Double disc theme spectacular combines the lesser-known composers with pioneers of British TV, film and library music
9/10
It's all been done before, this soundtrack-compiling lark, but not by the usually funkier curators based at the reliable Soul Jazz Records empire. With the help of arch-archivist Johnny Trunk, SJ's Stuart Baker should be proud of this release - it is exemplary. Two discs containing 36 tracks associated with a key-period in TV, film and library-music history, some of the most important composers of a golden era, a lavish 48-page booklet about those pioneers and not a Bond theme in sight - what's not to like?
Rather than cobble endless cheese and guilty pleasures for a mainstream audience, this selection focuses on the writers who haven't garnered the props and respect that the John Barrys, Barry Grays and Geoff Loves might have had although those three have, quite rightly, been included in the mix. You get the impression that TV Sound and Image has been borne out of love, nerdyist and enthusiasm, such is its train-spotting bent and attention to meticulous detail, not unlike other Soul Jazz albums.
Barry Stoller is given the exclusivity of presenting the opening track, "Condition Red", taken from one of many library-music sources from the infinite body of work archived by De Wolfe, a name synonymous with those generic 'mood' albums that didn't have track titles as such, merely descriptions like "fast-paced with menace" and "romantic arpeggio with solemn guitar". He also composed the Match of the Day theme, a piece of music that has soundtracked Saturday nights in millions of homes since 1970, enough of a landmark to warrant the inclusion of a less populist track in "Condition Red".
The other underdogs on here rub shoulders proudly with the heavyweights - Laurie Johnson's "New Avengers Theme", "Roy Budd's pensive and beautiful "Get Carter" intro and John Barry's archetypal '60s motif for "The Persuaders" will ring memory bells, Neil Richardson's "Guide Path", James Clarke's "Folk Song" and Johnny Harris' "Fragment of Fear" probably won't. Those of a certain age will recognize the infamous '70s version of the Top of the Pops theme, courtesy of C.C.S. giving Led Zep's "Whole Lotta Love" a respectable instrumental workout.
The impressive, informative accompanying notes in the booklet (with fabulous photos of the era's stars and related artists) tell tales of those stereotyped by their choice of commissions, for example Keith Mansfield supplied producers of sports programmes with a steady stream of lively symphonica and Keith Papworth's gritty paeans gave suitable tension to punch-in-the-face Brit-cop series such as The Sweeney, while many other composers languished in anonymity or by founding The Shadows (hello Brian Bennett).
The less-essential pieces are few and far between and the mostly-instrumental selections rarely step over the 3-minute mark, the obvious exception being "Spiral" by the splendidly-christened Harry Roche's Constellation, comparable to Mandingo or Isaac Hayes and almost 11 minutes in length. Overall, this essential compilation bodes well for any future treks into this previously much-maligned territory. Also available as two separate double-vinyl editions.
9/10
It's all been done before, this soundtrack-compiling lark, but not by the usually funkier curators based at the reliable Soul Jazz Records empire. With the help of arch-archivist Johnny Trunk, SJ's Stuart Baker should be proud of this release - it is exemplary. Two discs containing 36 tracks associated with a key-period in TV, film and library-music history, some of the most important composers of a golden era, a lavish 48-page booklet about those pioneers and not a Bond theme in sight - what's not to like?
Rather than cobble endless cheese and guilty pleasures for a mainstream audience, this selection focuses on the writers who haven't garnered the props and respect that the John Barrys, Barry Grays and Geoff Loves might have had although those three have, quite rightly, been included in the mix. You get the impression that TV Sound and Image has been borne out of love, nerdyist and enthusiasm, such is its train-spotting bent and attention to meticulous detail, not unlike other Soul Jazz albums.
Barry Stoller is given the exclusivity of presenting the opening track, "Condition Red", taken from one of many library-music sources from the infinite body of work archived by De Wolfe, a name synonymous with those generic 'mood' albums that didn't have track titles as such, merely descriptions like "fast-paced with menace" and "romantic arpeggio with solemn guitar". He also composed the Match of the Day theme, a piece of music that has soundtracked Saturday nights in millions of homes since 1970, enough of a landmark to warrant the inclusion of a less populist track in "Condition Red".
The other underdogs on here rub shoulders proudly with the heavyweights - Laurie Johnson's "New Avengers Theme", "Roy Budd's pensive and beautiful "Get Carter" intro and John Barry's archetypal '60s motif for "The Persuaders" will ring memory bells, Neil Richardson's "Guide Path", James Clarke's "Folk Song" and Johnny Harris' "Fragment of Fear" probably won't. Those of a certain age will recognize the infamous '70s version of the Top of the Pops theme, courtesy of C.C.S. giving Led Zep's "Whole Lotta Love" a respectable instrumental workout.
The impressive, informative accompanying notes in the booklet (with fabulous photos of the era's stars and related artists) tell tales of those stereotyped by their choice of commissions, for example Keith Mansfield supplied producers of sports programmes with a steady stream of lively symphonica and Keith Papworth's gritty paeans gave suitable tension to punch-in-the-face Brit-cop series such as The Sweeney, while many other composers languished in anonymity or by founding The Shadows (hello Brian Bennett).
The less-essential pieces are few and far between and the mostly-instrumental selections rarely step over the 3-minute mark, the obvious exception being "Spiral" by the splendidly-christened Harry Roche's Constellation, comparable to Mandingo or Isaac Hayes and almost 11 minutes in length. Overall, this essential compilation bodes well for any future treks into this previously much-maligned territory. Also available as two separate double-vinyl editions.
