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9/10 Thomas Spice Customer review, 10th February 2017
Revisiting Nuggets provides a wonderful opportunity to revisit a time just after the turn of the new millennium when the act of compiling was a much more straightforward enterprise. Vibert's 26 track voyage through archival library selected from the vaults of Chappell, Southern, iM, Bruton, Peer and Parry was released in a post millennial milieu in which the complexities of reissue politics had yet to unravel themselves and the totalising and encroaching ubiquity of the internet had yet to eclipse our ability to absorb music in a "pure" form free from the lure to enter in to discogs wormholes to explore back catalogues and side projects.
Whilst my reviewers glasses are rose tinted those worn by a Pitchfork reviewer at the time, namely Paul Cooper, are less floral. Although complimentary in parts about the album and Vibert's curatorial skills Cooper was steadfast in his viewpoint to dismiss the romanticised treatment of library music as the ultimate outsider music as hipster hokum and faddy, something I find contestable. With the benefit of history know on our side we can see that library music has certainly not been a fad, Nuggets ran to a third volume and there have been numerous other well received collections issued by Trunk, Crippled Dick and Strut amongst others as well as memorable curatorial exercises from Com Truise in his Komputer Kast series. Proof then that library music does have an enduring appeal amongst the hip and non-hip. Whatsmore one can argue that it is the functional purpose of the music which has ensured this ongoing appeal and makes it the ultimate outsider music. Released by labels with the express purpose to be licensed and represented by others library music is seemingly purpose built to be compiled.
To turn focus on the music on offer one finds a capacious rucksack full of the many strands of library funk to which we are now accustomed but praise is due to Vibert for having both a producers AND a listeners ear in mind when making selections. Thus Akai ready loops come in good supply with the cavernous breaks of Georges Teperino 'Electrosonics 4' and the eminently loopable lounge funk of Paul Kass's "Underground Agent" but you also get highly adventurous funk opus's like Roger Davy's 'Crazy Flute and Happy Guitar", fleet footed jazz workouts from Jay Berliner via "Jazz Samba" and my personal fave the proto hip hop groove of James Asher's "Robottom", a track that his namesake James Pants would be proud of.
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