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If beat to, this would be their.Īfter gathering fans’ email addresses in an online call-out, this hip-hop trio from Long Island sent out links to zip files for its first six albums. Weiss had a long career in library music, and a lot of clout with the beatmaking masses who appreciated his tendency to mix crisp breaks with chunky synthesizers, but he'd never get as spaced-out as he did here. : (1978 Selected Sound) A personal favorite of producer, who included it in his 2009 mix, Klaus Weiss's “Survivor” is one of the finest examples of late '70s electronic library music you can find: a quicksand-groove dirge that sludgily oozes through the vacuum of space with nothing but the deliberate beat of Weiss' snare-heavy drumming to bolt it down. Hear it, and it's instantly obvious how willingly it splits the evocative difference between a defensive line and a hit squad. “The Big One” (not to be confused with the Alan Tew composition) is a swaggering broad-shouldered bully of a piece, all heavyweight brass, disco-violence strings, and a guitar riff that sounds like it's played by someone with a motorcycle chain wrapped around his knuckles.
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Just as director Ed Sabol radically changed how professional sports were filmed, the composers and orchestras he pulled into the mix drastically shifted how it sounded, the war-like cadences and rousing melodies of marching bands put into a more intense, oftentimes funkier setting. The funny thing is, for a song that's been used to accompany scenes of both explicit and implicit sexuality, it's also something of a big, lumbering, stoner-doom beast-it takes some kind of cinematic visionary to hear this and think it's arousing instead of sinister.īut one exception was the braintrust at NFL Films. But there's still a chunky, bottom-heavy groove under all the quirkily catchy plastic-future analog synthesizers.: (1975 KPM) There are two well-known instances of this song being used for its intended purpose of providing background music: an appearance in Radley Metzger's 1976 porn-with-a-plot comedy, and a 1979 spot for the British-market aftershave Denim.
“Molecule Dance” is one of the more low-key tracks on the record, which aims closer to ambient and eerie incidental mood music than the dancefloor material he broke out with. It's the work he did before the initial 1978 Black Devil LP that placed him among library music's more intriguing weirdos-a weirdness that was self-aware enough to make both his highest profile library record and the source material for. : (1975 L'Illustration Musicale) Bernard Fevre's has always been one of the weirder recurring echoes from library music's more pop-minded corners of the late '70s, as Fevre's Eurodisco sound has run the gamut from canny -isms to fluffy kitsch.
Its ominous string section is like Morricone's permutation of the motifs in the theme to Psycho, which is the kind of thing most people don't know they want to hear until they know it exists-but the album also seems at home alongside the orchestral minimalism of and.
(Just ask.) And while it might seem strange to consider Morricone part of the library music canon-a soundtrack written without a film in mind is a singular oddity in his catalog-it's also a good entry point into his avant tendencies.Ĭontro Fase was released in the midst of a repertoire of early '70s soundtracks that stretched Morricone's compositional mastery through the context of suspense thrillers, crime dramas, supernatural horror, and the last wave of spaghetti Westerns.
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: (1972 Gemelli) Deep in the phone-book-sized discography of Ennio Morricone is a series of collaborative free-improv recordings with the avant collective, just some of the work that gave him nearly as much esteem in contemporary classical circles as it did among film buffs. Hawkshaw's brush with commercial pop didn't end with “The Champ”, either: Under the Love De Luxe banner, he notched a #1 dance hit with the 15-minute disco marathon -itself interpolated in the intro to.
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Hawkshaw's characteristic flair with the Hammond organ is in full force here, and he would later carry on to KPM, De Wolfe, and Themes with his contributions to albums like 1969's and 1973's. Recorded with a number of fellow session players under the pop-friendly name the Mohawks, 1968's “The Champ” technically isn't a library record, but it was cut by a man who'd become one of the biggest names in the industry soon after.
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