The Mood Modern The story of two of the world's greatest recorded music libraries: KPM (1956-1977) and Bruton Music (1978-1980)By Oliver Lomax

Wicked new book about KPM and Bruton Music – two of the world’s greatest recorded music libraries! Introduction by the great KEITH MANSFIELD!

This book rocks! 100% ESSENTIAL! 450+ pages!!! Includes wicked exclusive pix too!

Book about killer library soundtrack and TV music at KPM - featuring legendary library composers - Keith Mansfield, Johnny Pearson, Syd Dale, Alan Hawkshaw, James Clarke, David Lindup, Brian Bennett and more!

Features interviews, biogrpahies with many of the composers, recording engineers, musicians and staff of both libraries, The Mood Modern tells the remarkable inside story of how KPM and, subsequently, Bruton came to be dominant forces in library music, both in Britain and internationally.

The Mood Modern is not only a major study of a fascinating sector of the music industry, but also essential reading for anyone with even a passing interest in soundtrack music.

Another aspect of The Mood Modern is the chapter-length biographical portraits of five of the KPM 1000 Series’ principal composers: Syd Dale, Johnny Pearson, Keith Mansfield, James Clarke and David Lindup.

This is the first time that any of them have been the subject of an in-depth portrait, and these chapters take in many associated areas: KPM library offshoots Aristocrat, Radio Program Music and the KPM International series; the litany of famous and not-so-famous TV and radio themes within the KPM library; Lansdowne Studios; British jazz and pop; classical music; commissioned film and TV scores; BBC Television and Radio; Independent Television (ITV); the Mechanical Copyright Protection Society; the Performing Right Society; Phonographic Performance Ltd. and so much more.

A host of other composers also feature in The Mood Modern. These include KPM and Bruton stalwarts Laurie Johnson, Neil Richardson, Steve Gray, Dave Gold, Francis Monkman, Brian Bennett, Alan Hawkshaw, John Dankworth, John Scott, Duncan Lamont, John Fiddy and John Cameron as well as the KPM 1000 Series’ house bands, WASP and SHARKS.

Putting everything into further perspective is a thorough examination of the KPM library, and a chapter that focuses on a leading music editor of the ’70s, who describes the processes and equipment that were used in transferring library music onto the soundtracks of films, documentaries and television programmes.

It's the bomb innit!