Super doper Mix von Mr Thing, der ein paar bekannte und weniger bekannte Samples aus sogenannten Library Music Platten verwurschtelt. Library Music ist im Grunde eine Art Auftragsmusik gewesen, die von Studiomusikern für Werbung, Fernsehauftritte und ähnliches speziell als Hintergrundmusik angefertigt wurde. Meist ist Library Music richtig gut produziert, es gibt aber nur eine ganz geringe Auflage der jeweiligen Songs, was sie für Crate Digger natürlich höchst attraktiv macht.
I was asked earlier this year to do a mix for my good friend Boba Fatt for his 100th show on Itch FM and he said i could do whatever i liked! So decided to do something different from the Hip Hop mixes and do a mix of some rare and not so rare sampled library records which i have been collecting for years and was taught a great deal about by my friend Mark B. Basically Library Music was set up to be used as the background music for TV shows, and a lot of the good stuff ended up in shows such as The Sweeney. I’ve remastered this since it went out on air and my man Tarl/DJ Mofingaz did the artwork … Enjoy!
Der Poptheoretiker Simon Reynolds widmet dem Verhältnis aus Sampling und Library Music auch einen eigenen Abschnitt in seinem Buch „Retromania“ (auf Deutsch im Ventil Verlag erschienen); hier ein Auszug daraus, der das Phänomen und seine Faszination für Crate Digger ab S. 325 sehr gut beschreibt:
The other new frontier for crate-diggers was library music. This was the term for incidental music from the sixties and seventies originally made for use in radio, cinema adverts, industrial films and other non-glamorous contexts which was sold by subscription, not in shops, and issued in uniform sleeves complete with track descriptions (‚light relaxed swingalong‘, ‚industrious activity‘, ’neutral abstract underscore‘) that helped the purchaser to identify the precise mood tint they needed. Listening, it’s easy to picture the scene: a recording studio just off London’s Wardour Street circa 1971; a failed composer frantically scribbles an arrangement on a score, like Shakespeare finishing the third act while the players are halfway through Act Two; the session players grumble and puff on Benson & Hedges, resting their violins and horns on their laps.
By the early nineties, library records from the sixties and seventies issued by companies like KPM, Studio G and Boosey & Hawkes were starting to be highly prized by hip-hop and dance producers: their crisply recorded sound quality and session-musician-calibre playing offered a cornucopia of beats, fanfares and refrains for them to use. And at a time when music publishers and record labels were becoming vigilant about sampling and demanding royalty shares, you stood a better chance of getting away with it if you used a vintage library-record lick. Soon the original library albums started to get pretty expensive.
One of the key figures in library music’s rising profile was Jonny Trunk. His label Trunk Records debuted in 1996 with the world’s first compilation of library music, The Super Sounds of Bosworth. Although far from your archetypal Brit B-boy – he looks more like Eric Morecambe and his real name is Jonathan Benton-Hughes – Trunk had passed through the UK crate-digger scene that emerged in the early to mid-nineties: the milieu that produced trip-hop labels like Mo Wax and Ninjatune, salvage labels like Finders Keepers and Cherrystones, and library-loving DJ/producer types such as Luke Vibert, aka Wagon Christ, and Joel Martin, aka Quiet Village. ‚The British were very good at it; Trunk recalls. ‚There was something really interesting going on in the centre of London at that time. You had figures like Jerry Dammers and Normski, and weirdo fashion people, all hanging out in funny record shops and exploring odd jazz, film music, hip hop. I used to call them „bag boys“, people you’d run into around the middle of London and you’d all be carrying a bag of records. You’d be swapping records and there’d be certain cafes you’d meet at.'“