"There's more holes to drill is part of the short list of film soundtracks erotic Quebecers have been published at the time. Having failed to produce good films, this mode (1969-75) have at least allowed to immortalize the great music.
Cinépix was the Montreal production company that produced the greatest films of the genre. Include, Valerie (1969), Human love (1970), Initiation (1970), Come, my love (1970) , Heads or Tails (1971), There are more of hole drilled (1971) The apple and the tail and seeds (1974).
Cinépix unfortunately released only three albums and two 45s. All were released on record label "Gap records" (A subsidiary music?).
The Soundtrack "There's more holes to drill," is a special case and is the second of this series of three discs.
The film dates from 1971 and its soundtrack was composed by the great Paul Baillargeon. Like "Come my love" (released the previous year and also made by Bailey), "There's more holes to drill" has an English version (wallet, part names ...) and that a 45t. The film was released in English as "Loving & Laughing." The theme song was sung by Patsy Gallant and its English version by Sharon Lee Williams. English & French pouches included a photograph of Gallant & Williams respectively. We have rarely seen producers give as much trouble adapting to the market they are trying to exploit.
Dean Morgan's name remains a mystery to me. The first two BO Gap Records, Dean Morgan is credited alongside Baillargeon on the covers.
But when you look at the label carefully central (from "Come, my love"), he is credited as the song sung (not instrumentals).
On "There's more holes to drill," his name is everywhere or that of Bailey is. Yet this man is listed on any site such composers Discogs . Otherwise, on IMDB, it is listed on three film projects (the 2 of Cinépix + 1 other). All were done with Paul Baillargeon. Does he believe that he would not be made alone ... Or without the help of Bailey? Is it simply a producer or maybe a nominee?
On the site "Waxing Deep" Baillargeon gives a short interview with Dan Zack about these two soundtracks for Cinépix. There is no mention of collaboration Dean Morgan. Conclusion? All this put together, Psyquébélique believes Bailey is most probably the only composer of the soundtrack of "Come, my love" and "There's more holes to drill."
Returning to the music. Perhaps less spectacular than the other soundtracks erotic, it is no less interesting. The style of the majority of the parts is what the English call the "Soft-Psych. Ie walking / folk but with a touch of electronics. The whole gives a flavor a bit strange. Take the instrumental version of the theme, the sound is very horror film from Jess Franco. An electronic keyboard is combined with a piano and it is added sound effects. The intention seems to be to create an atmosphere weird and disconcerting.
Another feature, this disc includes a rare piece group The heart of a generation .
"Your Love" is a piece like "Sunshine Pop" as the only group that seemed to have the formula in Quebec. Harmony vocals, tambourine, acoustic guitar, a variation of more sophisticated songwriters finally.
"We'll go together" by Patsy Gallant was the theme song. It was the 45s. It is a brassy pop and agreed, like Donald Lautrec. Part Bailey is credited to, Morgan but also Robert Gauthier. He had composed the theme song "Come, my love" called "Take Me" sung by Louise Lemire.
One thing that is regrettable is that some of the best pieces are very short. Some are included in an "assembly" from 9:36 called "O Perce. This assembly (mixing music & dialogue) is divided into four "sections" under the cover. Psyquébélique efforts is eight musical sections. Therefore difficult to correctly identify the parts you love. I would just call them by their number.
The first piece of "O Perce" for example, is similar to the play "Gaspé goodbye" on the B. These parts are in the style of spaghetti western soundtrack, but an electronic version. Unusual combination if ever there was one.
Another highlight, the fourth musical excerpt from "O Perce. This is a short electronic components (0:46) while melancholy. In the spirit of what Michel Robidoux and Peter F. Brault would be like music for the show "Passe-Partout" a few years later. The sound of Bailey he would have had an impact on this duet?
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