Barbara Moore – ‘Bedazzled! (TV, Film And Studio Work 1965-81)’

Barbara Moore (1932-2021) emerges from relative obscurity through a comprehensive retrospective issued by Ace Records, spotlighting her multifaceted contributions to music across nearly two decades. This anthology, titled 'Bedazzled! (TV, Film And Studio Work 1965-81)', assembles an array of her work, ranging from jazz and pop to film scoring and library music, revealing a career that defies easy categorization.

Moore’s career trajectory is notable for its versatility and quiet influence. Initially gaining experience as a singer, she performed with the vocal group the Ladybirds, known for backing prominent British pop acts such as Sandie Shaw. Early on, she crossed paths with notable figures including Dudley Moore, with whom she collaborated vocally on the film 'Bedazzled'. The title track from this 1967 film showcases Moore’s ethereal voice alongside Peter Cook’s satirical spoken-word contributions, illustrating her ability to blend musicality with avant-garde comedy.

Beyond singing, Moore cultivated a significant reputation as an arranger and composer in a male-dominated industry. In 1968, she arranged the album 'Tuesday’s Child' for folk artist Deena Webster, navigating the challenges posed by session musicians resistant to her leadership. Despite lacking formal credit on this project, Moore’s influence was critical. Her arranging talents further extended to mainstream successes, including the choral arrangements for Elton John’s 1970 track 'Border Song', a key recording in John’s early career that helped establish his presence in the American market.

Moore’s involvement with pioneering artists continued with contributions to Kevin Ayers’ debut solo album post-Soft Machine, 'Joy of a Toy' (1969), where she returned to vocal session work. Her collaboration with German producer Mark Wirtz, under the pseudonym Mood Mosaic, produced lush, evocative tracks blending sunshine pop with sophisticated lounge textures. These works stand alongside iconic Italian lounge composers such as Ennio Morricone and Piero Umiliani in their cinematic allure.

A significant portion of Moore’s legacy resides in the realm of library music, a niche but influential sector supplying soundtracks for advertisements, films, and television. Working closely with jazz pianist Roger Webb, she contributed extensively to this covert world where pseudonyms were often used to circumvent union restrictions. Their compositions include pieces arranged by legendary figures like Robert Farnon, who also operated under an alias in the library music domain. Many of these recordings, originally pressed on labels like DeWolfe, have become highly coveted collectibles, fetching premium prices in the secondary market.

The release curated by Bob Stanley of Saint Etienne, alongside film scholar Mark Goodall, benefits from detailed liner notes and the cooperation of Moore’s estate, ensuring an authoritative representation of her prolific output. The collection not only revives Moore’s rare tracks but also contextualizes her importance across genres and formats, offering listeners a broad spectrum of her artistic identity.

The anthology spans four vinyl sides, featuring a mix of Moore’s performances and compositions. Highlights include the iconic theme from the television series 'The Saint', where her distinctive vocalizations contribute to the piece’s enduring appeal. Other selections showcase her vocal group, the Barbara Moore Singers, and collaborations with Brass Incorporated and Roger Webb, illustrating the diversity of her studio engagements.

Moore’s personal and professional intersections enrich the narrative of this compilation. Her daughter Linsey Moore’s composition and performance, 'Linsey’s Song', arranged by Barbara herself, provide a familial dimension to the collection. This inclusion underscores Moore’s role not only as a creator but also as a mentor and collaborator within her immediate circle.

'Bedazzled!' thus serves as both a rediscovery and a reappraisal of Barbara Moore’s work, shining light on a figure whose contributions permeated multiple facets of British and international music scenes. Through expertly curated selections, listeners are invited to explore the depth and breadth of her artistry, from mainstream pop backing vocals to the subtle complexities of library music composition.

Ace Records’ dedication to unearthing such overlooked talents reinforces the importance of archival projects in preserving musical heritage. By assembling Moore’s diverse catalogue, they facilitate a renewed appreciation for an artist whose influence was felt across studio sessions, radio waves, and cinema screens but whose name remained largely unheralded.

While details of Moore’s personal life remain modestly documented, the musical evidence compiled in this collection eloquently speaks to her skill, adaptability, and enduring impact within a changing industry landscape over the course of the 1960s and 1970s.