Review: Alessandro Alessandroni is a library music legend who set the blueprint for the genre early on and then managed to get even more famous because of providing the iconic whistle on famous spaghetti western 'A Fistful of Dollars'. The influential composer and musician had a big say in the world of soundtracks during the 60s and 70sFour Flies have often released his work or covers of it. The tunes on this 7" are taken from an obscure 1975 Italian film by Elio Bartolini. They walk the thin line between disco and funk and jazz-funk with big horn and rhythm sections. Both might have been lost forever if it weren't for the fact that this label put them on the now modern classic and hard to find compilations Esterno Notte and Esterno Giorno.
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.
Review: Vintage synthesiser fetishists Belbury Poly were last on record with author Justin Hopper and folk musician Sharron Kraus back in 2019 for the superb Chanctonbury Rings album. Here we're treated to a reissue of their very first EP Farmer's Angle from 2004, all magical electro-folk and left of centre new sound worlds that combine both new and old.
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.
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: Italian saxophonist Gianni Oddi made his name through a series of slickly arranged cover albums for RCA in the early 70s, but amidst the renditions of other people's songs he'd always find space to slip in one or two of his own. Four Flies now press up a fine example as a standalone release, with 'Dreamin' in particular leaning in on sultry sensuality as Oddi lays down the groove for this flawless slice of after-hours funk. 'Geronimo' is a more dramatic affair that leans in on insistent wah-wah guitars and hot n' heavy brass perceived as a tribute to Manu Dibango.
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: 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: Prepare to tune in and freak out with this psyched out funky brilliance from the Farfalla label. Pleasurewood is behind it and the a-side is a dark, 60s tinged spy theme tune with Italo echo-oscillator drone that comes alive with bleeping bass and breakbeats and then a mystical world of tremolo guitars, ostinato on electric mandolas, rich strings and more all colour the vibrant airwaves. 'White Spiritual' is just as psyched out and has a touch of The Doors to its hippie rhythms and spaced out synths. Two characterful tracks that will melt minds and move bodies.
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: Skeme Richards delivers a throwback to the golden age of funk with 'Hayes Turner On The Run'. Side-1 features the titular track, an epic 70s-themed piece with a powerful beat, a vibrant horn section and a funky bass and guitar riff, key moments punctuated by an electrifying sax solo, making it feel like the ultimate theme song of the era. Side-2's 'A Bookie Named Janice' offers a groovy blend of funk and soul, highlighted by scintillating guitar work reminiscent of the late 60s. With a hippie psychedelic West Coast slant and big drum fills, this track encapsulates the essence of that transformative period, capturing the spirit and sound of classic funk.
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: 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: Four Flies present the first ever 45rpm to be taken from Giuliano Sorgini's masterpiece album Zoo Folle. The library and soundtrack specialist cooked up some irresistibly groovy and funky sounds on the record and two of the best are picked here for serious DJ deployment only. 'Mad Town' opens up with some killer and funky drum breaks with a slick flute line adding extra pizzazz up top. It's a psyched out number for big dance floor moments an on the flip, 'Ultima Caccia' is a more Afro-tinged and tribal number with blissed out drums from Giuliano and some mad funky percussion by session player Enzo Restuccia.
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: 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: 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: 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: Barry Stroller made up an enduring part of the De Wolfe Music library catalogue, the legacy of whom Dynamite Cuts are hoping to preserve on their latest reissues series. Stroller's choice tracks 'Funky Spider' and 'Cool Character' are shining examples of the boogified infection endemic to both the artist and label; both are taken from Stroller's original Atomic Butterfly LP. Expertly-arranged horn sections and massive breaks; what more could you want?
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.
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