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Celebrating the pioneering inspiration who scored The Ladykillers and Quatermass And The Pit, and the first Dr Who series featuring Daleks. Experimental electronica for film, TV, exhibition, sculpture.

Ersatz Giorgio Moroder meets wannabe Glen Campbell at the 1980 roots of electro-boogie-country terror. Sleazy, wrong and enjoyable — featuring the nine-minute dance version of the feted title-track.

Top marks for this spell-binding collection of folk songs and avant-garde experiments recorded by small English primary school-children between 1959-77. It’s lovely stuff, exemplary Trunk, warmly recommended.

Dreamy percussion exotica by a group of fourteen-year-old students (ten girls, including Evelyn Glennie, one boy) in Aberdeen, from 1978.

Albums of the original score — as played by Italian prog-rockers Goblin — have always been in print. Here at last are the dark and twisted incidental cues — like all the music from the shopping mall scenes.

Music by Michaels Cole and Jessett for the beloved seventies finger-puppet show, with Fingermouse, Gulliver the seagull, Scampi, and Flash the tortoise.

Exotica, a bossa, and real-deal British bebop from 1964: four unissued cues featuring The Hastings Girl Choir, and four cuts with Coleridge Goode and Bobby Orr.

Eighty hip cues — sixty on the LP — from 1959-65: stuff like Banana Mellows cereal, Horlicks, Elastoplast, Sunsilk, Ogden’s tobacco, and the Hoover Keymatic. The Mike Sammes Singers and Eric Sykes at the mic.

Celebrating a decade of magical music, inspired nonsense, revived childhood memories, the bizarre, the beautiful and the weird it’s the Trunk 10th anniversary collection. Every home should have one!

Half covers, half original homage — the landmark British jazz response to Moondog, from 1956. A baker’s dozen players, including Stan Tracey and Phil Seamen, engineered by Joe Meek, produced by Denis Preston.

Bumptious jazz grooves and robust, cheerful experimentalism to do with making music out of everyday speech. His last recordings, before his death in 2005.

From 1965, the first UK ‘mondo’ style documentary, with Kirchin scoring the sleazy underbelly of the Capital’s days and nights. From births to deaths via strippers, chicken factories and wife swapping parties.

Edward Williams’ ‘plaintive John Cameron / Basil Kirchin-esque’ chamber music for the great David Attenborough series.

1950s children’s recordings: glockenspiels, wine-glasses, cello, bells, cymbals; stamping, clapping, percussion. Nursery rhymes turned sound-exercises and roundels. Captivating, darkly nostalgic, beautiful.

From a Britflick about Satanism and zombie bikers; with Harold McNair and Norma Winstone. ‘If Kes was the best film I ever wrote music for, this was the most bizarre. Jazz musicians playing pre-punk trash-rock.’

Intriguing, Lynchian songs from his own vanished, utterly disastrous film about demonic evil, re-cycled during the 1970s as It Happened One Weekend, Rockey’s Style, Scarlet Love, Scarlet Warning 666, etc.

Radiophonic music by David Cain, with poetry by Ronald Duncan, made in 1969 for children’s education and improvised dance, by the BBC Drama Workshop. Weird, spooky, British. A hauntological cult classic, natch.

First retrospective of John Gale’s library music label (run for two decades from the late sixties on), featuring various startling cues, and some brilliant excerpts from the original Electronic Age LP.

Fully entertaining, radical rearrangements of hymns so familiar they’re part of the collective unconscious — on this celebrated (and pirated), carboot, funky, easy, British jazz ringer, featuring Tubby Hayes.

Previously unreleased electronic music spun out of the Radiophonic Workshop by Delia Derbyshire, Dudley Simpson, Brian Hodgson and David Vorhaus; and caned by the Thames TV children’s series between 1973 and 1979.

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