Jaguar Boys

Aimée & Jaguar is a 1999 German drama film set in Berlin during World War II. It was written and directed by Max Färberböck, based upon Erica Fischer's book, chronicling the actual lives of Lilly Wust and Felice Schragenheim during that time. Before Erica Fischer's bestseller, Lilly Wust was tracked down by the American journalist, author, and noted Holocaust researcher, Charles Brady who considered Lilly Wust a Holocaust victim. It was over a year and a half, however, before Wust was able to confide in Brady and tell him her whole story. They remained close friends for 20 years until her death in 2006. Köhler and Schrader won the Silver Bear for Best Actress at the 49th Berlin International Film Festival. The film was also nominated for the Golden Globe Award for Best Foreign Film. Music composed by Jan A. P. Kaczmarek.

Conceived as music for listening behind the wheel or at home, this triple album echoes the “American Way of Life” back in the days when the automobile was a striking symbol. This anthology featuring rock, jazz, western swing, blues and country music is a landmark audio-collection illustrating the car-myth in American popular music. The 28-page booklet contains detailed notes by Bruno Blum, and these remarkable titles were all chosen for their quality: compositions, lyrics, performance… and, wherever possible, great sound, the kind you need wherever you take the music.

A celebration of all things US car related from the 40s through to the early 60s with well known classics by the likes of Chuck Berry, Gene Vincent, The Beach Boys, Vince Taylor etc. along with some obscure Rockabilly sides and novelty tunes, making this the ultimate homage to the Hot Rod, Chevy, Cadillac, Thunderbird et al. Get that motor runnin' !!!

It was a musical cocktail born in a marketing meeting: Two parts easy listening, one part jazz, a healthy dollop of conga drums, a sprinkling of bird calls, and a pinch of textless choir. Serve garnished with an alluring woman on the album jacket for best results. Liberty Records co-founder Si Waronker called it Exotica; the soundtrack for a mythical air conditioned Eden, packaged for mid-century, tiki torch-wielding armchair safariers. In the five years after Exotica—Martin Denny’s 1957 landmark Liberty debut—arrived, hundreds of other ethnographic forgeries washed up in record racks all over the U.S., bearing titles like Sophisticated Savage, Sacred Idol, Chant of the Jungle, Polynesian Paradise, Exotic Paradise, Taboo, Primitiva, Forbidden Island, Afrodesia, Hypnotique, Percussion Exotique, and a barrel’s worth of other portmanteaus. “All of those ica and itiva endings I came up with because I thought I was being cute,” Waronker said. “And I don’t know why, but nobody got wise.”

It was a musical cocktail born in a marketing meeting: Two parts easy listening, one part jazz, a healthy dollop of conga drums, a sprinkling of bird calls, and a pinch of textless choir. Serve garnished with an alluring woman on the album jacket for best results. Liberty Records co-founder Si Waronker called it Exotica; the soundtrack for a mythical air conditioned Eden, packaged for mid-century, tiki torch-wielding armchair safariers. In the five years after Exotica—Martin Denny’s 1957 landmark Liberty debut—arrived, hundreds of other ethnographic forgeries washed up in record racks all over the U.S., bearing titles like Sophisticated Savage, Sacred Idol, Chant of the Jungle, Polynesian Paradise, Exotic Paradise, Taboo, Primitiva, Forbidden Island, Afrodesia, Hypnotique, Percussion Exotique, and a barrel’s worth of other portmanteaus. “All of those ica and itiva endings I came up with because I thought I was being cute,” Waronker said. “And I don’t know why, but nobody got wise.”

It was a musical cocktail born in a marketing meeting: Two parts easy listening, one part jazz, a healthy dollop of conga drums, a sprinkling of bird calls, and a pinch of textless choir. Serve garnished with an alluring woman on the album jacket for best results. Liberty Records co-founder Si Waronker called it Exotica; the soundtrack for a mythical air conditioned Eden, packaged for mid-century, tiki torch-wielding armchair safariers. In the five years after Exotica—Martin Denny’s 1957 landmark Liberty debut—arrived, hundreds of other ethnographic forgeries washed up in record racks all over the U.S., bearing titles like Sophisticated Savage, Sacred Idol, Chant of the Jungle, Polynesian Paradise, Exotic Paradise, Taboo, Primitiva, Forbidden Island, Afrodesia, Hypnotique, Percussion Exotique, and a barrel’s worth of other portmanteaus. “All of those ica and itiva endings I came up with because I thought I was being cute,” Waronker said. “And I don’t know why, but nobody got wise.”

Following the critically acclaimed release of Golden Bug’s V.I.C.T.O.R. album last year, La Belle Records tap into some of their favourite contemporary artists and ask them for remixes. Il Est Vilaine, Red Axes, Destino, Thomass Jackson, Danny Daze, Strapontin and more all serve up sizzling results in return.