Review: The Alex Santos Orchestra is a self-described "orchestra" orchestrated for the express purpose of sanctifying one Alex Santos' lifelong love for jazz and Latin music. Following the much loved 'Alex Santos Y Su Orquesta', 2021's next step in Latinizing said quasi-conceptual ensemble, we've now landed in the project's live ambit. 'The Alex Santos Orchestra On Tour' captures just two live highlights from a much more recent outing (given the mystification surrounding the project, this may or may not have happened). Whatever the case, these recordings span both potentialities, retaining something of a highly-strung Hammond organ come upfront-drumkit drama on the B-side, 'Mr Clean', and an equally stirring version of the main theme from 'The Godfather' on the A.
Review: There's not a lot of information out there about Arcade of Serpe, so let's skip the back story and cut to the chase. If that's really an appropriate turn of phrase here. Nothing about Cave Adventure feels rushed. Nothing. In fact, it's quite the opposite, opening on dub-wise bass and playful organs, the atmosphere - somewhere between lackadaisical, come down, BBQ, and psychedelic - subtly rises, although not to a crescendo as much as a delicate fade out after a few minutes strutting to the funk-laden groove. Flip it to find more explorations in the sonic ether, with 'Unicorn Rider' smoothly stepping out into a surreal track that uses space and emptiness to accentuate the noises that are there, which mirror, if not directly reflect, the opening title tune. It's quiet, but you won't forget it in a hurry.
Brian Bennett & Alan Hawkshaw - "Name Of The Game" (4:25)
Dave Richmond - "Confunktion" (4:38)
Review: Measured Mile is a new 7" label run by regular Ace consultant and confidante Bob Stanley. The plan is to release DJ-friendly 45s that are either very rare or previously unavailable on seven-inch. On this new one come two pieces from esteemed library musicians - the well known pairing of Alan Hawkshaw and Brian Bennett, and Dave Richmond. 'Name Of The Game' is a slow instrumental blues piece with beats ready to be plundered for hip-hop beats that once soundtracked a 1970s aftershave ad, while Richmond's 'Confunktion' is a motivational builder-upper with drums and organs aplenty.
The Phoenix (Kenny Dope Fantastic Souls mix) (4:31)
Kraken (3:41)
Kraken (Kenny Dope Fantastic Souls mix) (3:32)
Review: Kay-Dee Records comes at us with a 45 double-hitter, presenting Bert Hector's 'The Phoenix' and 'The Kraken' with Kenny Dope on remix duties. On the first record, we're treated to 'The Phoenix', a sure-fire funk gem with a super-warm sound - beat is as cool as it gets, with a laid-back and funky attitude sitting beneath a joyous intermingling of sitar, flute, brass and guitar, all performed at expert levels. 'The Kraken', meanwhile, channels a killer groove, strutting at 85 bpm and incorporating a huge brass section which pumps loud, while flute solos and funky Wah-guitar chops take things up a notch.
Review: Fresh instrumental Afro-funk-disco magic from LA-based quartet The Bombillas, once again emerging from their post-LP slumber with the complementary 'Kidi Bloom' and 'Hatif'. In no rush to release again since 2022's 'Nac Nac/Senebi', this new 12" is suitably taciturn and unaffected; the A-sider riffs on distinctive Arabian folkloric music styles, its brand of funk closing in on a harmonic minor key, as David Michael Celia and Tyler Nuffer digitally riffle the electric keys and vintage-amped guitar respectively. 'Kidi Bloom' is a similar pre-car-chase scene complement, bringing cluing vibraphones and mod-wheeled synth work to a relative slow jam.
Review: Flour Flies embarks on a new series of releases entitled Italian Library Songbook where contemporary artists put their spin on great soundtracks of theist. First to add their own new reinterpretations are Neapolitan producer pAd and London singer-songwriter Jessica Duncan. They tackle Alessandro Alessandroni's 'Philadelphia' and turn out something brilliantly soulful: 'Do You Wanna Get Close' is a lush and club ready sound that is backed with the glorious original on the flip side. This is a promising start to what is sure to be a much loved series.
Review: Reissued by Before I Die after being singled out as a choice cut from a recent Swedish library music compilation, 'UFO' is a cosmic funk jam by one lesser-cited duo known as Falk & Klou. This being their only collaboration, the fused efforts of Carl Johan Fogelklou and Fredrik Segerfalk make for an otherworldly experience, with lasery sound FX and a strange narration complementing this toothy electro-funk oddball. The remix by Andi Henley (Ruf Kutz) on the A-side cements the track's importance.
Review: Portland band The Hemloks deal in a specialty take on the genre of funk: lo-fi twangers with a Western verve. 'Outlaw's Theme' is a 7" single that is both good, bad, and ugly; through plodding wah licks and root-note returns, and with true grit, it searches for a place to dance in the sun.. B-side 'Seaweed', meanwhile, plunges us underwater, dub-delaying its lead guitar line for another less-than-clean yet no less infectious slice of West Coast funk.
Los Chicos Tristes (feat Jensine Benitez - El Michels Affair remix) (2:41)
Review: Ahead of their new album Sonido Cosmico, Hermanos Gutierrez return with a smouldering single which shows off their affinity for wistful guitar soliloquies on a short n' sweet 7". The brothers' sound is rooted in 1950s Latin American rock n roll, all quivering tremolo and languid reverb as a casing for their mesmerising melodies. 'Low Sun' captures that melancholic moment as the day shortens in evocative fashion, making this a record primed for sentimental moments aplenty whether you're playing the record for yourself or an audience of kindred chillers who appreciate Balearic vibes hailing from the Southern Hemisphere.
Review: Nick Ingram is a criminally lesser-spotted artist whose credits stretch back to 1998, among which include his various instrumental and production contributions to the band The New Electrics, as well as single contributions to compilations by NME and Melody Maker. But Dynamite Cuts here call 'Trip Wire' and 'Throng' two tracks expressly made for TV soundtracking - never heard before, they reveal Ingram's repertoire in library scoring; the former track is a feverish trip-funker, packed with twang guitar and yodelling flutes, while the latter is a chromatic instrumental soul-jazz number starring a deeply haunting counterpoint, shared equally between synth and voice.
Basil Kirchin & Jack Nathan - "Viva La Tamla Motown" (3:50)
Alan Parker & William Parish - "Main Chance" (3:05)
Review: KPM Music might just be one of the most expansive music libraries out there, boasting a whopping 30,000 exclusive music tracks for licensing. Some of their earliest pieces are being reissued by Measured Mile, the latest of which appears here in the form of a split 7" by four of the label's most treasured contributors. 'Viva La Tamla Motown' helms up the A-side with wonky, laboured drumming and an excitable rock n' rolly guitar and harmonica. 'Main Chance' brings up the B with a more loungeified flutey strutter.
Review: Dynamite Cuts' current reissuing efforts once more focus on the legacy of the classic library label De Wolfe Music, this time selecting three choice songs from Frank McDonald and Chris Rea, two esteemed musicians who together debuted these cuts while forming a part of the in-house De Wolfe label ensemble, Patchwork. All three numbers are nighttime alleyway slinkers, recalling, in their finger-snapping funk palette, a slick combo of flared trousers, leather jackets, sunshaded visages and strange bumps in the night.
Review: The Mesmerisers' debut 7" record is a Shaolin Morricone production that draws listeners into a world of exotic allure and sonic mystery. This enigmatic trio, shrouded in secrecy, deliver a musical experience that feels like it has been resurrected from the vaults of a long-forgotten studio, the record's sultry grooves transporting you to a golden age of music where boundaries dissolve and imagination reigns. The Mesmerisers craft lush melodies and seductive rhythms that evoke a timeless charm, their sound seemingly channeled from another era. The trio's mysterious identity only heightens the intrigue, as these compositions seem to have lingered in the shadows, waiting for the perfect moment to captivate discerning ears. With this vinyl treasure, The Mesmerisers invite you to explore a realm where the past and present merge, creating a soundscape that is both nostalgic and refreshingly unique.
Review: Curiously, 'The Winning Streak' has nothing to do with Miami Vice the TV series - in fact, the artist was an alias of library music legend Alan Hawkshaw and the track was a piece he composed in the early 1980s that ended up being used as the theme for a long-forgotten UK drama about 'family business intrigue'. The track, presented on this Miss You reissue in extended and original forms, is however a far-sighted treat - a combination of Harold Flatermeyer style synthsesiser excellence, delay-laden drums, Martin Rushent-esque percussion, trippy melodic motifs and just the right amount of sonic intrigue. A slept-on delight for sure. To round off an excellent EP, we also get original bonus cut 'Roadrunner', a synth-heavy instrumental which was used as incidental music in the TV series.
Review: Stridulum (aka. The Visitor) is a 1979 sci-fi horror that featured a star-studded cast including Mel Ferrer, John Huston, and Shelley Winters. The score was written by Italian composer Franco Micalizzi and while the movie wasn't a huge commercial success, the soundtrack became a favourite amongst collectors even if Micalizzi is still best known for his Poliziotteschi scores and collaborations with director Umberto Lenzi. His trademark sound was still there for all to hear and now three key cuts form it are pressed up to this special 7".
Review: Brooklyn based Mighty Eye welcomes the Michael Leonhart Orchestra - which features some 20+ musicians - for their first single since 2018, although the collective has put out three albums in that time. These two cuts on this 45rpm are the first and second movements in Michael Leonhart's The Normyn Suite #1, which is a soundtrack to the five stages of grieving and is both a celebration and a requiem. The soundtrack is inspired by the death of an old dog and first appeared on The Normyn Suites album. Here it is expanded with the original brass, woodwinds, and strings now siting with choir and found percussion as well as gritty breakbeats from Nick Movshon.
Review: Despite the label Farfalla's starting focus on unearthing library music of old, they've thrown a curveball on releasing this new one from guitarist and producer Orgasmo Sonore, who's a contemporary artist, more in the field of making library-esque music. Sonore's first seven or so albums were literally quite consistently (usually) all called something along the lines of Revisiting Obscure Library Music, in which the artist re-produced many of the genre/discipline's star classics. Now, however, we hear two entirely original cuts, 'Pop Sensation' and 'Sounds In The Night', both shimmering neo-synth-jazz cuts with spring-verbed Fenders and watery stabs.
Review: Following a near two-year absence from vinyl, the usually prolific Misha Paniflov is back on Funk Night Records with another nostalgic 45 rooted in deep funk, library music, cinematic soundtracks and psychedelia. The Estonian first offers up 'Dr Juvenal's Solution', a jaunty and genuinely heavy dancefloor work out marked out by sixties spy-movie guitars, bustling breaks, intergalactic synth sounds and warming bass. He opts for a more laidback, downtempo feel on side B, with stretched out, Peter Green style guitar solos and meandering Moog lines reclining atop a bittersweet backing track.
Review: At first an obscure library music curio made by Keith Papworth under the aegis of Music De Wolfe - the brainchild of Dutch composer and oboist Meyer De Wolfe - Hard Hitter long flew under the radar as Papworth's unsung instrumental funk magnum opus, that is, until it was reissued in 2022 by Fat Beats, and again now by Dynamite Cuts. We'd wager that it was the Fat Beats reissue that really cemented the legacy of this gem, which placed its intensely sampleable funk breaks in the context of NYC hip-hop culture, cementing its legacy as a favourite sample source for beatmakers, not just a simple and enduring joy in the realm of hard-hitting library funk.
Review: Latest in the Italian soundtrack reissues crop comes this pair of tracks from the soundtrack of Un Uomo Dalla Pelle Dura (The Boxer), a 1972 film directed by Franco Prosperi and starring Robert Blake and Catherine Spaak. Composed by Carlo Pes - who was also the guitarist of the infamous quartet I Marc 4, who probably played on this session as well - 'The Riff' and 'Bossa Party' are are light-footed, drum-led funk number and a piano-led supernova respectively. Perfect accompaniments for the subject of a disgruntled boxer fighting for his dignity.
Review: James Francis Marion Jones was a Black American religious leader whose movement turned into the Church of Universal Triumph, Dominion of God. During the fifties, he hosted his own weekly television shows in Detroit on a Sunday afternoon, making him the first black preacher to do so. His late night sermons were full of passion and power, and half a century on they are as fascinating as ever. On each side of this reissued 12", extended live recordings of two speeches are presented, meaning those who want to hear them won't have pay upwards of L800 on second hand sites, as they would have up until now.
Review: Resavoir's return is a reflective piece that evokes the haze of distant memories. Originally commissioned by Chicago's Public Media Institute for their 2020 Quarantine Times publication, the track now sees wider release following Resavoir's 2023 self-titled LP which came after their 2019 debut of the same name. Composed by bandleader Will Miller in collaboration with designer Crystal Zapata, it draws inspiration from the 1960s and 70s Italian film composers like Piero Umiliani and Alessandro Alessandroni. The track blends Miller's piano and synthesiser with Lane Beckstrom's double bass and Peter Manheim's drums to make for a wistful, cinematic soundscape.
Review: Dirty Harry is one of the greatest Western characters of all time and the main title theme from the movie is just as brilliant. Here it gets pressed up to a fiery and funky 7" that follows on from one on this same label back in summer which offered up 'Scorpio's View' on 45rpm. This one opens with the eponymous theme which is a funky and thrilling chase with superb rhythms and lush strings and then the flip is 'Magnum Force' (main Title) which is more subtle and slow burning but just as dramatic.
Review: Dynamite Cuts brings the heat once more with a second volume of their Sound Music 45s series. Siegfried Schwab takes care of the A-side with 'Getting High', a scorching funk workout with hard-worked guitar chords and precise percussion over lots of wah-wah effects. 'Feel It; flip the script with a superbly stripped-down jazz-funk lounge sound. Klaus Weiss then steps up on 'Time For Rhythm' with some loose, percussive funk beats that are raw and organic, then Peter Thomas closes down with 'Documentation', a more richly instrumental and multi-layered jazz-funk sound that conveys real grandeur.
Review: Back in the 60s and 70s, library music exploded as a genre. It saw plenty of talented musicians make extra cash by laying down endless instrumental grooves for use in TV, film and radio. The King Underground label is now digging into the vast vaults for a new series of releases of some of the finest sounds from the era. The first 45 features tracks considered to be 'dramatic' from John Scott and Tony Kinsey. Scott's 'Milky Way' opens up with cosmic chords and sweeping strings that take you to the stars while 'Star Voyage' has a more busy lead. Kinsey's 'Kaleidoscope' builds the tension with multiple movements from several instruments.
Review: The JalapeNo label sure does like it hot and this one is no different. It sees the return of label regulars Skeewiff for a new series of outings that take the form of reworked covers of some of their favourite library tracks, inspired by greats of the genre such as Keith Mansfield, Brian Bennett, and Alan Hawkshaw. First up is 'Exclusive Blend,' a rather classic instrumental composition by Mansfield. 'Spanish Flea' is on the flip and is a version of a very famous work by Herb Alpert and his Tijuana Brass Band. It's a funky take with lots of percussive energy and big strings.
Review: Producer Soul Supreme is back with another 7" record, delivering two new phat'uns to that subsection of fans who prefer things on the wonkier side. Following earlier, acclaimed tributes the likes of A Tribe Called Quest, J Dilla and Mos Def, the new 'Dues and Don'ts' b/w 'Fraud Fades' 45 features two, all-original jazz-funk groovers by the Amsterdam-based keyboardist and producer. The former track burns slowly, carefully building up around a harpsichord improv, Herbie Hancock style, coming heavy-set by a thick and booming drum backing that soon enough late-blossoms into a cinematic, stringed soaring-on-high. The latter track pays complementary homage to the funk drum breaks of yore, with the central drum line around which the track is built echoing Serge Gainsbourg or Clyde Stubblefield, albeit making conspicuous its own electronically sequenced, not entirely live-performed, feel.
Review: Spasibo welcomes Russian outfit the Soul Surfers who word on the street says have a studio full of vintage, Soviet-era gear. Using library music as their source, they bring their own psychedelic twist with deeply funky grooves and have done now for over a decade. Here they kick off with a seven-plus minute medley of 16 tracks that mix up soul from all eras with wah-wah sounds and real emotion. They repeat the same trick on the flipped with 17 tracks all featuring in a journey through space and funk that leaves you in awe.
Review: The Soul Surfers share their debut 7" on Broc Recordz, following a promising entree working with various raw funk and soul greats, including with Jack Nilovic on his 'Maze of Sounds' compilation, not to mention appearing on the first volume of the recent Two Tales For The Mind V/A. 'High Roller' and its counterpart 'Big Slick' are two large, roomy, instrumental sonic gateau slices, on which an outsized four-string occupies the front and centre of both mixes, to megalomaniac, almost gluttonous effect. All else follows naturally; plucks, snares and FX licks resound, as we're left to contemplate the ingenious front cover by Italian artist Riccardo Bettazzoni.
Review: Harbans Srih's 'The Wireman' comes via the Funk Night label but only on a strictly limited 300 copies and it is sure to sell out because jazz-soul doesn't get more authentic than this. The A-side title tune is a real adventure with live drums overlaid by a sultry sax line and spaced-out synth work. It's multi-layered and hugely evocative. The B-side tune is more deep and mysterious, with curious melodies and an inquisitive sax tentatively leading you on through the night. Two beauties from this ever-excellent label. .
Review: Dynamite cuts are in the midst of releasing a fresh series of De Wolfe library grooves, owing to the esteemed Dutch library's impressive catalogue of obscurios which nonetheless still provide ample source material for DJs, samplers, and obsessives. These two grooves are lifted from the original, said-to-be-mega-rare Formula album by Barry Stoller, from 1972. 'Long Weekend' and 'Design' are equally tooly movers, not just rhythmic weapons, but also gateway drugs to Stoller's extensive back catalogue of distilled, two-minute-long ideas.
Review: The tireless work of Funk Night continues here more steamy late-night sounds. This time it's Sunday Papers at the helm and first off comes 'Smoke.' It's a dense, busy cut with sleazy guitar riffs, plenty of sonic grit, raw, edgy drums and vocal stabs as well as some hints of psyched-out soul. On the flip, the rather horribly titled 'Greasy Meat Pocket' is actually a lovely sound with pensive piano chords and signature Hammond organ grooves that make for a nice late night jaunt.
Review: 'Warlock' is the latest release to be pushed via Bob Stanley's Measured Mile imprint, and pulls two floor-friendly but still retrospective gems from the storied De Wolfe music library, based in the UK and widely known as the progenitor and originator of what has now become known widely as library music. To demonstrate the gestation times common to this corner of the music industry, these two tracks have never been heard before, and yet were recorded in 1983! First comes Reg Tilsley with 'Warlock', a full yet light-winged flight through linns of flute, funk bass and notes inegales. Meanwhile, 'Flashpoint' by Roger Jackson is a space-age tittup of booming, long-tailed proportions; it's tempered by the nagging nip of a clavichord and the formidable frown of the lowest piano note.
Review: Four Flies present another masterpiece from one of the all-time greats of Italian soundtrack and library music, Piero Umiliani. His work on the 1974 film Il Corpo ranks amongst his most famous work, and now two pieces have been selected from the soundtrack and presented on this exclusive single. 'Chaser' on the A side appears in an exclusive extended form which has never been released before, while 'Hard Times' on the flip remains the archetype of Italian jazz-funk perfection. This is a limited edition so don't hang around as these are sure to fly out.
Review: A unique slice of classic library music flies off the shelf. These four tracks were lifted from the classic library music series known only as 'Sounds Music Album Volume 18', and were made by the library maestro Klaus Weiss, the former jazz drummer who later turned to the trade after falling in with German music publisher Ring Musik. An eerie uncanniness cuts across these instrumentals, as Weiss' drumming provides steady boppage to serene yet dubious backings of strings and synth.
Review: This great series from Dynamite Cuts continues to delve deep into the alluring world of library music. It is sound that captures real feelings and evokes all sorts of memories, even those that are imagined, with a single note or seductive groove. This collection is made of tracks from the German Library series Sound Music Albums which sell for over L150 if you can find a copy. There are four tunes in all, three from Klaus Weiss and one from Peter Thomas, all of which add up to another great collection and a must for serious music heads.
Review: The work of legendary drummer turned library musician Klaus Weiss continues to be reissued. For this series, Dynamite Cuts are looking back on a mid-1970s series of EPs released by Weiss originally for the famous library Sound Music. Carrying a minimal production that still has appeal for the modern listener (don't Dynamite know it), the four tracks here are curt, squelchy and beat-centric, with highlights including the clavichord-wacky 'Frogs', the sonically obese 'Productive Facilities', and the space-age drum freakout 'Coordinates Meeting'.
Review: Whatitdo Archive Group goes deep with Wild Man, diving headfirst into the eerie side of holiday folklore. This isn't your average Christmas fare; Side A's 'Wild Man' pulses with heavy, driving bass and swirling wah-guitar that captures the energy of dark legends like Krampus and the Yeti. On the flip side 'Greensleeves' takes on a haunting Ethio-jazz edge, stretching the familiar tune into shadowy, hypnotic territory. Each track is a bold reimagining, blending ancient mythology with grooves fit for any late-night winter gathering that dares to step off the beaten path.
Review: A release that honours the centenary of Alessandro Alessandroni's birth with a collection of previously unreleased tracks from the iconic composer and multi-instrumentalist. This album uncovers a hidden chapter of Italian film scores and library music, featuring Alessandroni's lesser-known work between 1969 and 1978 for war documentaries and films. Paesaggio Bellico isn't just a military march through battlefields but a deeply nuanced exploration of war's human and existential facets. Alessandroni expertly balances sweeping, cinematic themes with moments of tension and unease. His compositions juxtapose stark, unsettling imagery with softer, more hopeful tones that has a poignant counterbalance to the brutality of conflict. The maestro's signature whistle floats over gentle 12-string guitar melodies, while his fuzz-laden Fender Stratocaster electrifies more intense passages. The Cantori Moderni, Alessandroni's trusted vocal ensemble, contribute haunting vocals that delve into the psychology of warfare. An elegant string section adds layers of drama and sentiment, enhancing the album's orchestral weight. With 18 tracks in total, the release is visually enriched by Eric Adrien Lee's cover art, which reimagines the bold design of 1970s Italian war-themed records. With a tip-on hard cover and a unique inner sleeve, the vinyl is a fitting tribute to Alessandroni's enduring legacy, blending sonic and visual storytelling into a truly special release.
Snake Disco (reprise - From Emanuelle A Tahiti) (2:13)
Tahiti Joint (From Emanuelle A Tahiti) (3:06)
Miss X (From Uomo Uomo Uomo) (3:38)
Modeling (From Uomo Uomo Uomo) (2:03)
Ticket (Versione Sexy - From Fritatta All'italiana) (2:12)
Primi Approcci (From Fritatta All'italiana) (3:44)
Climax (From Le Pomoschiave Del Vizio) (2:43)
Racing (From Le Pomoschiave Del Vizio) (2:47)
Review: After the success of the first Alessandroni Proibito box set, which sold out in pre-sale before it even hit the stores, Four Flies is proudly back with Volume 2 of the compilation. This new release too features five exclusive 7" singles, housing a total of ten seriously rare tunes. All previously unreleased in physical format, the tracks have been carefully selected from the soundtracks of five obscure Italian films from the late 70s - sexy flicks that flirted with the line between erotic and explicit, and which are now largely forgotten, having been out of circulation for decades. As was the case with the previous volume of the compilation, Alessandroni's music rises above the films' flimsy plots, improvised actors, and amateurish production, exuding his distinctive touch thanks to the (typically Italian) artisanal approach he took to his musical craft. The composer let his creativity run free, playing with his instruments at home as if he were in his own little amusement park; trying to have fun and produce something entertaining and captivating with just the few means at his disposal.
Review: Zone Black almost never was. The KPM music library originally commissioned Emil Amos to make a collection of new material which could be used in television and film. A little way into this process, the executive who did that hiring departed, and the artist opted to take what was there to the Drag City label in a bid to turn it into a proper album. The end result is something between the two. For all intents and purposes, plenty here fits into the library definition, but this is a far more personal, deeper and coherent take on the format. The foundations of library music - commercial use - soon thrown out with the dishwater, and instead the focus was on creating movements and arrangements that would hold up on their own, and create entire narratives independently, for themselves. Removed from what's happening on screen, you can live in these tracks and nowhere else.
Review: Blue Foundation returns with another lush and immersive album that deepens their signature blend of dream pop, shoegaze and ambient electronics. Crafted over three years by the much loved Danish duo Bo Rande and Tobias Wilner, Close to the Knife explores themes of melancholy and introspection through layered textures and haunting vocals from Wilner and Nina Larsen. Guest appearances from Scarlet Rae, Helena Gao, and Sonya Kitchell enrich its emotional depth, while contributions from Chinese experimental noise band Wang's Xie Yugang and drummer Federico Ughi add complexity to this shapeshifting soundtrack.
Review: The classic sound of British library music is the inspiration for this third volume in ATA's The Library Archive series. It's another magnificently seductive and sophisticated collection of funk, jazz, spy-thriller soundtracks, late-night lounge moments and evocative atmospherics. Blaxploitation era composers such as Willie Hutch and Melvin Van Peebles and the genius of Roy Bud are particular preference points in this one and each cut is brilliantly authentic and lovingly crafted. This series started back in 2019 and four years later it is still going strong.
Theme From The Quiller Memorandum: Wednesday's Child
Something's Up!
The Girl With The Sun In Her Hair
Vendetta (mono)
The Whisperers
You Only Live Twice
Space March (Capsule In Space)
Dutchman
Seance On A Wet Afternoon (1966 version)
Born Free (Main Title)
Review: Something's Up! is a masterful compilation that features the eclectic brilliance of John Barry's film scores. Curated by Saint Etienne's Bob Stanley, this collection highlights Barry's transition from a British arranger to a pop icon, renowned for defining the sound of the Cold War spy movie era. Focusing on music from 1964 to 1967, this album features Barry's iconic work on James Bond classics like Goldfinger, Thunderball, and You Only Live Twice, cementing his influence on the spy genre. Beyond Bond, Barry's contributions to films such as The Ipcress File and The Quiller Memorandum exemplify his ability to blend tension with sophistication. The collection also includes less-celebrated but notable scores like those for King Rat, The Chase and Seance on a Wet Afternoon, reflecting Barry's diverse range and ability to craft memorable themes beyond the mainstream. Barry's music, characterised by its lush orchestration and emotive power, extended its reach from the silver screen to the vinyl, resonating with listeners even if they hadn't seen the films - and his exceptional talent and enduring legacy in film music is on full display here,
Review: A narrative. An odyssey. The journey of a lifetime. As the world locked itself away and the Covid-19 pandemic took hold, Battaglia stepped into the record studio and evidently fired up the ignition rockets. Travel in the literal sense may have been off the cards, but Season One certainly transports the listener through a deep and complex sonic tapestry, telling a tale of struggle from fear into hope and onto something altogether unique and new and enlightened. Plenty here has been inspired by the aural work of John Carpenter and Tangerine Dream, to name but two influences, but ultimately where Battaglia is taking us feels resolutely new. More so, tangibly unchartered. Out to the farthest reaches of the known galaxy and back again in a stunning collection of strange and beguiling electronic business.
Review: Library music maestro and original member of The Shadows Brian Bennett has a raft of sought-after records to his name, but this is surely one of the most prized. As with the best library music, the execution of the compositions is impeccable - like slipping on silken luxury leisurewear for your ears. The record has been a rich source for sampling over the years, so half the joy is in spotting licks and loops from your favourite tunes, but equally these disco-fied delicacies funk all on their own. Lovers of the Black Devil Disco Club vibe will be more than happy getting down to these tasteful cosmic groovers, unbelievably repressed for just the first time on Isle Of Jura since the original release in 1978.
Review: Originally recorded in Rome with top-tier players like Giorgio Carnini and Giovanni Tommaso, this psychedelic library session bridges modal jazz, Latin percussion, and fuzzed-out funk. This reissue restores the 1970 cut in full, swirling through ghostly organ grooves and spiralling rhythm sections with a clarity that feels startlingly fresh. 'Psichefreelico (Sostenuto)' and 'Bacharachico' glide between dreamy lounge and scorched delay-drenched oddness, while 'Africaneidico' pulses with loose Afro-Latin syncopation. Mined from Italy's golden age of library music and remastered from mono tapes, it's a masterclass in instrumental storytellingivivid, woozy and totally transportive.
The Saints Go Marching Through All The Popular Tunes (2:12)
Summer Will (3:24)
Outside The Pier Prowled Like Electric Turtles (2:37)
The Total Waste Is Here (News Cut-Up) (1:57)
Choral Section (Backwards) (2:28)
We See The Future Through The Binoculars Of The People (2:24)
Just Checking Your Summer Recordings (2:28)
Creepy Letter (Cut-Up At The Beat Hotel In Paris) (1:07)
Inching (Is This Machine Recording?) (2:25)
Handkerchief Masks (News Cut-Up) (4:19)
Word Falling Photo Falling (2:44)
Throat Microphone Experiment (4:28)
It's About Time To Identify Oven Area (3:42)
Last Words Of Hassan Sabbah (4:01)
Review: Avid Discogs fiends are likely to be already aware of Nothing Here Now..., the esteemed collection of audio recordings made by classic writer William S. Burroughs, known for macabre classics like Junky and Naked Lunch. First laid to record in the 50s and 60s, the rare recordings were later picked up by Throbbing Gristle members Genesis P-Orridge and Peter Christopherson, who sensitively compiled Burroughs' already spectral murmurings into a comprehensive and listenable final LP. This reissue comes via Dais, and once more provides a window into the troubled personal life of the writer, who desperately sought to escape city life.
Review: Lounge singer Richard Cheese presents his 28th studio album and it is a heartfelt collection of melancholy saloon ballads styled after classic Frank Sinatra Capitol Records concept albums. Featuring 12 newly recorded tracks for 2024, the album pairs Cheese's sincere vocals with rich orchestrations and wistful piano and super covers along the way including Radiohead's 'Lucky,' The Offspring's 'Self Esteem,' R.E.M.'s 'South Central Rain,' Harry Styles' 'As It Was' and Lana Del Rey's 'The Greatest.' It makes for a record full of soulful, nostalgic interpretations.
Review: A new spate of Tele Music library classics reissues from the 70s houses this one from 1976. Once more, legendary composer and drummer Pierre Alain Dahan hears his timely work reissued - this time in collaboration with his eternal guitar colleague Slim Pezin, a many-timed collaborator with Dahan. Contrasting to Dahan's many more experimental works, such as the prototypical 'Rhythmiques' album (which is far more out-there, almost primordial-sounding) 'Neo Rhythmiques' is an absolute killer of scorching, uptempo jazzy soul-funk, demonstrating what humanity as whole has achieved since, by harnessing said rhythmic primordium for its own funky ends.
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