The unreleased soundtrack from the 1970 film. Black vinyl with a random sprinkling of “office door” clear ones ie randomly packed.

OVERVIEW:
Oh my God. This is mindblowing. Like Wow. Incredible. Amazing. Breathtaking. Super wow. And wow again. And another wow. Jesus Christ wow. Like bloody hell wow. I really cannot believe it wow. Fuck me wow. Wow wow wow.

THE MUSIC:
Unreleased until now and super duper wow. Like British pastoral jam with killer drums, bass and percussion. Just dying for some huge hip hop producer to come and piss all over it, in a good way. This record is the hidden monster, the one killer OST no one saw or heard.

HISTORY
Film is from 1970. Unreleased music is just fucking wow. 

TRACK LISTING

Side One:
Bartleby 1
Bartleby 2
Bartleby 3
Bartleby 4
Bartleby 5
Bartleby 6

Side Two:
Bartleby 7
Bartleby 8
Bartleby 9
Bartleby 10
Bartleby 11

Rare musical magic from the Bruton library catalogue – ambient, spacey, pastoral and electronic. Music by John Cameron, Alan Hawkshaw, Francis Monkman, Brian Bennett and more – all total masters of the scene. All very cool. All very now. All will sell very fast.

Over the last three decades Jonny Trunk has collected and written about library music. But he’s never had a great deal of luck with the Bruton catalogue. By this he means that he’s never stumbled across a massive stash, or lucked-out buying a huge run for practically nothing –that’s the kind of thing that used to happen in the 1990s and the early noughties if you were out there looking hard for library music. But he did manage to get about 25 in one hit about 20 years ago when the BBC shut down their “TV Training Department” near Lime Grove and also when a box of Brutons ended up being dumped at a hospital radio, and they didn’t want the records, so Jonny got a call.

There are lots of Bruton albums in existence – over 330 LPs in the vinyl catalogue, issued between 1978 and 1985. That’s a lot of music to wade through if you are looking for sublime modern day sounds. For many years now the “trophies” from the Bruton catalogue have been the beat or action driven LPs – the two Drama Montage albums (BRJ2 and BRJ8) have always been the big hitters, and others such as High Adventure (BRK2) too.

But Jonny has always found himself drawn to the lime green LPs, the pastoral, peaceful albums (The BRDs), which were full of the kind of gentle, lovely music that would turn up in Take Hart as Tony was painting a woodpecker or a badger or an Autumn tree. The other Brutons he likes are the orange ones (The BRIs) simply because they are full of experimental futuristic electronics and would remind him of 1980s ITV backgrounds. This LP series includes Brian Bennett’s cosmic classic Fantasia (BRI 10). Jonny has been knows to refer to this style of library music as “Krypton Factor library”, because it’s exactly what that strange but successful 1980s TV quiz show sounded like.

In recent years as interest in library music has expanded, we’ve watched
the price of a handful of Brutons really going through the roof - not the just the action and drama ones, but the more esoteric and experimental LPs too – like the BRDs and the BRIs. Jonny gets the vibe that people finally want to hear this other more interesting and experimental side of the Bruton catalogue. So what better time than now to put together a compilation of such sublime period sounds.

Not only does this album bring together a set of fabulous cues that would cost the average man in the street a month’s wages (if the originals were all wanted and if you could even track them all down), but it also chops out the need to listen to other tracks on library albums that are nowhere near as good.

The cues here all date from between 1978 and 1984. They come from the BRD, BRI, BRH, BRJ, BRM, BRR and BRs catalogues.

The composers are all legends within the genre, and here, were doing what great library composers do best – fulfilling a brief and utilising modern studio equipment to both commercial and beguiling effect. 

TRACK LISTING

SIDE ONE
Vibes - BRS 6 – Frank Ricotti 1981
Utopia Revisited - BRJ 18 – Johnny Scott 1980
Trek - BRM 9 – John Cameron 1981
Tropic 2 - BRM 9 – John Cameron 1981
Reflections - BRM 2 – Frank Reidy / Eric Allen 1978
Stargazing - BRI 2 – Francis Monkman 1978

SIDE TWO
Drifting - BRI 3 – John Cameron 1978
Dissolves - BRI 3 – Les Hurdle / Frank Ricotti 1978
Floatation - BRI 9 – John Cameron 1980
One Language - BRR 18 – Orlando Kimber / John Keliehor 1984
Saturn Rings - BRI 6 – Alan Hawkshaw 1979
Billowing Sails - BRD 20 – Steve Gray 1982
The Swan - BRD 19 – Brian Bennett 1982

Album Mastered By Jon Brooks.

Superb unreleased soundtrack from British 1972 sex comedy starring Gabrielle Drake (Nick Drake’s sister) and Rchard O’Sullivan (Gilbert O’Sullivan’s brother!). Brilliant music on many levels, 17 sexy tracks of swinging jet-set jazz, groovy scatty vocals, hell it must be good because it’s on Trunk Records.

Take yourself back to the fleapit cinemas of the early 1970s. My home town of Aldershot had two - the ABC/123 (with three screens) and The Palace (just one screen, and anything but palatial). Au Pair Girls, released in 1972, was exactly the kind of soft porn “comedy” flick with a vague plot that would, without doubt, have been playing as part of a double bill to the regular “dirty mac brigade”. Such films and such establishments guaranteed the small crowd regular titillating wide screen visions of nude women in preposterous situations and fulfilling preposterous fantasies.

The title of Au Pair Girls suggests it all of course; yes, four young women fly into London from Europe and Asia, are sent to their new employers and find themselves in unexpected and unusual situations pretty fast. There is of course full nudity, crudity and a large slab of cheese on the menu.There is also no real comedy, a sprinkling of infamous character actors (Richard O’Sullivan, John Le Mesurier), and “UFO” actress Gabrielle Drake (sister of Nick Drake) wearing nothing at all. If anything, the film has maintained a vague middle aged male following because of Gabrielle.

But there’s little to save this film from contemporary criticism - its outdated view of life, rights, sex and taste sit uncomfortably today. But the jet set soundtrack by Roger Webb was worth saving.

By 1972 Roger Webb’s career in film and TV music was taking off. He was an established songwriter and live pianist with a jazz trio. He’d already penned a few British scores and was just starting on a formidable future with library companies including Chappell, de Wolfe and Capitol. His route to Au Pair Girls was accidentally through Norman Newell, one of the giants of the post war music industry.Actress and performer Dee / Deanne Shenderry had asked Newell to recommend an artist to arrange her up and coming album. New;ee recommended Roger Webb.The two worked together and some music was produced, but to my knowledge only got to acetate stage (possibly for Apple Records). Dee husband was Kenneth Shipman, a co-owner ofTwickenham film studios.And so when Kenneth Shipman started pre
production of Au Pair Girls, Roger Webb was an easy go-to for film music composition.

Many years ago there was an original reel / master for Au Pair Girls. It was transferred to CD, DAT and cassette circa 1990 and the rapidly degrading tape was subsequently misplaced, lost or just binned. So all we had to work with was a rather shaky transfer from nearly 30 years ago, one which included numerous wobbles as well as speeding up and slowing down moments.The job of rescuing all this was left to Jon Brooks, my hero for all such musical problems. The end result is what you hear on this album. It is by no means sonically perfect but it is all we will ever have.

It’s certainly not Roger Webb’s best ever score (I have more of his ace work coming) but it has a certain charm and relentlessness.The lyrics were written by Norman Newell, and I can imagine the pair having a huge amount of fun putting the score together and recording it, with - as you’d expect - a pretty tight band and lively vocal group.The main theme does, as one reviewer state, “go on a bit”, but there’s enough musically here for me to get excited about and really want to “stick it out”. So I have.

TRACK LISTING

Side One:
Au Pair Girls 1 - 9

Side Two:
Au Pair Girls 10 – 17

Incredible follow up to the sold out Zwartjes Tapes 1, this vinyl continuation takes us deeper into the sublime world of the cult Dutch director Frans Zwartjes’ soundtrack tape archive; dream-like, disjointed, disturbing, peculiar, sexy, unexpected and totally unique.

Frans Zwartjes is famous for his art-house films (look him up on YouTube). A Dutch underground auteur, his prolific output dates from 1968. A unique talent, Zwartjes produced, directed and edited his own films (his last work was in 1991), but more importantly he created and improvised the soundtracks too. Zwartjes and his large body of work is only now being recognised by a wider, more international crowd, with screenings at the NFT and other important art-house cinemas across the world. The recordings on Tapes 2 were mixed directly from the Zwartjes soundtrack tape archive. They were assembled directly and in real time by Zwartjes archivist Stanley Schtinter and have never been issued before.

The music and sound have been put together as two long, seamless sequences; they are dreamlike, unsettling, peculiar, plugged-in, prescient and unlike any other soundtrack we have heard. 

STAFF COMMENTS

says: Yes you might be tricked into thinking you've bought the soundtrack to one of Mart's B/W, arthouse 'blue' movies; but post-watershed this is not! Instead it's some of the most eerily evocative, strangely compelling 'found sounds' I've heard for a while.

TRACK LISTING

SIDE ONE
The Teacher Part One

SIDE TWO
The Teacher Part Two

All Cues Mastered And Sequenced By Jon Brooks, AKA The Advisory Circle 

Originally written and released by Woody Guthrie in 1947, this cover version of “Pastures Of Plenty” by Pete Tevis – a Californian folk singer living in Rome in 1962 – was arranged by Ennio Morricone. A few years later, Sergio Leone wanted Morricone to score his up and coming western called A Fistful Of Dollars. Legend has it Morricone wrote some music, Leone hated it. Morricone then played him this old single. Leone wanted this music but with a new melody over the top. The rest is film music history.

This is the first ever repress of this hugely important single since 1962. Originals copies are mythical to say the least.

TRACK LISTING

Side One
Pastures Of Plenty

Side Two
Notte Infinita

Holy shit! If it isn’t three unheard 1960s and 1970s reels from the unreal and unreleased Basil Kirchin Tape Archive. Sublime pastoral jazz, autistic children screaming, spooky vocals, experimental tape manipulation and more from the master of such thing.

HISTORY:
The three parts of this new Basil Kirchin album come from three very different tapes from his archive. All parts were unreleased until now.

“Pat’s Pigs” actually sounds to me like a Basil bird recording, slowed and treated, mixed with simple improvisation. But it could well be pigs. Pat’s pigs. This whole tape recording may have been an early experiment towards what was to become Worlds Within Worlds Parts I and II. A lot of Basil’s work was headed in that direction.

“Electronic” – first of all this is not that electronic. There are elements of the classic Kirchin drone sound here, mixed with multiple and treated recordings of the autistic children of Schurmatt, along with Esther, his wife, singing. I remember speaking to Basil many years ago about his Schurmatt recordings. Esther worked as a nurse with the children, Basil got to know many of them, and became fascinated by the extreme musical noises they would make with their voices. This recording is not necessarily for the faint hearted, but makes for extraordinary listening, based on the fact this would have been made and mixed, simply as a classic and progressive Kirchin experiment, back in the late 1960s/ early 1970s. This also has untreated elements that would eventually contribute towards Quantum, his preferred version of the WWW concept.

“The Suspended Fourth” comes across like a soundtrack, so it could well be part of what Basil called his “imaginary film music period”. It has a very distinctive and pastoral Kirchin style leitmotif that repeats along its glorious and slightly disturbed 21 minutes. It’s very well produced, possibly built up and improvised over a few days, could well have been an experiment, a pitch or just something that had to come out in the groovy studio. The tape itself states that this is The Suspended Forth with a subtitle: “The Musical Study Of A Mind, Part 1 Schizophrenia”. It therefore could even be something to do with a soundtrack he was asked to make for a mental heath conference for psychiatrists at Earls Court in the late 1960s (see States Of Mind, JBH005LP – the British jazz musical line seems like it could well be the very same). But who knows for sure? I shall continue looking in the archive for other possible parts.

Before I go, the original title for this album and the artwork come from an empty tape box in the archive, which I think sums up all sorts of things about Basil, his awesome music and the tape archive all at the same time.

More reel discoveries will follow. Thanks for listening as always. 

TRACK LISTING

Pat’s Pigs
Electronic
The Suspended Fifth

Yes, at last! Kinky keyboard porn! Whisper porn! Vinyl Porn! And all at the same time.! And what an ASMR treat we have for you here. Recordings of 12 incredible bespoke mechanical keyboards made and recorded by the master of this modern art, Taeha Types. Yes, this is actual typing sounds on amazing future / retro / cutting edge keyboards. Every track different. Every keyboard different. Listen and weep. Or sleep. Or something. An INCREDIBLE and UNIQUE listening experience. The first mechanical keyboard album EVER!!!

HISTORY:
For the last few years a small scene has been growing. The mechanical keyboard scene. It’s now quite a big scene actually. It makes total sense as most of us use keyboards everyday, so why not have an amazing keyboard to use instead of the total crap one you have. I mean just look down. It’s shit isn’t it. So, some people worked out that things could be improved. A lot. So they started to make incredible, kinky keyboards, using both old and new tech: and the possibilities and options in construction are endless. There are key cap options (GMK ABS, PBT etc etc), spring options (Cherry MX, Pandas, Alps etc etc) and even backplate options (steel, aluminum, copper etc etc), and of course case options too. And all these options make a big or little difference. And once made these keyboards are carefully lubricated spring by spring to give them that little extra smoothness and “ping”. The results are beautiful, fetishistic, futuristic in an odd retro style, and they sound AMAZING when they are typed on. This is classic ASMR / whisper porn, the gentle click and rattle of carefully lubed springy keyboards make the hairs on the back of your neck rise. Either that or they gently woo you into a peaceful, sublime state. This is a classic and groundbreaking new Trunk album for our modern stressful times.

The recordings on this album are the first ever release of mechanical keyboard sounds. They are from a selection of (enhanced) keyboards from the 80s, 90s and now. They were recorded by the master maker of the modern mechanical keyboard, Nathan from Taeha Types. He has a large following on Instagram, YouTube (videos of his hands typing on his keyboards hit 10K in just a couple of days after upload), and he now has over half a million views on his Twitch channel where he constructs keyboards live.

Sleevenotes on the album have been put together by Jonny Trunk and Stu London (AKA Futurecrime) from the London mechanical Keyboard scene. He knows what the fuck he is talking about. And you might not understand it, but you can catch up real quick. Like I did.

Album mastered by Jon Brooks, who also really understand these sounds. And if you don’t, don’t worry, lots of others will.

TRACK LISTING

SIDE ONE

1. Apple M0110A (1986-1990)
Plastic Case, Mitsumi (Malaysia) Switches, Steel Plate, PBT Keycaps

2. Apple M0116 (1987-1990)
Plastic Case, SKCM Orange Alps Switches, Steel Plate, PBT Keycaps

3. Chicony KB5160AT (approx 1986)
Plastic Case,SKCM Blue Alps Switches, Steel Plate, PBT Keycaps

4. Mekanisk Fjell - Built For Apex Legends Professional Player NRG Dizzy
2019
Aluminium Case, Holy Panda Switches, Lubricated, Brass Plate, GMK ABS Keycaps

5. HHKB (Happy Hacking Keyboard) Pro 2 (2006-present)
Plastic Case,Topre 55g Switches, Lubricated And Silenced, Plastic Plate, PBT Keycaps

6. IBM 5140 (1986)
From Convertible PC, SKCM Brown Alps Switches

SIDE TWO

1. IBM P70 (1990)
Plastic Case, Alps Plate Spring Switches, Steel Plate, PBT Keycaps

2. Kyuu (2019)
Aluminium Case, Lubed Gateron Ink Switches, Brass Plate, GMK ABS Keycaps

3. Keycult No.1/65 - Built For Rainbow Six Seige Professional Player G2 Pengu!
2019
Aluminium Case, Lubed Cherry MX Brown Switches, Aluminium Plate, GMK ABS Keycaps

4. TGR 910 RE – (2016)
A Keyboard Made Out Of Polycarbonate. Brass Plate, Lubed Nixdorf Cherry MX Black Switches, GMK ABS Keycaps

5. TGR Alice (2018)
Aluminium Case, Carbon Fiber Plate, Lubed Vintage Cherry MX Black Switches, GMK ABS Keycaps

6. Zambumon Verne (2019)
Aluminium Case, Lubed Gateron Inks, Brass Plate, GMK ABS Keycaps

Extraordinary unreleased homemade electronics from the late 1960s made by a pioneering ballet dancer and musician. With possibly the best name ever.

There are very few Ernest Berk recordings. As a pioneering ballet dancer, instructor and electronic music artist he was surprisingly prolific. He made music for all sorts of uses – he even made library music – and of course this very album of his music for two of his ballets.

Towards the end of his life Ernest Berk gifted his entire collection of works, tapes, documents and all to the Historical Archive Of The City Of Cologne. Tragically, in 2009, a large part of the archive collapsed (due to the construction of an underground railway) destroying 90% of the everything. Berk’s tapes have tragically never been recovered. They are assumed lost forever.

So these two recording – issued privately circa 1970 – remain precious to say the least. There were no masters, this new pressing was simply transferred from the original copy held by his family. We have done our best to restore the sound. I have also reproduced the original notes, and from what I can gather this album may well have been pressed and given away as promotion for the Dance Theatre Commune.

Ernest Berk was born in Cologne, Germany and cams to England just before the war. He started a dance company in London and wanted a sound especially suited to his experimental dance style. This he found in electronic music.

Berk feels that electronic music is able to express the feelings of contemporary society in a more potent and communicative way than conventional forms of music. This is not to say he disregards traditional forms of music, rather, he blends the best elements of both, creating a new and exciting sound.

Over the years he has gained an international reputation as a composer of electronic music. His works have been heard in Berlin, Cologne, Florence, Edinburgh, United States, to name a few. He has scored a number of films, plays and ballets. Ernest and his wife, Ailsa, opened a new studio at 52 Dorset St, W1, in April, 1970 where they give tuition in modern dance, electronic music and percussion. They also teach at the Guildhall School Of Music And Drama and at ILEA Institute (Stanhope). The studio is headquarters of the Dance Theatre Commune which the Berks created in order to combine their work in dance and music with those already working in similar spheres. 

TRACK LISTING

SIDE ONE
INITIATION
A Ballet Score: The Theme Of The Ballet Is Modern Youth And Its Ritualistsic Behavior. One Has To Be “initiated” In Order To Belong. The Subtitles Of The Eleven Scenes May Give A Helpful Guideline:
1) Arrival And Setting Of The Scene
2) The Girls Alone, Giggly And Immature
3) The Scare
4) Passionate Whip
5) Undercurrents
6) Tittilation
7) Phallic Symbol
8) Song Of The Adulated Star
9) Adoration Madness
10) The Body
11) The Sacrifice And Final Initiation

SIDE TWO
GEMINI
A Ballet Score: Identical Twins Are So Much Out Of One Mould That They Experience Transference Of Sense, Perception And Emotion. A Young Man Meets One Of The Girls And Falls In Love, Unaware Of The Twin Sister. The Great Love Duet Show The Young Man Dancing With One And Sometime The Other Without Knowing There Are Two. Later, He Surprises Them Together And Finds Himself In Love With Both. So They All Live Together In Great Bliss And Fun Until The Day Comes When One Of The Sisters Dies. Her Surviving Sister Feels Like The Dead. The Young Man Cannot Lopve One Without The Other. They Part Inconsolably

THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Worlds Within Worlds (Part I and II) is one of the most important improvised jazz-based recordings of all time. Released in 1971 it sold just a handful of copies, but has become a keystone in the development of experimental and ambient sounds - originals now fetch £1000+.A perfect released for RSD, this will be the first time this exceptional, unique and highly desirable record has been repressed. Built up using layers of treated and slowed field recordings with Derek Bailey and Evan Parker improvising, WWW offers listeners a mesmerizing sonic experience that remains years ahead of its time. This pressing features a new gatefold sleeve (Kirchin hated the original sleeve), with images of Kirchin, his original field recording tapes and notes by WWW fan Thurston Moore. There are just 1500 being pressed with 250 on gold vinyl, which will be mixed randomly in with the 1250 black versions. There will be no way of telling which colour is which as all LPs will be sealed. The LP will not be repressed. Tracklist:Side One - Part One - Integration (Non-Racial)Side Two - Part Two - The Human Element

Out of print since 2001, a classic trunk records release gets a rare repress. Naïve and pastoral space music at its very best!

As a TV obsessed child, the Clangers was my favourite programme on the box, so you can imagine how excited I was when this came in!

What an unbelievable recording. The entire unreleased score for the entire Clangers TV series - that's music for all 26 episodes. It grows organically (as does the series) from small and simple phrases to complex passages of pure pastoral space music. It all climaxes with the awesome "Harmony Of The Spheres". The running order is exactly as it ran with all 26 episodes and includes some SFX, Tiny Clanger and Oliver Postgate's timeless introduction. This CD also comes with the unique and sweet "Clangers Opera" compiled by Oliver Postgate, an adventure on the Clangers planet starring the Iron Chicken. The CD booklet includes rare photos, early Clangers Sketches and a Libretto for the Clangers Opera written by Oliver Postgate. 

Volume five of the killer Britxotica! series, looking this time at 16 super rare and briliantly bonkers latin and percussive pop cues from the wild British Isles!

Britxotica! (pronounced “Britzotica”) neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw convention on holiday and went wild wild wild! Put together by Jonny Trunk with DJ / tastemaker and Smashing nighclub legend Martin Green, these groundbreaking new compilations shine new light on lost and forgotten corners of British culture and sound.

For this, Part Five of our planned Britxotica! series we head to lively latin tinged dancefloors where Brits could cha cha cha to the KIrchin band, “Jump In The Line” with Frank Holder and Mambo with Ido or Don. This killer collection of British dance obscurities brings us lively sounds from the rarest UK record bins, including this time an amazing cover version of the legendary loungecore hit “House Of Bamboo” plus the stunning “Jonny One Note” by Ted Heath, the track that originally introduced John Craven’s Newsround. To sum up, this is another exciting, wild and occasionally bonkers compilation by Jonny Trunk and Martin Green, two of the UKs most wild record collectors. Also, there are men in underpants on the sleeve, What’s not to like?

TRACK LISTING

SIDE ONE
1 The High Life – Marion Ryan
2 Vamos – A – Baila - Chico Arnez
3 Jonny One Note – Ted Heath
4 Wimoweh – Eve Boswell
5 House Of Bamboo – Neville Taylor
6 Baia – Tony Scott
7 Jump In The Line – Frank Holder
8 Mambo For Latin Lovers – Ido Martin

SIDE TWO
9 Fanagalo – Frank Chacksfield Ft Frank Holder
10 Taboo – Charles Blackwell
11 Voom-va- Voom – Eve Boswell
12 Crazy Latin – Don Carlos
13 Vaba -Ba - Boom – Edmundo Ros
14 Boliviana – Victor Silvester
15 Don's Mambo – Don Carlos
16 The High Life – Basil And Ivor Kirchin Ft Toni Sharpe

All Cues Mastered And Sequenced By Jon Brooks, AKA The Advisory Circle

This LP represents the first ever sound recordings from the archive of cult Dutch film director Frans Zwartjes. The sound is unlike anything you maye have heard - dream-like, disjointed, peculiar, unexpected and totally unique. Frans Zwartjes is famous for his art-house films (look him up on YouTube). A Dutch underground auteur, his prolific output dates from 1968.

A unique talent, Zwartjes produced, directed and edited his own films (his last work was in 1991), but more importantly he created and improvised the soundtracks too. Zwartjes is still alive today and his large body of work is only now being recognised by a wider, more international crowd, with screenings at the NFT and other important art-house cinemas across the world. The recordings on Tapes 1 were mixed directly from the Zwartjes soundtrack tape archive.

They were assembled directly and in real time by Zwartjes archivist Stanley Schtinter and were originally issued three years ago on cassette, in an edition of 50. Don’t bother trying to find one of them. The music, sound and speech have been put together as two long, seamless sequences; they are dreamlike, peculiar, plugged-in, prescient and unlike any other soundtrack we have heard.

STAFF COMMENTS

says: Shifting between kosmische synthscapes, abstract tape experiments and experimental jazz, this collection of self composed scores from Dutch auteur Frans Zwartjes is batshit, beautiful and brilliant all at the same time.

TRACK LISTING

SIDE ONE
Part One

SIDE TWO
Part Two

Another superb adventure in the Britxotica! series, looking into rare and amazing exotic British recordings. For this exciting installment we waltz to the British ballrooms for charismatic Cha Cha Chas, magical mambos and a whole set of floor filling fun!

Britxotica! (pronounced “Britzotica”) neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw convention on holiday and went wild wild wild! Put together by Jonny Trunk with DJ / tastemaker and Smashing nighclub legend Martin Green, these groundbreaking new compilations shine new light on lost and forgotten corners of British culture and sound.

For this, Part Four of our planned Britxotica! series we head to the now defunct British ballrooms for a set of dynamic and often extraordinary dance numbers - charming cha cha chas (including “Cha Cha Pop Pop”), lively latin and some fabulously freaky footappers including a classic version of “Cerveza”. Composers and artists include ballroom band legends such as Edmundo Ros, Ted heath and Stanley Black, but also we have found work by lost geniuses such as John Graven and John Warren who are very much worthy or reappraisal.

In short, this is another crazy and charismatic compilation of British music so obscure and rare that only Trunk Records could find and package it so superbly and with such effortless and comedic style.

In August of 2014 a request was sent out by Gilles Peterson for someone to issue the incredibly rare Brazilian LP 'Tam…Tam…Tam…!'

This is because it’s an extraordinary album, only issued once in 1958 as part of Mieco Askanasy’s 1950s touring “Braziliana” show. It’s so rare not even Gilles Peterson has a copy (and let's face it, he doesn't just have a Record Room, he has a whole Record House...).

The original music was written and produced with José Prates and as an album it stands out as a keystone in the development of the Brazilian sound that was to explode around the world in the decade to follow. This is the first time this landmark LP has been issued since 1958. An original, if you ever found one, would cost you in excess of £1000.

The reason Gilles Peterson wanted this album reissued is because it is so extraordinary. Musically it works on a number of levels – firstly that the solid blueprint of 1960s Brazilian music runs throughout it. For example, if you listen to Track Three Side One “Nānā Imborô” you will hear “Mas-Que-Nada”.

Secondly, the infectious rhythms, melodies and exotic sounds that emanate from this album are deep, raw and totally engaging. And the more you listen to 'Tam…Tam…Tam…!' the more you hear its importance and influence.

This rare reissue comes at a crucial time, when in our connected and information saturated world few important things have escaped attention and reappraisal. Finding anything new and genuinely incredible is a rare feat.

TRACK LISTING

Side One:
Imbarabaô: 2:50
Imbaê-Sofá: 2:18
Nānā Imborô: 4:27
Fá-êu-á: 2:35
Oniká: 2:33
Ogum Olojô: 2:33

Side Two:
Maracatú Da D Santa: 3:31
De Luandaô: 2:57
Maracatú Elegante: 3:14
Nêga Zefinha: 3:54
Tem Brabo No Samba: 5:37

This is the first time his extraordinary music has been released. CD in jewel case with large 16 page booklet, full colour rare photos, essay by Will Fowler. Compiles tracks from the ' Volume One' and' Volume 2' LPs.

Bruce Lacey is the quintessential British eccentric. Bruce Lacey is an artist, a musician, a filmmaker, a shaman, a genius and visionary. Since the 1950s he’s made film, music, art and performances, and collaborated with everyone from the Beatles to Throbbing Gristle.

He was part of the groundbreaking Cybernetic Serendipity exhibition in 1968. He even built a robot that won the Alternative Miss World.

Made and recorded using household objects as well as a modified synthesizer (made by a schoolboy in the early 1970s), it ranges from abstract tribal concrete to droning electronic trance. The music will be released across two separate LPs and one CD. Included will be a fine essay about the history of this inspiring figure by BFI / Flipside archivist Will Fowler.

Bruce Lacey has been a busy man. Since the 1950s he’s been making film, making music, making art, sculpture, rituals, performances and more besides. Many of his films have explored the basics of life and sex all with a sprinkle of irony, realism and ritualism. Many of his films have required music, music which Lacey made himself, improvising with bottles, rattles, typewriters and a tape machine.

By the early 1970s Lacey was exploring stone circles and ancient rights; he’d also bought a home-made synthesiser from a schoolboy who’d advertised it in Exchange & Mart. He’d made it as a home project. A week later Lacey bought a keyboard from another schoolboy in Exchange & Mart. Lacey set about slowly modifying this synth and improvising music influenced by his stone circle visits over the next few years.

This music is made only when “The Muse” descends. It is impossible for Bruce to perform this improvised music live. The music he made was occasionally available on cassette at his exhibitions in the 1970s. The late Poly Styrene (who had a copy) compared Lacey’s music to Tangerine Dream. Lacey had not heard of Tangerine Dream. This is the first time this raw and extraordinary music, by one of the UKs most extraordinary men, has been made available.

Jonny Trunk presents “Funny Old Shit”, a 17 track compilation of funny old shit from the Trunk archive. From calypsos sung by Bernard Cribbins and Robert Mitchum to avant-garde French concrete, with stops at post punk, killer vocal jazz, BBC Radiophonics, music from 'Les Vacances de M. Hulot', early African fusion, Argentinian film music and even some twitchy classical from Glenn Gould, this groundbreaking compilation flies in the face of the current trend for issuing records that to be honest are actually quite average and really very expensive indeed for what they are. This is a total bargain, an education and a right bloody laugh. Although some people will actually think it’s shit - but not us here at Piccadilly. We love ecclectic and we love oddball.

The Tracks: Bernard Cribbins is a god, so Bernard was a great place to start, and can you name any other song apart from “Gossip Calypso” featured here that manages to squeeze in the words “Oxy Acetylene welder”? No, I can’t either. This is followed by modern classical music played on strange sculptures by the prolific team of Jacques Lasry and Bernard Baschet, Their sound is reminiscent of film music by Cliff Martinez, and that’s maybe because Cliff has a Crystal Baschet sculptural instrument too. If you look on-line you can see him play it. Next we travel to Argentina for some lovely film music and then to an early fusion of Africa and America with Guy Warren and Red Garland getting all hip and proto rap. This is followed by a classic chunk of minimal modern music from 1981 by The Jellies. I’ve put this on the sampler as the record I made of it sold out ages ago and it’s expensive now and loads of people who missed it need to hear just how good it is. Next up is the B side from the first ever BBC Radiophonic Workshop record, which, incidentally was produced by George Martin. After this we can absorb some high culture with Noel Coward reciting Ogden Nash’s words written in 1949 to accompany the romantic classic masterpiece The Carnival Of The Animals, composed way back in 1886. We then move to a high point in low culture and to the world’s best worst singer, Leoni Anderson. She starred with Laurel And Hardy in one of their many films, and her one and only album is a terrifying delight. “Rats in My Room” also featured on Desert Island Disks in August 2013 when award winning film production designer Eve Stewart chose it as one her fave eight tracks.

As a lover of very fine vocal jazz too I had to throw in “Naima”, a staggering version of Coltrane’s classic. During a talk by Robert Wyatt a few years ago he revealed that he though this was one of the best bits of music ever made, and I agree with him. A small piece of educational electronics by Terry Dwyer (more about him in a forthcoming Trunk LP) makes quite a good little plugged-in interlude, which leads us nicely to the main theme for the Jacques Tati classic, Monsieur Hulot’s Holiday. Eccentric pianist Glenn Gould then appears with the beginning of his legendary Goldberg Variations recording, and then I realized I seem to be nudging towards interesting classical recording a bit, which I think is no bad thing. And before you know it, we’re back enjoying some proper experimental concrete tape larks.

Never one to resist a film star singing, I found it almost impossible to not stick in Robert Mitchum singing, and then I realized when I was writing these notes that that this was the second calypso-based record on this very small sampler, and then I thought that very fact might enhance the idea of the whole thing really being a bit “shit”. After Bob we can all enjoy a super rare recording issued to accompany the 1962 kitchen sink drama A Taste Of Honey. It’s a song that repeats throughout the film, amplifying the fact that Jimmy, Jo’s lover, has buggered off to sea. We finish with Yusef Lateef’s version of Alex North’s sublime “Love Theme” from the film Spartacus. It’s a perfect musical spot where an incredible film melody has met one of the great experimental jazzmen of all time. The results are quite exceptional. It’s also a cue that I often use at end of a long set, so for me it was the obvious choice for the last cue here.

So chums, that’s Funny Old Shit. The idea is to put together more of these samplers with friends, guest and other groovy collectors and to draw you in further to the funny old shit musical world that is Trunk Records. Thanks for listening.

Jonny Trunk 2014

TRACK LISTING

1. Gossip Calypso - Bernard Cribbins
2. Rapsodie De Budapest - Lasry Baschet
3. Waltz In 16mm - Sergio Mihanovic
4. The High Life - Guy Warren Of Ghana With Red Garland
5. Jive Baby On A Saturday Night (Radio Edit) - The Jellies
6. Waltz In Orbit - Ray Cathode (Radiophonic Workshop)
7. Aquarium - Camille Saint-Saëns, Ogden Nash, Noel Coward
8. Rats In My Room - Leoni Anderson
9. Naima - The Double Six Of Paris
10. Material 1 Bubbles - Terry Dwyer
11. How Is The Weather In Paris - Alain Romans
12. Goldberg Variations BWV 988
I3. Aria - Glenn Gould
14. Classique: Bidule Et Un - Pierre Henry, Pierre Schaeffer
15. Tic Tic Tic - Robert Mitchum
16. Big Ship Sails On The Alley-Alley-O - John Addison, From The Film A Taste Of Honey
17. Love Theme From Spartacus - Yusef Lateef

One of the rarest, weirdest and most brilliantly odd soundtracks of all time, written and performed by one of the most fascinating underground characters ever.

Described by Jello Biafra as “a disco lounge lizard from hell”, Palmer Rockey and the Palmer Rockey story have to be read to be believed, and even then you might not believe it.

And this album has to be heard properly to understand the madness, weirdness and total passion brought to the studio sometime in Texas in the mid to late 1970s. Palmer Rockey was a remarkable con-artist. He made this one record, the soundtrack to his one weird movie. It’s incredibly rare, only one copy surfacing in the last decade. Once heard you may fall deeply for Palmer’s charms, it’s strangely moving and all wrong, like something straight out of the world of David Lynch.

The edited Palmer Rockey story goes something like this: after a difficult childhood but an interesting education, Palmer Rockey became obsessed by the movies. So obsessed that he travelled to the UK and tried to get a film script to Boris Karloff in Shepperton. Unsuccessful, he returned to Texas to make his own film. To do so (according to legend) he conned rich Texan housewives out of money. When he got money, he shot film, then fell out with the cast and crew. He then conned more money from different women, shot more film with different cast and crew, then fell out with them too. This continued for years. The “finished” film, It Happened One Weekend was only shown once (ironically just once, one weekend), at the premier in Canyon Creek, Sunday October 11th,1974. In fact the photo on the front of the album was shot by his wife the night of the premier. The film was written, produced, edited, directed and starred Palmer Rockey (as twin brothers of course), with all music by Palmer Rockey. The plot was apparently demonic and “beyond the room of terrifying evil”. Also included was a “Sunday Surprise Ending”. I believe the surprise that Sunday was that people laughed all the way through, and even walked out. It was a total disaster on every level, apparently nothing in the movie made any sense at all. But undeterred by such poor reaction he continued to tinker with the film – sure that it would eventually bring him an Academy Award. He released it again and again in several different versions over the next few years, firstly with the title It Happened One Sunday, which played briefly in Denver, El Paso and also at drive-in theatres. The film then disappeared, was recut with new scenes and appeared again in 1980, as Rockey’s Style, Scarlet Love and also Scarlet Warning 666. All the while Palmer Rockey was battling debtors, having already been sued in the 1960s by his uncle for non-payment of loans. There’s not a great deal of information about his career and life in the 1980s, but we do know he passed away in 1996, leaving behind very little apart from debt and this unusual self-pressed album. There is no sign or trace of any version of the film anywhere. And boy, are people looking for it.

Palmer wrote all the music for the film(s), and there are, as far as we know two private issues of the soundtrack from the same period - 1980. There’s Scarlet Love, which was followed (or it’s possibly the other way around) days or weeks later as he’d decided to change the name of the film again, to Rockey’s Style. Both have the same original catalogue number and subtitle of “Movie Album”, and both have track titles that do not match the albums. You will observe we have kept the original and incorrect tracklisting on the album sleeve, but kept the correct ones on the album and CD labels.

Musically it’s beautifully played and oddly performed, with a bizarre sense of passion and surprising honesty. It’s an unusual album in that once heard it sticks like glue to your brain. You may well find your self getting slightly obsessed by it. We certainly have. Sleevenotes include an intro by Jon Brooks of Ghostbox, who not only remastered the album but also quickly became consumed by the music and the Palmer Rockey story. And now this incredible and unique outsider album is released we have to wonder if anyone will ever find the missing Palmer Rockey movie…

TRACK LISTING

Side One:
1. Longing For You
2. Smile Pretty Baby
3. Rock It Nice N’ Easy
4. Feelings Of Love
5. Scarlet Moves

Side Two:
1. Scarlet Love
2. That’s Real Cool
3. Lonesome Tonight
4. Scarlet Warning 666
5. Sunday Love
6. Rockey’s Rock

A beautiful compilation of rare and brilliant music made by children in schools. The album features some incredible sounds - from charming folk songs to full blown avant-garde experiments. Many of these recordings are exceptionally scarce (some selling for close to £1000 these days) and it's unlikely anyone will have heard any of these since they were first recorded.

Recordings made by British children are hardly ever heard. Over the last few decades some schools went to the trouble of privately pressing their own LPs for plays, concerts or celebration – and with very mixed results. I’ve always collected these scarce UK recordings and decided to compile the better ones I’ve found on this new album. I believe Classroom Projects is the first album to bring together a set of such recordings – all made between 1959 and 1981.

As well as excellent small group versions of traditional songs, there are specially written instrumentals, covers of Scarlatti, even songs about drink driving. Also, we have work encouraged by John Paynter, a free-thinker, educator and true maverick. Part of the University Of York music department, he not only believed that music lessons at school were of the upmost importance, he also introduced pupils to the modern composers of the post-war period (such as Stockhausen). So instead of music lessons with group of pupils all blowing the same basic tune on recorders, he encouraged experimentation with tape machines, haiku and creative thought. As a result some of the recordings on this album sound like conceptual music from Paris in the late 50s, and not from secondary schools in Bedford in 1969.

Overall the compilation brings together some inspired musical moments, some unexpected oddness as well as a warm rush of nostalgia as the small choir from St. Brandon;s School (now closed) sing “Bright Eyes”.

Trunk commissioned Ghost Box graphic monster Julian House (who is also a fellow collector of these recordings) to provide the cover artwork. LP has full colour sleeve and liner notes, CD comes with extensive sleevenotes, full colour 8 page booklet and images of sleeves from the original albums.

An album of unrelased music made by Jeff Keen, one of the UK's great avant garde artists. This is music found on cassettes in his studio after his death, was made by Jeff (throughout the 1980s) using field recordings from his local amusement arcade, the radio, the TV, films, an Atari, a ZX Spectrum, a delay unit and a WASP Synth. This is the first Jeff Keen album ever issued.

Jeff Keen is one of the great undoscovered artist of out times. A missing link between the DADAists, Cocteau, Warhol, Picasso, Jack Kilby and just about anyone else you can think of, Jeff made art every day of his life. Art seemed to explode from him, and he worked across all mediums with boundless creativity and very much his own style. He developed his own graphic, visual and speoken art language. The BFI have issued a 4 DVD set of his films. His collages and paintings are currently being exhibited in Brighton, New York and Paris. The Tate have started buying his work. He’s now dead and his stock is quickly rising. The music on this relase was made in and around the 1980s, using methods unique to him; in his ramshakle studio he’d have a mic, a radio, an Atari, a ZX Spectrum, a WASP synth, effects units and his own very ususual mind. He mixes field recordings with his very own language (“Bltazwurds”) and takes on the characters he developed over his artistic life.

This is very much an art / music release. The sound is a little like the industrial albums made in the late 1970s and 1980s, intense, odd, otherworldy, unpredictable. As a result, the vinyl is being pressed in limited numbers, unusual colours and comes in hand made packaging. Notes by Jonny Trunk, there is also an important essay by David Toop and recollections by Will Fowler of the BFI who worked closely with Keen.

TRACK LISTING

01. Rayday
02. Atari Sounds 4 Track Mix
03. BlatzomFragzWhitenseWasp9
04. Song Of The Plasticator
05. Mix SynthAtariWar6
06. Artwar Noise Loop
07. BlatzomFragzWhitenseWasp6
08. Artwar Light And Dark Show
09. BlatzomFragzWhitenseWasp2
10. Omozap To Plasticator
11. Omozap Master
12. Rayday Readings
13. Plasticator Loop
14. MixSynthAtariWar8

Privately pressed in Scotland in 1979, this elusive and quite wonderful percussion / jazz album is like no other. Played by a group of 11 girls with an average age of 14, the group included Evelyn Glennie, who was destined to become one of the world’s greatest percussionist. This is her first ever record.

Johnny Trunk says:

The Cults Percussion Ensemble was a group formed by percussion teaching legend Ron Forbes in the mid 1970s. The ensemble must have one of the best group names of all time. To many it will immediately come across as something sinister, a touch spooky and possibly a bit dramatic too. They are certainly two of those but the use of the word “Cults” here is easily misinterpreted. Cults, in this case, is the suburb of Aberdeen.

The average age of the students was just 14. They came from a few of the schools in the area, including the Cults Academy, Ellon Academy, Aboyne Academy, Inverurie Academy and Powis.

My original copy of the album came from Spitalfields market in London. I loved the music the second it started, because it reminded me of Carl Orff and peculiar library. So I started to investigate it further, and eventually, thanks to the highly tuned world of percussion, was given the address of Ron Forbes. I got in touch with him and now we have this, a formal release of something quite lovely that was only previously available very briefly in 1979 at concerts when the young girls performed.

The music here is really quite unique, with a celestial swirling hypnotic quality. The blend of glockenspiels, xylophones, vibraphones, marimba and timpani drums is quite intoxicating and can recall the shimmering warmth of the desert sun one minute (“Baia”) or freezing glacial icecaps the next (“Circles”). The Ensemble perform with an effortless tightness and deftness of touch, building textured layers with recurring percussive motives which appear simultaneously dense and yet sparse, almost sounding like modern sampling. In fact, while struggling to find a musical comparison, during the pulsating introduction to "Percussion Suite" I found myself recalling "Gamma Player", a piece of soulful Detroit techno minimalism from Jeff Mills (Millsart - “Humana” EP 1995) with its rhythmic percussion layered with complex emotion. Weirdly enough, other tracks on that EP also prominently feature xylophone and tuned percussion, although obviously synthesised and programmed, a good 20 years after the CPE first recorded.

The LP comes with a new sleeve and the CD has a 6 page fold out booklet, which includes biographies and rare shots of the ensemble

STAFF COMMENTS

says: Not what you'd expect a privately pressed album by a group of 14 year old girls from late 70s Scotland to sound like. Forget preconceived ideas about scratchy, poorly recorded school bands, this is an impressive percussive jazz album with great sound.

At long last the rarest and most peculiar of all Radiophonic Workshop albums is available. Originally issued in 1969, "The Seasons" has become almost mythical over the last few years. With its mix of unexpected electronics, percussion, tape manipulation and austere poetry, it sounds like no other. "The Seasons" has also become a major influence on bands such as Broadcast and a key reference in the development of Ghost Box and the whole “Hauntology” soundscape. It is seen and heard very much now as an important and lost classic. And after over one year of detective work and rights investigation(which is a lot in this modern world of instant communication), this impressive, strange and wholly unique album is seeing the light of day once again.

Originally made as part of the BBC’s Drama Workshop broadcasts, this album was meant for educational purposes. Coming in the later period of what is commonly known and remembered as “Music and Movement” or “Movement and Mime Classes”, the album was issued briefly as a teaching aid for the modern thinking 1960s classroom. The idea was to play the album and get the school children to dance, improvise, think and create to the sounds and words. The music was originated by one of the early pioneering Radiophonic musicians, David Cain. Very little of his music has ever been made available (except on the classic BBC “pink” album) but to some followers of early British electronics he is the forgotten master.

And for this release he has been interviewed by Julian House (The Focus Group) with a fascinating Q & A, which will appear in the new sleevenotes. As for Ronald Duncan, he is now deceased, but had an interesting and inspired life. A born pacifist, he famously wrote the libretto for Britten’s opera The Rape Of Lucretia, wrote the script for Girl On A Motorcycle, and started the English Stage Company at the Royal Court Theatre. His poetry was published by Faber And Faber by T S Eliot who became a friend. Duncan’s 16 featured poems were specially written in 1969 just for this project.

The album sold in tiny quantities when it came out and was quickly deleted by the BBC. Even the BBC Archive doesn’t have a copy. In fact the album’s scarcity has only added to its mythical status. A handful of originals started appearing in bargain bins throughout the mid 1990s, and as interest in British electronics and the Radiophonic Workshop started to grow the album’s reputation began to gain a little momentum. The album rarely surfaces, but Jonny Trunk and fellow collector Martin Green found three copies at a village hall fayre back in about 1998, one of which was passed on to Jarvis Cocker. Jarvis has subsequently played a track at the start of each month (“January” in January etc) on his 6 Music radio show over the last year. The album also appeared on the Trunk Recommendations pages back in the Spring of 2003 and as a result requests to hear the album started slowly coming in. By about 2010 these requests became regular, and the album started popping up on wants list, on blogs, even on YouTube. Prices for original copies of the album then started to hit three figures. So, in 2010 Jonny Trunk started looking into a reissue. It has taken one and half years and has been a labour of love for all involved. Sleevenotes include contributions already mentioned, a piece by Jon Brooks (The Advisory Circle), and we have even traced two of the four mysterious slides mentioned on the original sleeve, that could be ordered back in 1969 via the BBC as a further aid to dance and projection.

STAFF COMMENTS

says: Ronald Duncan poetry line: 'When the gaunt elms shudder within the groin of grief'. How can you resist!

At last! The classic music from this important TV series is now available! Yes, to many people who grew up near a television in the 1970s and 1980s, Fingerbobs was a curious, formative and hugely inspiring series. Only 13 episode were made but were often repeated. It starred the audacious Fingermouse, a host of his paper friends (Scampi, Gulliver, Flash), and was fronted by folk musician, actor and former Play School presenter Rick Jones as “Yoffy”. Each episode involved simple craft, music and a story or fable based on that week’s theme (such as sound, wood, shapes and shadows). The whole series was conceived, created and modelled in a briliant home made style by the legendary husband and wife team Joanne and Michael Cole, the minds behind much of Playschool, the books and TV series Bod, and Ragtime.

The Fingerbobs album has been quite hard to put together; there are no masters and very little paper based archive to speak of, so no set stills, no paper puppets. All that really remains are a few scraps of paper in the Cole’s very small archive and the Fingerbobs annual, which contains nothing but pecualir drawings, none that really relate to the show. But, as the album was going to print Lo Cole found an exceptionally rare promotional flyer for the series in 1973 when it was first aired, and this wonderful little gem is what has been used to make the fabulous artwork.

In order to produce a musical album worthy of release, Jonny Trunk entrusted the ears and musical abilities of Jon Brooks (AKA The Advisory Circle) to pull together a musical collage of the whole series. So, we have all the themes, all the songs, all the instrumentals, a scattering of stories too. The music is a touch folky, a little whimsical, classically nostalgic, humble, hip, witty and occasionally camp (Gulliver’s song). Fingerbobs was possibly the last remaining unreleased score from TVs golden era, and finally, thanks to this first ever release, we can now enjoy it whenever or wherever we want. Like in the car with the kids. Which is a very good thing indeed.

Wow. 1964 was a pretty special year, especially for groovy jazz in Britain. Not only did it see the release of "Moonscape" by the Michael Garrick Trio but also the birth of these fine and exceptionally rare recordings. Modern, jazzy, exotic and progressive, early British jazz rarely sounded so good or beautiful.

In 1964 the Modern British jazz scene was growing, progressing and bursting out in creative musical rashes. Following the release of Moonscape (The UKs rarest British jazz LP), Michael Garrick teamed up with horn legend Shake Keane to cut an EP of modern ideas in a quartet setting called "A Case Of Jazz". It was issued the same year in a run of just 99 copies. At the same time, flugelhorn maestro Shake Keane was working with several arrangers and set ups, one of the results being a peculair (and possibly unreleased) acetate of four cues: two recorded with The Hastings Girls Choir, two in a small but lively and slightly latin combo.

Coming directly from Michael Garrick’s own archive, these exceptionally rare eight cues from 1964 have now been brought together for this unusual and exciting release. Opening with two cues with Keane and the Hastings Girls Choir, the music is etheral and strangely exotic. Moving then through a fine British bossa nova and into the quartet recordings we find the music pleasing, progressive (for 1964), creative and exciting. Also of note is the mighty fine Sun Maiden, which has the kind of classic piano riff and repetitive regal rhythm so sought after by many jazz collectors. These tracks and complete album are worthy additions to the growing archive of classic modern Brtitish period jazz, and feature two major artist flourishing early in their careers.

Originally privately pressed in 1964 as an edition of only 99 copies, "Moonscape" is possibly the rarest, most desirable and certainly most valuable modern British jazz record ever made. As one of the original 10" vinyl copies could set you back up to £2000, Trunk thought it was about time the album had a proper release. Recorded in London, "Moonscape" was pianist Michael Garrick's debut album, a beautiful lunar jazz set. Musically the album has a slightly floaty, drifting sound and represents an early British foray into The New Thing - the free jazz sound of America. Highlights includes include the blissful, melancholic "Sketches Of Israel" and complex 6/8 trip "Man Have You Ever Heard".

This is a truly fascinating record, the holy grail for any self-respecting horror movie buff; the never-before-released soundtrack music from George Romero's classic 1978 zombie flick. Apart from the original score by Italy's Goblin, the film included many pieces of incidental cues and muzak moments. These were collated by Italian director Dario Argento and culled from various sources, concentrating on European music libraries and passing off some as the muzak of the Monroeville Mall in Pittsburgh where the movie was shot. Jonny Trunk and Joel Martin have sourced many of these rare pieces and issued them for the first time here. From the quirky march of Herbert Chappell's "The Gonk" to the Kinks-ish beat stylings of "Cause I'm A Man" by Electric Banana (AKA The Pretty Things!), this comp provides all the "Dawn Of The Dead" music you could possibly ask for. The perfect soundtrack for mall roaming, Zombies ice-skating, rednecks a-hunting and motorbike gangs getting eaten!