

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Jungle Obsession /
Rotunde Musique No. 7
Nino Nardini & Roger Roger /
Nino Nardini
Dare Dare / Pulp Flavor

Remember that annoying TV commercial for a "10-10" phone plan featuring that no talent David Arquette at a pay phone in front of a convenience store? NO? Well, who could blame you, except that it also featured a cool, stripped down funky groove by Nino Nardini called "Soul Walk."

Nino Nardini, a familiar name to fans of European sound library, has many stripped down funky grooves to his credit and many appear on Rotunde Musique No. 7 (a dubious title to say the least, but one some will recognize). There's plenty of soulful organ fills, throbbing bass lines and crisp fatback beats to satisfy. The track listing offers helpful descriptions such as: "car chase atmosphere," "urban action atmosphere" and "suspense."

On Pulp Flavor's Jungle Obsession, Nardini is joined by another familiar sound library name, Roger Roger (liked the name so much he used it twice!) Here, the music is less funky and more exotic, which is refreshing coming from sound library artists who usually favor a more urban sound. It's also a fairly Moogy sound, which adds an oddly futuristic wrinkle to the mood. Plus, the titles are suitably evocative: "Murmuring Leaves," "Creeping Danger," "Jungle Spell," "Shere Khan," and so forth. Truly a beautiful record.

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Kaleidoscopica
Various Artists
Plastic

Not unlike Plastic's Stroboscopica discs (and a number of other label compilations), Kaleidoscopica ventures into the world of Italian ‘library music’; i.e. music recorded in anticipation of use in movie and TV productions. The ’60s and ’70s were a highly productive time in the Italian entertainment industry. In order to keep production costs in check, many movie and TV productions were scored using pre-recorded instrumental funk and jazz. The music found on Kaleidoscopica ranges from breakbeat funk to breezy lounge to orchestrated thriller atmospherics. The composers behind the selections are a rarified lot, including Ugo Fusco, Romano Rizzati and Carmelo Giacchino. Despite the absence of more famous names, the music is well played and will appeal to jazz, funk and lounge fans alike.

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"Aerospatial" (MP3 edit)

Last Impressions
Janko Nilovic
Vadim

Within seconds of cuing up "Aerospatial" from this Janko Nilovic compilation I thought for a moment that I'd put Alessandro Alessandroni's Sangue Di Sbirro on by mistake — or was that Isaac Hayes' Shaft? Yes, it sounds like a blaxploitation Italian crime funk theme! So, what's not to love?

Janko Nilovic — for those new to the French library music collectors' club — is a tremendously versatile composer whose work from the late '60s and '70s is must-have stuff. Billed as "the definitive and essential selection," it's fair to say that Last Impressions will make a lasting impression on anyone who gives it a listen.

Born in Istanbul in 1941, Nilovic recorded more than 30 albums for library labels such as Montparnasse 2000, Neuilly, Telemusic and Crea Sound, demonstrating a flair for jazz, pop, funk, psychedelic, soul, exotica and beyond. Some of his library records, such as Soul Impressions and Chorus, have been reissued on CD.

Honestly, hardcore Nilovic fans will have most of the tracks featured on Last Impressions, but for newcomers this is the ideal way to discover his groovy, dynamic music.

Moreover, Vadim Music intends to release a remix selection featuring Kid Loco, Minimatic, Le Grand David and several other artists. So, get with the program.

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The Flash of Light/The Golden Age/Spiritual Meltdown
L'Atome
Sheer Music

"Euro-Eroto-Pop: Rare '60s French Film Library Music from L'Atome" is what the magazine ad promises. I ran across it while flipping through Dana Countryman's excellent Cool and Strange Music! magazine. So, I visited www.latome.com hoping to learn more about these rare recordings. The site, however, advertised a musical group from the U.S. After inquiring about the music advertised in CSM, I received a package with three L'Atome discs.

The Flash of Light is, by the sound alone, groovy "rare French library music," with an emphasis on Moog electronics. Which library? Who are the original artists? The liner notes mention Edouard Polonais and E.C. Cornell. It appears that L'Atome is a remix project, though to what degree it's difficult to tell. That said, the music sounds authentic, even with some tasteful overdubs.

The Golden Age also sounds like "rare French library music," but of the '70s, not the '60s. The arrangements swing harder, showing the influence of funk, rock and disco. The production is super polished. But again, it's hard to tell what's original and what's added by L'Atome.

Spiritual Meltdown, the third L'Atome project, is decidedly not "rare French library music," but rather an ambient new age type sound. Listening to it back to back with its predecessors suggests that L'Atome ran out of source material and delivered a totally original recording instead. It's not bad for what it is, but it isn't Score Baby type material either.

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Le Jazzbeat Vol. 1
Various Artists
Jazzman

Will we ever get enough of funky French library music? Of course not. This Jazzman set is billed as "jerk, jazz and psycho beat de France" from the French label Musique pour L'Image (MPI), founded in Paris 1968 by "mad about jazz" Robert Viger. It's all music recorded for use in random TV, film and radio programs.

Le Jazzbeat's thirteen tracks of catchy, soul-inflected, breakbeat grooves are hardly enough. There isn't a stinker in the bunch, which favors the work of Vladimir Cosma and Claude Vasari.

Each track comes with a helpful description, sure to please sample-happy DJs. "Turbine" features "weird repetitive wah and electronic sounds." "Punching Ball" features "quirky organ thing with flip-top bongo." And so on.

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Le Jazzbeat, Vol. Two
Various Artists
Jazzman

Another funky fresh collection of French library music! This time it's billed as "jerk, jazz and psycho beat de France" from the French label L'illustration Musicale, founded in Paris by jazz pianist Eddie Warner. I love some of the testimonials on the back: "A class release showing a raw, yeasty collection of obscene breaks, flash keyboards and jazz fuzz. Loopy, frightening and marrow fat -- I didn't think to ask for more."

Each track comes with a helpful description, sure to please sample-happy DJs. "Black Power" is described as "comedy beat with psychadelic overtones." And "Night Fight" features "menacing chords, relentless drums and dramatic sounds."

As Eddie Warner said: "Music is the lifeblood of film. It is what brings images to life."

The disc runs only 36 minutes long, but it's 16 tracks strong. Well worth checking out.

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The Man and the City
Piero Umiliani
Easy Tempo/Right Tempo

Here's a rarity: a concept album by an Italian soundtrack composer. Recorded in 1976, this non-soundtrack microgroove features track titles such as "Friendly City," "Hectic City," "Urban Network," and of course "The Man and the City." (An excellent remix of the title track appears on Easy Tempo Experience Vol. 3.)

Fans of Umiliani's jazz funk and Latin jazz modes will think they've died an gone to heaven. There's even a little Moog action for fans of his electronic experiments. Most of all, there's Umiliani's dynamic arrangements, featuring driving rhythms, sophisticated brass and virtuouso keyboard work.

There's some funky stuff on here, some heavy beats, pounding piano chords backed by throbbing bass and fatback drums. There's also a good deal of finesse in the way Umiliani and his crew manipulate a familiar theme. Some of the synth sounds are bit dated, but are always backed with tasteful musicianship. One of the best easy reissues of 2001.

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Manhattan Research Inc.
Raymond Scott
Basta

Raymond Scott = Genius. Sounds like a bold statement about the "cartoon composer", but this deluxe two-disc plus book package makes a strong case for it.

First a little background. Scott is best known for novelty jazz numbers such as "War Dance for Wooden Indians" "Powerhouse" "Dinner Music for a Pack of Hungry Cannibals" and "Twilight in Turkey". These and many other tracks found their way into Carl Stalling's brilliant arrangements for the classic Warner Bros. cartoons of the 40s and 50s (Stalling, too, is deserving of the genius label). It's no secret that these recordings, made in the late 30s, have had a profound influence on a wide range of musicians. Because of their enduring fame, Scott has become incorrectly labeled a "cartoon composer".

So, where do the Manhattan Research Inc. recordings fit in Scott's ouevre? These previously unreleased recordings from the 50s and 60s are described as "new plastic sounds and electronic abstractions." That's a fair description, but only tells part of the story. The music is not only electronic, it was created on Scott's own inventions, including the Clavivox, Circle Machine, Bass Line Generator, Rhythm Modulator, to name a few.

According to the liner notes, which includes an insightful interview with another electronic innovator Robert Moog, all of these instruments were housed in Scott's four-story house on Long Island, New York. It was there that Scott experimented and accepted commissions to create commercial recordings for products such as Bufferin, Nescafe, Vicks Formula 44, Twinkies and Sprite, and companies like IBM, GM and Baltimore Gas & Electric.

In addition to the commercial stuff, there are Scott's more experimental tracks, including "The Organized Mind" and "Ripples", the soundtrack for a short film narrated by Jim Henson -- one of several collaborations with the future Muppet creator.

All of this makes for a fascinating listen, and there are moments that sound straight out of a hardcore techno record. On the other hand, most of the jingles have a laughably quaint quality, showing their age.

Basta's packaging for this historic release includes a 140-page book, packed with colorful imagery, photos and a great amount of detail. This is a must for fans of electronica, library music and Raymond Scott.

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"Mindbender" (MP3 edit)

Mindbender - Stringtronics
Various Artists
Vadim Music

This highly coveted sound library album from '72 is finally on CD. That's excellent news for sound library fanatics, as original copies have been known to fetch up to $900.

Featuring a six-track suite by Barry Forgie and exotic mood and cinematic funk workouts by such favorites as Roger Roger and Nino Nardini, the album's desirability is understandable.

The Forgie tracks are quite unusual even by the usually quirky French sound library standards. Combining a baroque chamber sound with psychedelic folk touchs, tracks like "Catharsis", "Dawn Mists" and "Hunted" are transfixing in their drama and atmosphere. Notably, none of the Forgie tracks feature a full drum arsenal -- only bongos and other percussion -- to drive the guitar, keyboard, bass guitar and string ensemble.

The second half (originally side two) features another six tracks split evenly between Anthony Mawer, Nardini and Roger. Mawer's work sounds dated next to the rest due to his use of Moog. His melodies are also too cheerful, sounding a lot like commercial jingles. The tracks by Nardini and those by Roger are reminiscent of the work the two did together on the Chappell library album Jungle Obsession. Naturally, it's exotica, and it's at least as evocative as the legendary work of Les Baxter and Martin Denny.

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Thrilling & Thunder / Lightning
Mirageman
Irma La Douce

Geovanni Fenati aka Mirageman cut about six ultra-rare sound library LPs between the mid 60s and early 80s. Thanks to the Smart Researchers at Irma La Douche, these two collections duplicate a couple of Ariston releases from the late 60s and early 70s, and add some bonus tracks. The sound is hard driving big band rock and funk, with an easy groovin' cinematic vibe on a number of tracks.

Both discs feature evocative titles. On Thrilling, one gets "Hypnosis," "Hashish" and "Obsession". On Thunder and Lightning, one gets "Hallucination," "Paralysis" and "Paroxysm". The titles prove to be fairly arbitrary, however, since most of those tracks go for the same high energy wall of sound.

Mirageman is more dance-oriented than it is cinematic. The musicianship is quite polished, but isn't prone to much experimentation. Some of these tracks may have found their way onto TV shows or commercials, but the go-go era dance floor is a more appropriate setting.

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