Album lore

Issued in October 1970 on the KPM 1000 LP Series, Alan Moorhouse’s "The Big Beat - Volume 2" compiles fourteen tracks that navigate the margins between funk, jazz, and library music. The collection offers a palette of instrumental pieces like “Hillbilly Child,” which pairs a spry rhythm section with brassy accents and a hint of country twang. Tracks such as “Boss Man” and “Soul Skimmer” lean into tight grooves and syncopated horn lines, reflecting the era’s studio band craftsmanship for production music libraries.Moorhouse’s work here remains a discreet signal within the canon of library music, prized by crate-diggers and secret agents alike for its utilitarian flair and rhythmic propulsion. The album’s mix of styles and moods, from the West Coast-inspired “West Coastin” to the boogie-inflected “Rockin Boogie,” bears the marks of session players attuned to the demands of television and radio cues, yet substantial enough to stand on their own.

Album lore

Issued in October 1970 on the KPM 1000 LP Series, Alan Moorhouse’s "The Big Beat - Volume 2" compiles fourteen tracks that navigate the margins between funk, jazz, and library music. The collection offers a palette of instrumental pieces like “Hillbilly Child,” which pairs a spry rhythm section with brassy accents and a hint of country twang. Tracks such as “Boss Man” and “Soul Skimmer” lean into tight grooves and syncopated horn lines, reflecting the era’s studio band craftsmanship for production music libraries.Moorhouse’s work here remains a discreet signal within the canon of library music, prized by crate-diggers and secret agents alike for its utilitarian flair and rhythmic propulsion. The album’s mix of styles and moods, from the West Coast-inspired “West Coastin” to the boogie-inflected “Rockin Boogie,” bears the marks of session players attuned to the demands of television and radio cues, yet substantial enough to stand on their own.