Metropolis by Keith Papworth: A Jazz-Screen Gem That Still Shines
Alright, let’s talk about Metropolis, the 1974 UK jazz-meets-stage-and-screen masterpiece from Keith Papworth. If you’re into soundtracks with a smoky vibe and grooves that feel like they were born in some dimly lit back alley of London, this one’s for you. Released under Music De Wolfe (a label known for its library music gold), it’s got all the hallmarks of those quirky yet sophisticated records that somehow slipped through the cracks of mainstream fame.
First off, can we just appreciate Nick Bantock’s cover design? It’s artsy without trying too hard—like someone doodled while sipping coffee at a jazz club. But let’s get to the meat of it: the music. With tracks like “City Limits” and “Night Raid,” Papworth crafts these little worlds where drama meets melody, and man, does it work.
Take “City Limits,” for instance. This track is pure cinematic magic. The horns blare like they’re announcing something big—a heist, maybe, or an escape plan—but there’s also this laid-back bassline keeping things chill. Every time I hear it, I imagine myself driving down a neon-lit highway in a vintage car, even though I don’t drive. It’s moody but not overdone, dramatic but still subtle enough to let your imagination run wild. Honestly, if this doesn’t make you want to write a short film or plot out a spy thriller, nothing will.
Then there’s “Night Raid.” Oh boy, this one sticks with me. Imagine sneaking around a dark cityscape, shadows dancing on walls as tension builds. The percussion here feels like footsteps echoing through empty streets, and the brass hits land perfectly—sharp enough to raise hairs but smooth enough to keep you hooked. It’s the kind of track that makes you glance over your shoulder, even when you’re just sitting on your couch eating chips.
What’s cool about Metropolis is how it balances action-packed moments with quieter interludes. Tracks like “Early Rise” and “Morning Trip” bring a softer touch, almost like the calm after the storm. They remind you that cities aren’t just about chaos—they have their own rhythm, their own heartbeat. And Papworth nails that balance beautifully.
Now, full disclosure—I’m no expert on library music or whatever fancy term people use for this stuff. But what I do know is that albums like Metropolis are like hidden treasure chests. You stumble upon them years later, dust them off, and realize they’ve been waiting patiently for you to notice their brilliance.
So yeah, give Metropolis a spin if you dig jazz with a cinematic twist. Just don’t blame me if you start picturing yourself as the star of your own noir flick. Oh, and fun fact: K. Papworth probably never expected his album to end up being reviewed decades later by someone typing away in pajamas. Life’s funny like that.
