Library music, also known as production or stock music, was originally recorded as fodder for media projects that needed readymadesoundtrack 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 licensedfreely 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 veterancomposers, 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 KPMBritishlabel.
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 MaestroClaudio 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 hitsRegolarmente, 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 Ducroswas born.
Thenceforth, she develops several instrumental/libraryalbumswhose 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 experimentalpop 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 Italianthrillers, 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.
The ’60s and ’70s saw the beginning of modern Russianpop and rock music, it all started with the wave of VIA’s(vocal-instrumental ensemble), a specific sort of music bands performing radio-friendly pop, rock, and folk, composed by members of the Union of Composers, approved by censorship. This wave began with Pojuschie Gitary and Pesnyary, popular VIA bands also included Tcvety and Zemlyane.
That period also saw individual pop stars such as Iosif Kobzon, Sofia Rotaru, Alla Pugacheva, Valery Leontiev, Yuri Antonov, many of them remain popular and active to this day. They were the mainstream of Soviet music media, headliners of festivals such as Song of the Year, Sopot, and Golden Orpheus. The year 1977 saw the establishment of Moskovsky Komsomolets hit parade,Russia’s first music chart.
The term VIA represented a model under which the Soviet government was willing to permit domestic rock and pop music acts to develop. To be able to break through the state-owned Soviet media, a band needed to become an officially-recognized VIA. Each VIA had an artistic director who served as manager, producer, and also state-appointed censor. In some bands the artistic director was the band’s leading member and songwriter, while in others he played the role of an impresario.
Songs varied from pop ballads, dance disco and new wave to mainstream rock (although bands avoided the rock music label until the late ’70s, because rock was considered a bourgeois art and formally banned) (!). The typical VIA consisted of 6 to 10 band members, lead vocalists usually did not play an instrument, virtually every member of a VIA was a professional musician, with formal musical education.
The Soviet government had strict rules governing how members of a VIA were to behave on stage and conduct themselves in public. Performers were only allowed to wear suits, folks costumes, or military uniforms. Movements around the stage were discouraged and anything outside of the conservative norm, such as long hair, tattoos, leather jackets, or metallic accessories were strictly forbidden. Due to state censorship, the lyrics of VIAs were family-friendly, typical topics were universal emotions like love, joy, and nostalgia, or idealized vignettes from usual daily life.
VIA song recordings were done by Melodiya, theState-owned record company, and the concerts/performances were organized by professional associations such as Soyuzkontsert (Union Concerts), Moskontsert (Moscow Concerts), Lenkonsert (Leningrad Concerts), Roskontsert (Russian Concerts), along with regional groups.
Let’s go to our artist:
Alla Borisovna Pugacheva(April 15, 1949) started performing when she still was at junior school. In 1965, she composed and recorded The Robot, her first song for the national radio. After high school, Pugacheva continued education in Moscow State Music College, at the department of conducting and choir singing. Later, in 1981 she also got a degree in theatre directing at the (arrant) State Theatre Art College.
Alla Pugacheva started a professional singing career in the early ’70s, as a leading singer of VIA’s Funny Guys, but real recognition only came when she won the Grand Prix of the Golden Orpheus song contest with the song Harlequin in 1975.
Afterward, she went to work in what would be the turning point of its career: the musical film The Woman Who Sings, in 1977. In co-op with the band Rhythm, she played the leading lady, a pop singer who sacrifices her personal life for her career.
The soundtrack, which was co-written by her, included a myriad of pop songs, the Soviet audience, regarding the film as autobiographical, brought the OST to reach record audience of the year in 1979, as it was bought by 55 million people! (phew)
Though for many she grew to represent the government-pop culture that was forced upon the people, her popularity skyrocketed, and she released many albums throughout the decades. Her contributions to Russian music were recognized when she has bestowed the title of People’s Artist of the U.S.S.R. in 1991. She enjoys an iconic status across the former Soviet Union and has overshadowed a long time rival Sofia Rotaru as the most successful Soviet performer in terms of record sales and popularity. Her last album was released in 2008 and lately,Pugacheva is the main judge on Factor A, Russia’s version of the BritishX-Factor television series.
Let’s go to our album:
Mirror of the Soul was Alla Pugacheva’s first studio album, published in the Soviet Union in May 1978, as a double album, and later re-released in two parts. The Lp includes songs performed by her, recorded in 1975/1977 primarily composed by (master)Alexander Zatsepin. It became one of the most sold in the USSR in late 70’s early 80’s. By 1983, it had sold 7,753,500 copies, and with a general circulation exceeding 60 reissues, the album approached the terrific mark of 10 million copies!
A collection of singles, which had previously appeared in the film or in separate publications, it firmly stands as a kaleidoscope of genres, ranging from kitschy hits, funk-rock, orchestral ballads, prog synths, art pop, funny marches and much more from a devilishly talented singer and composer, prepare yourself for Alla’s realms.
The ‘IM’ highlights are Приезжай(Come) and Мы Не Любим Друг Друга(We Do Not Like Each Other). хорошая поездка!
A1 Бубен Шамана (Tambourine Shaman) / Centerline of The Skies OST
A2 Верю В Тебя (I Believe in You) / Basketball OST
A3 Сонет Шекспира (Shakespeare’s Sonnet)
B1 Приезжай (Come)
B2 Не Отрекаются Любя (Do Not Deny Loving)
B3 Песенка Про Меня (Song About Me)
B4 Женщина, Которая Поет (The Woman Who Sings)
C1 Все Могут Короли (Kings Can Do Everything)
C2 Куда Уходит Детство (Where Does Childhood?) / Fantasy Vesnuhina OST
The history of Pakistan film industry is interspersed with many vicissitudes. Starting almost from a scratch soon after the political division of the Sub-continent (1947), it gradually progressed to achieve self-reliance and prosperity, and a time came when it could proudly and successfully compete with quality films made across the border in India, matching them in (almost) all departments of cinematography.
The golden era of Pakistan cinema was the period between the ’60s and ’70s, although a number of good movies had already been produced in Lahore studios during the second half of the ’50s. A large number of dedicated movie-makers, who had made names during their stay in Mumbai, like producer-directors Nazir, Shaukat Hussain Rizvi and WZ Ahmad (their actress-wives Swaran Lata, Noor Jahan, and Neena); directors Nazir Ajmeri, Luqman, S Fazli and Masud Parvez.
And lastly, play-actors of the caliber of Shah Nawaz, Shakir, Alauddin, Charlie, Ghauri, Himaliyawala, Sadiq Ali, Shameem, Najma, and Ragni contributed to the evolution of Pakistan film industry during the formative years of the new state.
Lollywood ranks among the top twenty film producing nations with an average of 60full-length feature films per year. Lollywood should take pride in achieving two distinct accolades. The first relates to Noor Jehan, also known as ‘Melody Queen’, she is the country’s most celebrated singer and actress, enjoying popularity in a career spanning about sixty years! Followed by actor Sultan Rahi was yet another phenomenon with a total number of 670 films, playing key roles in 525 films in a period of almost forty years between 1956 to 1995, averaging 16.75 films a year!
In spite of all, almost all Pakistani films cater to the local market and no serious effort has been made to broaden the audience base of its films or to enter these at international festivals. Very little, therefore, is known or heard about Lollywood outside the country, the indifference and timidity as evinced by this industry have a lot to do with the peculiar history of the (difficult)evolution of cinema in Pakistan.
The strategy of prolonged protectionism has failed to solve its main problems, along with the loss of East Pakistan territory, the inception of television, and the infiltration of non-artistic financiers, who had no or little background, either in the arts, or business. Consequently, senior film-makers, directors and composers went into voluntary exile and the industry was taken over by rich people who invested money for purposes other than artistic ends, much based onlyon profits.
These factors contributed to the ultimate decline of Pakistan film industry. (!)
Let’s go to our artist:
As leading exponents of Lahore’s vibrant film industry, the Brothers Tafogave Lollywood its first rock group in the form of expanded Sextet commonly known as Tafo or Taffoo to Punjabi and Urdu listeners. Mostly instrumental in composition, the sibling writing team emerged in 1970 providing incidental music and sonic variations for Lollywood love stories, with equivalence to the works of RD Burman, Mr. M.Ashraf or Sohail Rana. They would enjoy over a decade of film scoring and musical experimentation at the hi-techEMI funded recording studios in Lahore.
Echo-plexes, primitive drum machines, analogue synths, fuzz pedals and such, provided many mundane film-scenes with playful/infectious freak-rock courtesy of these uber-legends who were the first Lollywood group to record their own LP!
Let’s go to our album:
The Tafo Brothers were let loose in the EMI studios in Lahore and were seemingly intent on playing everykeyboard, stringed instrument and sound effect in the place. All tracks overflow with ideas, constantly shifting mood and sound as though played by these hyperactivegeniuses. A delightful mix of Eastern grooves, vintage electronics, psych, and pop combined with a half-ton of charm and a dash of wit.
Once again, this entry must thank the work of Hindustani Vinyl and splendid releases from Finders Keepers, re-discovering Lollywood scene, with its spaced out and funky grooves. This amalgamation of sounds may be leftover in Pakistan cinema nowadays, but we’ll be alert for more of these mighty artists, as Tafo Khan and Nusrat Fateh Ali Khan works, be in touch, andMaayo Nga Biyahe!
The ‘IM’ highlights are Bijli Bhari Hai and Tere Siwa Dunya Men.
A1 Yeh Aaj Mujh Ko
A2 Tut Tooro Tooro Tara Tara
A3 Oh My Love
A4 Bura Honda Juwariyan Da
A5 Par Kahin Aankh Laraee
A6 Bijli Bhari Hai
B1 Dilon Man Laee
B2 To Shamae-Mohabbat
B3 Mera Mehboob Hai Tu
B4 Lakh Karo Inkar
B5 Tere Siwa Dunya Men
B6 Munda Shahr Lahore Da
Finders Keepers’ Disposable Music library imprint.
France. Unlike ourlastentry, Léoniehasa slightly extensivecareer based on singles, film themes and also as an actress/model inthe 70’s. Nevertheless, it remainsa little-knownsinger outside its country; to our surprise, she is backed by a top-notch team of composers (Cristophe, Jean Claude Vannier), lyricists(ÉtienneRoda–Gil) and arrangers (KarlHeinzSchäfer, Jean Claude Vannier).
This first single count on the participation of mythicalVannier onlyin A side, the arrangementshereare from another great maestro: KarlHeinzSchäfer a German settled in France. In future entries, we will see other works (with or without Léonie) that I consider the greatest French pop arranger from all time!
Let’s know a little more about him.
A vitally important figure on the French music scene, Jean Claude Vannier is best known for the work he’s done with other people, but his list of collaborators is stellar, and includes Serge Gainsbourg, Michel Legrand, Johnny Hallyday, Jane Birkin, Mort Shuman, Françoise Hardy, Sylvie Vartan, and many more!
Vannier was born in 1943 in Courbevoie. A self-taught musician, he began playing the piano when he was 18, and learned the basics of arranging and orchestration from reading a book in the Que Sais-Je? (What Do I Know?) series of instruction manuals (!). A meeting with flutist Roger Bourdin led to a job working at the Pathé Marconi recording studio, where he was an assistant/session musician, and soon put his skills to work writing and arranging material for pop singers Alice Dona / Michel Magne.
By the early ’70s, Vannier was one of the top arrangers and studio players in French pop music, composing and orchestrating Serge Gainsbourg’sLa Histoire de Melody Nelson, Jane Birkin’sDi Doo Dah, Françoise Hardy’s Message Personnel, and dozens of other recordings of note. Vannier also enjoyed a successful career writing music for films, movie scores, television, theatre, and conductor projects.
In 1972, he recorded his first solo album, an eccentric avant-garde instrumental song cycle titled L’Enfant Assassin des Mouches, the album went unreleased for years but became an underground legend thanks to the distribution of a handful of promo copies, and finally received an official release in 2003. Vannier continued to record in a more traditional singer/songwriter fashion through the ’70s and ’80s, and as French pop gained a new audience among record collectors and tastemakers, Vannier’s work slowly began to find an appreciative audience in the United States.
Lately, he released two albums stateside: Electro Rapide, a collection of unreleased recordings from the ’60s and ’70s, and Roses Rouge Sang, his first studio recording of new material since 1990! Check out an interview with the master in 2011.
Let’s go to our album:
Léonie Lousseau (Martine Collet), was born on 8 May 1947, Saint-Malo. She went to high school in Vitry, where her parents lived, and then studied Arts and Music at Sèvres University. We must emphasize the work that our friend from Hero Culte already made, trying to track down every scarce info about Léonie, little of what was written here about her was done by them, ok?!
Besides the two songs, we will add a beautiful extra track present on ‘Les Gants Blancs du Diable’ OST (1973), composed and conducted once more by KarlHeinzSchäfer.
Let’s embark once again in the b-side world of chanson française, dáccord?
Happy 2014 to all our friends, I was away for a few days but we’ll resume gradually the number of posts, January is always a little slower, isn’t it? Today’s artist is a small (late) tribute to our Polish friends, nothing less than one of the biggest visitors of our page!
The culture of Poland is closely connected with its intricate thousand-year history. With origins in the culture of the Early Slavs, over time Polish culture has been profoundly influenced by its interweaving ties with the Germanic, Latinate and Byzantine worlds as well as in continual dialog with the many other ethnic groups. In the 19th and 20th centuries, the Polish focus on cultural advancement often took precedence over political and economic activity, these factors have contributed to the versatile nature of Polish art. Nowadays, Poland is a highly developed country, however, it retains its tradition.
Poland still suffers from a bad image in a way that people who are not from there see the country as the pool where your local painter, farm-help or building constructor comes from (sic). And those people lack the sophistication we, of course, had in our years after WWII, Right? Wrong!! (XO)
Let’s go to our history:
In fact, Poland has a long history of being one of the most cultural evolved countries in Europe. With an empire that once stretched from the East Sea to the Black Sea with an elective monarchy in the 16th century (probably the first of the western world). Thanks to Nicolaus Copernicus we finally found the scientific proof that the world was round! Musically Poland shows influences from composers like Chopin and folk music like the Mazurka, Bohemian Polka and Polonaise.
Not to mention in its world-famous writers and filmmakers like Adam Mickiewicz and Stanisław Lem; or legendaryAndrzej Wajda and Krzysztof Kieślowski.
Poland should be famous for its jazz scene during the communist regime and has an interesting pop and rock scene evolving in the 70s and 80s, with artists and acts like: Czesław Niemen, Novi Singers, Niebiesko-Czarni, Halina Frąckowiak, Big Band Katowice, SBB, Breakout, Marek Grechuta, and Stan Borys.
But let us return a little bit, to understand the darkest period of the country.
Started on the night of 1 September 1939, when Wehrmacht wore on their battle lines, Polish forces were the first to face the Germanwar machine, unfortunately, defeated in just over a month. Even with the 4th largest army, without the presence of the allies, any country would ever accomplish the deadly feat. The Soviets advanced on 17 September as agreed in the Molotov–Ribbentrop Pact (split into two zones).
The Poles were the people most affected by WWII. There too the war ended in 1945, but the end of the conflict did not mean the liberation of the country. In 1945, Poland was a country dismantled, its western border had been pushed 500 kilometers to the west (!), in accordance with agreements made in November 1943 by Soviet Joseph Stalin with the then British Prime MinisterWinston Churchill and U.S. PresidentFranklin D. Roosevelt in Tehran. Millions of Poles living in the east were transferred to territories formerly under German rule. Warsaw was uninhabited and in ruins.
Six million Poles died in the conflict, of which more than 95% were civilians. (!!)
Czeslaw Milosz (writer and Nobel laureate) would recall: ‘For six years, Poland seemed a mechanized slaughterhouse, whose treadmill constantly carried the corpses of murdered human beings’ (!)
Intellectual, religious and noble were transported by the thousands to concentration camps or executed immediately. The goal was Germanizing Polish territories and transform the population into slave labor.
The main concentration camps were located in occupied Poland: Auschwitz, Treblinka, Sobibor, Belzec, Chelmno, and Maidanek. Only 10% of the 3.3 million Polish Jews managed to save themselves. The Polish resistance decided on two fronts: against the Germans a military struggle, against the Soviet Union, a policy.
In 1944, when the Red Army began to approach the east of the country, the Poles wanted to present them as masters of their own place. Planned so that, a few hours before the arrival of the Soviets, Warsaw take up arms to expel the Germans. The 1st of August 1944, the Polish resistance began fighting against the Nazis but was left in the hand by the Soviets, because Stalin refused to help. Soviet troops had been halted by Moscow across the banks of the Vistula River – at the gates of Warsaw – and watched 63 days of bitter fighting, with a balance of 200.000 Poles killed. (!)
The Germans dominated the uprising and drove the survivors out of the city that was completely ruined. Hitler even ordered the implosion of what was left standing, consecrating Warsaw as the most destroyed capital in WWII.
The Resistance was cruelly fought by Nazi occupiers, for each dead German, hundred Polish hostages were executed. Until today, the Warsaw uprising isn’t just a national trauma, but also a double symbol of resistance – against the Nazi terror and against Soviet oppression. Every year, the 1st of August, thousands of residents of the capital gather to pay tribute for the uprising.
1945 was the year of liberation from the German terror. The 60th anniversary of this date is remembered by Poles accordingly. But nobody forgets that Poland wasn’t free after the War. The communist regime installed by Moscow only made the Nazi terror be replaced by the Stalinist (sic).
The development of WWII, its battles and countless other situations will be addressed in future posts, this is just a small summary to contextualize, ok?!
Let’s go to our music:
With the coming of the world wars and then the Communist state, folk traditions were oppressed or subsumed into state-approved folk ensembles. The most famous state ensembles were Mazowsze and Śląsk. Though these bands had a regional touch to their output, the overall sound was a homogenized mixture of Polish styles. The whole field seems unhip to young audiences, and many traditions dwindled rapidly.
The entrance of Jazz music, much more appealing to the young audiences, shook up the Soviet structures, in the 50s. Changing once and for all the Polish soundscape.
Before WWII, bands playing in restaurants and bars of Warsaw, Krakow or Poznan already had jazz elements in their repertoire. After the war, the initial period of fascination by youngsters with jazz music was quickly suppressed by communist authorities. The Catacomb Periodtried to ban the genre, jazz was played unofficially as a piece of underground music, but two events helped to change that.
First, Stalin died in 1953 which brought a political change that brought freedom also in the field of art. Second, jazz pianist Dave Brubeck visited Poland which had an enormous impact, it was the beginning of the development of an authentic jazz movement and the start of Polish pop music.
During the 50s and 60s, Polish musicians reached for records of Charlie Parker and Dizzy Gillespie, of hard-bop quintets as well as for the records of bands led by Miles Davis and John Coltrane. The main promoters of modern jazz during the 50s were Andrzej Trzaskowski, Jerzy Milian, Andrzej Kurylewicz, among others.
Polish popular music in the 60s was relatively tame compared to its Western contemporaries, mostly because the Communist government was rather skeptical about rock’n’rolland tried to limit its cultural influence on the young generation. In fact, to avoid trouble from the association, a new term was coined – big beat and its Polish-language equivalent, Mocne Uderzenie. The big beat performers were mostly imitating British stars of the time, sometimes adding elements of Polish folk music.
The 60s also brought Poland one of its most original artists, Czesław Niemen. He started out performing Latin and big beat songs, but soon transformed into a superstar when his protest song Dziwny Jest Ten Swiat (Strange Is This World) was applauded to no end at 1967 Opole Festival. The key to his success was not only an extraordinary voice and image but also very expressive, soul repertoire and poetic lyrics.
At the end of the decade, big beat finally gave way to more evolved rock genres, which would dominate the Polish scene in the following years: blues, soul, prog, disco, etc. The complete unfolding of the 70s will be studied at a later time, after this overview (phew!), let us return to today’s artist, shall we?!
Let’s go to our album:
Henry Debich (18 January 1921 – 4 July 2001) born and buried at Pabianice, was a Polish conductor, composer, arranger, and educator. Born in a family of musicians, his father, Bernard Debich, was a bandmaster from the factory’s orchestra. Before the war, he had private lessons on piano, trumpet, and trombone. He graduated in Theory, Composition and Conducting at Lodz Academy of Music.
During WWII, he was arrested on May 16, 1940, as part of a large share of the Lodz Gestapo, being placed in a camp in Radogoszcz, and then in Dachau. After the war, he took a job teaching in Pabianicka music school and began working with the Polish Radio. At the same time, he continued his studies at the Conservatory H. Kijeńska-Dobkiewiczowej, and studied music theory and conducting.
Debich was co-founder and since 1952 the conductor and artistic director, of The Entertainment Orchestra of Polish Radio and Television in Lodz. Being a multi-annual music director, conductor and juror at festivals in Opole, Sopot, Kolobrzeg and Zielona Gora. He was the second conductor of the Philharmonic Orchestra (1956-1958), and together with its ensembles, recorded music for over 20 films and released more than 50 Lp’s throughout its brilliant career!
As a conductor and arranger, the maestro worked with orchestras in Belgium, Czechoslovakia, Greece, Netherlands, Cuba, East Germany, Portugal, USSR and so on. He also collaborated with opera and Musical Theatre in Lodz.
Finally, some Polish jazz and funk to roll you upside down! It took a while for us to enter in Poland, this String Beat is almost a sum of every genre that was happening in a strong instrumental act: rock, soul, funk, fusion, soundtrack music, with lots of woodwinds and reeds. It is always good to see the intersection between classical and popular music, with some (dope and mellow) Western covers included.
The ‘IM’ highlights are Bez Metalu, straight from some Blaxploitation movie, this insane groove will leave your jaw open with every single aspect, the arrangement here is some real deal, get ready. And Kameleon, Hancock’s famous song, got a classy drapery here, with swinging guitars, flute/sax solos, and light synths. Frightful!
O Dara Irin Ajo!
A1 Na Opak (Z. Karwacki, J. Delong)
A2 Bez Metalu (M. Racewicz)
A3 Gry Flute (A. Żylis) – [Solos, J. Delong & Z. Karwacki]
A4 Oscypka (Z. Karwacki) – [Solos, A. Szczepański & K. Osiński]
A5 Standard In B (J. Malinowski) – [Solos, J. Delong & Z. Karwacki]
B1 Melodia Z Filmu “Shaft” (I. Hayes / M. Hoffmann)
B2 Opadający Widnokrąg (A. Żylis)
B3 Kameleon (H. Hancock) – [Solos, J. Malinowski &J. Olejniczak]
B4 Obladi – Oblada (J. Lennon, McCartney / M. Hoffmann)