Library music, also known as production or stock music, was originally recorded as fodder for media projects that needed readymade soundtrack cues. The tracks were usually brief instrumentals, typically no more than a minute or two in length, and often adopted whatever sounds were popular at the time. As a result, they serve as wonderful snapshots of the various musical eras in which they were laid down, from breezy easy listening and mellow mood to lethal funk jams and Moog noodlings.
These releases were not available to the general public and were chiefly distributed within media production circles. Free of the commercial pressure to produce hits, it was not uncommon for artists to abandon conventional song structures and immerse themselves into it. Even though it was supposed to be background music, a lot of this stuff is quite musically imaginative and makes for enjoyable listening on its own!
Let’s go to our music:
Unlike popular and classical music publishers, who typically own less than 50 percent of the copyright in a composition, production music libraries own all copyrights of their music, thus, it can be licensed freely without the composer’s permission.
Library music composers and session performers typically work anonymously and have rarely become known outside their professional circles. In recent years some veteran composers, performers, and arrangers such as Alan Hawkshaw, John Cameron, and Keith Mansfield have achieved cult status as a result of a new interest in library music of the ’60s and ’70s, notably the beat/electronica cues recorded for KPM British label.
The Italian library scene from the ’70s is certainly the most popular and extensive of the ‘genre’, recently praised by worldwide labels, Dj’s and the blogosphere.
Soundtrack composers and arrangers such as Alessandro Alessandroni, Piero Umiliani, Bruno Nicolai, Suzanne Ciani, are just some of the greats from the period!
Let’s go to our artist:
Daniela Casa (February 6, 1944 – 28 July 1986), was the daughter of a builder of boats, that graduated from Art School, during this time Daniela studied chant and guitar with Maestro Claudio de Angelis. She was discovered in 1963 and put under contract by Fonit label, participating in the same year at the Grand Prix (RAI TV show), in which she presents his own version of Senza Fine, the famous song by Gino Paoli.
The following year Daniela released her second 45 single, also by Fonit.
In 1965, at the Piper Club in Rome, she forms the duo Dany & Gepy with Giampiero Scalamogna, specializing in the revival of covers of soul and r&b. Along the 70’s she devoted herself to composition, writing the famous hits Regolarmente, engraved by Mina, and Dimmi Cosa Aspetti Ancora, performed by Dominga. Then, Uomo became the theme song of the television program Storie di Donne, at the same time she married the musician Remigio Ducros and in 1972, Valentina Ducros was born.
Thenceforth, she develops several instrumental/library albums whose recording career lasted from 1963 through to her untimely death from cancer in 1988. (RIP)
Let’s go to our album:
A genuine pioneer of experimental pop music, electronics, Giallo jazz and even heavy drone-rock jams, her elusive and infectious music joins the dots and loops between other Italian female electronic composers such as Giulia Alessandroni, Doris Norton, and Suzanne Ciani, retaining one of the most diverse composing styles of an advanced mechanical musician. Originally designed for use in Italian thrillers, nature documentaries, educational projects, and commercial installations.
I’m not an ardent fan of Library music, but this wonder recently re-released on vinyl has really poked me from the very first second. Daniela’s aural reflection of the wickedness of humanity and decay of our world delivers a multi-layered musical landscape that remains as vibrant and authentic today as they did 35 years ago!
Lastly, this is another exclusive release, godere di questa meraviglia, sì?!
The ‘IM’ highlights are Strade Vuote and Occultismo.
A2 Strade Vuote
Deneb – DNB 0116