James ClarkeMystery MovieLP

Be With Records
Due for release 16th of November 2018
 £ 20   £ 16.67 

"Modern, small group compositions in various moods. Ideally suited to the new Americanised style of T.V. and cinema film where music is used to. create the mood and carry the action."

Release Notes

An exemplary library record that, yet again, is a fantastic listen from start to finish, covering many bases brilliantly. It’s best known for the slick drum breaks underpinning the top notch jazz-funk – chase theme “Car Patrol”, the fuzz riffing and ARP soloing of “The Heavies” and the slow-mo rhythmic strut of “Mystery Moll.” Whilst the eerie, lonely harp and acoustic guitar melodies permeating “Study In Fear” and “Empty Streets” demonstrate a neat line in the slow, creeping dread necessary in horror soundtracks.

However, it’s the understated, plaintive themes that provide the most sonic reward. Evoking the ‘downlifting’ Ronnie Lane and Ron Wood instrumentals from their great Mahoney’s Last Stand LP, as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder, these soulful tracks vary between stunning ambient feels and strung-out fried-folk, full of cyclical naïve melodies. It’s no surprise the unhurried “Waiting Game” was sampled by melodic downbeat masters Express Rising. Check the floating “Relaxed Theme”, deeply melodic “Quiet Girl”, “Routine Procedure” and “Quietness Sustained”, a set of gorgeous, melancholic work, the latter trio featuring just acoustic guitar and harp.

Originally produced exclusively for use by film and TV studios and never commercially released, library records have long been a goldmine for the collector and sampler alike. The music was created to evoke moods, situations and emotional responses and, at it’s best, it was truly extraordinary. Creative and futuristic, it is now regarded as some of most inventive music of its time.

Crafted by the some of the greatest musical minds of the late 20th century, these expert musicians and innovative composers revelled in the freedoms offered, paradoxically, by this most corporate of fields, indulging themselves in ways they couldn’t on records made for general release. The calibre of the musicians certainly raised the bar, too. Robin Phillips, who ran KPM in its heyday, wanted only the best. “You couldn’t do an album of the quality Robin demanded without the A-team,” as Brian Bennett recently recalled.