A few years ago I issued the soundtrack to Virgin Witch, the score to an underground 1971 kinky British London / posh stately home horror that seemed more like an excuse to show as many racy cars and devilish nude scenes as possible. This fleapit film was written by Hazel Adair - the writer of legendary long-running TV series Crossroads, and her business partner at the time Ken Walton (yes, the wrestling commentator). Virgin Witch was cheap and successful enough to allow the whole team another go at the sexploitation game through their newly formed production company Pyramid Films. Sex Clinic was the quick follow up; I say Sex Clinic, the initial cinematic title was Clinic Xclusive, which was also called With These Hands, which was also called La Masseuse Perverse. This film also came out in 1971 and they used the musical services of Ted Dicks once again. Dicks had originally met Adair in 1960 through a cast member performing in his first musical, Look Who’s Here.

If you are not aware of the great Ted Dicks, his quick bio reads as follows: born London 1928, was educated through both grammar and art school and after National Service flirted with both art and music. He worked with a series of very talented song writers - including Barry Cryer - finally sparking properly with writer Myles Rudge. Together “Dicks and Rudge” had a hit with their musical And Another Thing which starred Lionel Blair and Bernard Cribbins. Their talents were spotted by producer George Martin and they followed this show success up with a series of truly classic novelty pop chart hits, again with Cribbins - “Hole In The Ground” and “Right Said Fred”. If you are not aware of the classic A Combination Of Cribbins LP they wrote, go and find it. It includes “Gossip Calypso”, a triumph of novelty song writing that somehow manages to squeeze in the lyric “Oxy-aceteline welder”, and is possibly the only song ever to do so. They wrote further hits (winning an Ivor Novello for “A Windmill In Old Amsterdam”) and were in constant demand throughout the 1960s and 1970s, working with artists such as Petula Clark, Matt Munro, Bruce Forsyth, Topol and Kenneth Williams.

By the late 1960s Ted had also penned a handful of instrumental library cues including the classic “Busy Boy” for the Standard Library company that got picked up as the theme for the brilliant TV kids fantasy show Catweazle in 1970. It’s a light, kooky, hummable tune that lodged its way deep in the mind of any child under 12 over the following decade.

When I first got the reels for Sex Clinic I’m not sure what I was sonically expecting - much of Dicks’ music blends musical hall with jazz and some brilliant novelty - and maybe I was also imagining a different kind of film to the one that was actually made. Turns out Sex Clinic is more like a sleazy drama than an erotic adventure - I’ve read reviews that call it “nothing more than a naked Crossroads”. Even knowing this I had no idea what the music was going to sound like. So I was thrilled when it was almost the musical opposite of what I imagined. We have here a great, easy jazz score. Not a proggy, wild or free jazz score, this is lightish, vibes-led, bluesy and really charming, which gets slightly more lively when the naked pool party sequence kicks off, and drifts effortlessly into more seductive midnight moods as and when required. And having now seen the film, musically it’s unusually at odds with the on screen nudity, blackmail and revenge.

But like most of Ted’s work, the music sticks in your mind. Unlike the film. Which I suggest you try and avoid unless you like watching plump randy middle aged men with terrible hair pursue women half their age.

TRACK LISTING

There were no notes or titles to any of the cues on the reels. So I have just simply labeled the sides as per the reels that came in:

Side One:
Reel One - comprising Sex Clinic 1 and Sex Clinic 2
Side Two:
Reel Two - comprising Sex Clinic 3 and Sex Clinic 4

Once again Trunk Records comes through with an album of sublime 1980s new age synthwave music from an artist and library company you have never heard of.

With most Trunk LPs we write the story about how Jonny came across the music. And yes, this LP is no different...over to Jonny…

“My first encounter with Peter Patzer was when I was writing and researching the updated and fully expanded version of The Music Library Book, published by Fuel. The initial book - called The Music Library, was the first ever overview of library music and the wild, unpredictable graphic art of their sleeves. It was first published in 2005 and featured about 400 sleeves and about 120 library companies over 200+ pages. The book was based on over a decade of intense library LP collecting by myself and a handful of other geeky weirdos and made for fascinating and revealing reading and looking. It was a great education for many entering this odd, hidden musical world for the first time. The book quickly sold out.

A few years later the price of the original book had gone bananas. But the geeky weirdos like me had all carried on voraciously consuming and collecting library music so I strongly felt the first book could easily be doubled in size with new info, new sleeves and many newly discovered lost library companies. Which is exactly what I set about doing. The Music Library expanded edition came out in 2015. You have to realise here that The Music Library book was very much a first - until its unexpected arrival (and even the arrival of the much larger expanded edition) there was no published survey, accessible catalogue or anything about international library music. It was still an odd old world shrouded in some historical mystery - even the internet had not really caught up. And I was still finding unusual British one-off library LPs, more unusual Italian library diversions, hidden French funky things and then I finally found Peter Patzer. From Germany.

Hidden away in a very obscure music library corner. All on his own.Peter was unusual in that he was an artist and musician who made his own music and issued it all on his own library, called Crea Music, based out of Bremen in North Germany. Over a series of eight whitevinyl LPs produced in the 1980s Peter Patzer created synth heavy experiments for possible use in film, TV, video and anything else coming along. All his LPs had the same simple red, white and blue sleeve and a typed name and number. Across the eight LPs Peter goes to musical space, creates post-disco funk,travels to Vegas, goes all geological and more.

TRACK LISTING

Side One:
Sunrise
Bryce
Arches
Totem
Waters And Geysirs
Indian Summer
Opening

Side Two:
CPU
Soft Edge
Las Vegas
Rhythm Score
Space Shuttle
Disco Funk

Unreleased electronic / jazz / madness from two titans of jazz and experimentation: JOHN SURMAN and KARIN KROG.

I could now write a load of blown up puffery about how amazing this is, but everyone does that, and a lot of the time it’s all a load of bollocks. But basically this was sent to me by Karin / John when I asked if they had anything hanging about that had not been released. This came through and blew my tiny mind. Like something from prime Annette Peacock “Pony” period. Here is what John Surman said…

John Surman writes:
Back in 2012/13 there had been some talk about a big futuristic open air urban dance/theatre production for about 80/100 actors/dancers with lasers and all kinds of lighting effects on different stages. I was invited to get involved and, together with Ben and Karin, we eventually decided to get to work on some ideas. I think that the original plan was that in performance there would be a mixture of live music and electronica.

Not altogether surprisingly, bearing in mind the complexity of the project, it never moved forward and developed into anything more than an interesting idea. It was probably over ambitious & I guess the funding never came through.

The only information I that I can find relating to the production refers to two silent movies made in 1927/1928 by the filmmaker Eugene Deslaw, entitled `La Marche Des Machines´ and `Les Nuits Électriques.These were clearly intended to act as inspiration for the project.

After months turned into years it became obvious that the project was going nowhere, and so the recorded music laid around gathering dust until Johnny Trunk asked Karin if she had any interesting music that he might be interested in releasing. One thing led to another and so, finally, Electric Element found a home!

For anyone interested in the equipment used this will have to be an approximation since the memory might be playing tricks. Karin was probably using a Yamaha Rex50 f/x unit, a Roland VT-3 Voice Transformer and an Oberheim Ring Modulator. I was playing Bass Clarinet and Contrabass Clarinet through various f/x units together with a Yamaha WX5 wind synth. All the instruments and voice were also processed through Ben´s equipment. After writing this I asked Ben for his recollections and he came up with the following:

John, Karin and I created this music in 2 or 3 days in the winter of 2013 at their studio in Oslo, Norway. I followed up with another 2 or 3 days of mixing, editing and post-processing . We kept a collaborative, improvisational and free-form approach to the sessions. I grew up immersed in music such as Cloudline Blue, the 1979 duo album of Krog/Surman, and this felt like a similar approach. I have mixed sound for many of their live duo concerts and I would use effects and electronics as an
accompaniment and counterpoint to the performed music. The relation of organic and artificial sound sources in music has always fascinated. In this case, I used some contemporary digital signal processing to introduce my own aesthetic into the conversation, in particular using granular synthesis to recombine small 'clouds' of sound into alternate forms. Some of the software tools I used included Ableton Live, Max/MSP and Reaktor.

TRACK LISTING

Side One:
Mutual Capacitance
R (2)
Electrostatic Couplings
R (1)
Inductive Crosstalk

Side Two:
R (3)
Propagation Delay
R (5)
09 Compression Splice

Sublime electronic underwater score from 1981 by former member of Black Sabbath. Comes with unique blank seascape sleeve with sticker sheet to make your own underwater scene sleeve. How super fucking cool is that?

SLEEVENOTES
Since I started collecting records I have been slightly obsessed with underwater music. I could analyse this in many ways but the most obvious starting point for me was the weekly dose of Sunday afternoon TV onboard the Calypso with Jacques Cousteau throughout the 1970s.

My collection of underwater LPs and singles is now extensive - in the hundreds I reckon. But in amongst it all is only one underwater soundtrack from the UK. And this is it. It took me an age to track down Jezz, but I did. And now you don’t have to take an age to track down an original super rare copy of the 1981 pressing.

These days when there are so may represses, rediscoveries and reissues, I thought we’d make this stand out a little more, so I decided to take us all back to my childhood 1970’s when I used to get a little “Action Transfer” set on very special occasions, and stick the little transfers of scuba divers, fish and mini subs all over a small paper underwater landscape. Sadly we couldn’t get classic rub down Letraset style transfers but I think Kev (DJ Food) has done a miraculous job in creating a modern version.

So sit back (mess about with the stickers) and wonder at the beautiful, submersive electronic sounds created by Jezz all those years ago. Dive in, the water is lovely.
Jonny Trunk 2023.

TRACK LISTING

Side One:
1 Wonderland In The Wilderness
2 Nature On A Knife Edge
Side Two:
3 Sunken Tombs Of The Truk Lagoon
4 Magic Of The Dolphin

Incredible jazz / prog / folk score to groundbreaking tattoo film by maverick filmmaker. Unreleased until now, so don’t go saying it’s a reissue because it isn’t, but I’m sure some people will because they always do.

John Samson (1946 - 2004) was a truly great documentary maker. He must be as I’ve been obsessed with his work for many years. Educated first at Glasgow School Of Art (circa 1963) and then finally in the art of film making at The National Film And Television School in Beaconsfield - he headed there in its opening year of 1971 having made a short film that got him a scholarship. It was at the NFTS that Samson met Mike Wallington, who was to become his right hand man and eventual producer; together as a quite brilliant team they made a handful of inspiring, entertaining and hugely prescient films about important, overlooked, unseen and marginal fringes in society.

Tattoo (1975) Exploring the rather clandestine world of tattooing in the UK.

Dressing For Pleasure (1977) Exploring the rather clandestine world of festish in the UK.

Brittania (1979) A film about railway enthusiasts and a steam train restoration. Arrows (1979) The life of dart player Eric Bristow.

Drag Ball (1981) An unreleased film about the annual Porchester Hall Drag Ball.

The Skin Horse (1983) BAFTA winning film about The Outsiders Club, a dating agency for disabled people.

The subject matter in all films was always unusual for the time, and Samson managed to navigate his way with compassion, interest and subtlety, immersing himself in the chosen scene and producing moving, fascinating and sometimes darkly amusing situations. His documentaries also do not rely on traditional voiceovers, with stories, facts and narrative threads being dictated by the subjects.

I’ve tried for a long time to find the music for a couple of his early films (there was actually an original 7” for Arrows) - so far this is the only unreleased soundtrack I have found. This one was written by Steve Jolliffe, who met Samson at the NFTS. Joliffe was the resident composer and had a room at the college complex where he could work on scores for the fledgling film makers. Jolliffe was and still is a multi-instrumentalist and prolific composer who had met Edgar Froese at the Berlin Konservatorium in the late 1960s and played in an early incarnation of Tangerine Dream. He toured with blues rock outfit Steamhammer, before hanging out at the NFTS, making this recording (and many others) and eventually rejoining Tangerine Dream in the late 1970s. Jolliffe still writes, records and releases today and once i had made contact with him we traced the original Tattoo master tape to a box at his brother’s house. Musically it’s charming, slightly folky, a touch baroque, there’s a whiff of prog too, and it perfectly suited this early documentary about the art and desire of tattoos. I only wish it was longer. But the film is only 16 minutes long. Seek it out if you can. Try and find all the Samson films, they really are a joy.

As well as featuring intimate footage of tattooed people, the film also includes a rare and very early interview with Alan Oversby (better known as Mr Sebastian), a seminal character in the development of tattoos and body modifications worldwide - it was he who eventually was to tattoo and pierce Genesis P-Orridge.

The images for this vinyl release were all found in Mike Wallington’s Tattoo documentary research folder from 1974, and were photos sent in to Mike and John by people who wanted to feature in the film. Most answered an advert in Time Out, and others included people from my home town of Aldershot where tattooist Bill Skuse and his wife, Rusty (the most tattooed woman in Britain at the time, and featured in the film) were based. His parlour was situated at the back of the arcade where we all used to lose all our pocket money in the slot machines.

The Musicians:
Steve Jolliffe - keyboards, flute, sax Geoff Jolliffe - bass guitar Julian Furniss - guitar Mick Kirby – drums.

Legendary privately pressed 1979 LP from Scotland. This illusive, super rare and sublimely wonderful percussion album is like no other. Hypnotic, celestial, even cosmic and ambient in parts and totally unique in all ways, it was 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 percussionists. This is her first ever record.

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 ice caps 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.
Sleevenotes also include a letter from Ron Forbes:

“I decided to form a percussion group to provide an outlet for my percussion pupils to play music specially written for them. The group soon became well known in the region and as a result of winning the outstanding award at the National Festival of Music for youth on three occasions, they were invited to play at other festivals within Europe, one being in Erlangen in Germany - hence the Erlangen Polka - and Autun in France - hence the Autun Carillon. During these visits we were often asked if we had any recordings and so it was decided to make an LP”.

Thanks to Ron Forbes and Trunk Records, more people can now enjoy the simple hypnotic musical charms of the Cults Percussion Ensemble 

TRACK LISTING

Autun Carillon
Baia
My Love She’s But A Lassie Yet
Circles
Percussion Suite (3rd Movement)
The Little Dancer
Two Jubilee Pieces
Erlangen Polka
Dream Angus
Surrey With The Fringe On Top
Irish Washerwoman
Polymers

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. 

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.

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

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

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

Philippa 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 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.