With yet another resurgence of bell-bottoms, the remake of Shaft, and the relatively strong ratings enjoyed by "That 70's Show," it's clear that everyone's next-to-least-favorite decade (behind the '80s, of course), is enjoying a second renaissance. As someone who's never prided myself on wearing big shoes, big pants, or big hair, I'm completely mystified as to the source of the new '70s comeback. I didn't have to live through that era the first time, and I'm pretty damned sure I don't want to live through it now.

Cinemaphonic: Electro Soul is a compilation of library music; songs cranked out in the '70s by a series of mostly European composers for use in film, television, and radio. In other words, generically composed '70s soundtracks. That's it. Emperor Norton may try to convince you that it's some kind of "genre-slamming extravaganza," but they exaggerate. I mean, if you generally consider trite '70s soundtracks to be "genre-slamming extravaganzas," by all means, go out and buy this record. But be advised that the same people who offer that overzealous description also point out that while these tunes have never officially been released, they "strike a familiar chord." (Read: even though you've never heard these songs before, you may as well have.) When you think of cheesy '70s soundtracks, you are thinking of the majority of Cinemaphonic.

For the three of you who need more information pertaining to the sound of this record, I can summarize the majority of it with a description of the compilation's first track, Walter Murphy's "Hocus Pokus." You may remember Walter Murphy as the man responsible for that most intolerable of all intolerable disco hits, "A Fifth of Beethoven." But even that was more original than his offering here. The track begins with some hi-hat- intensive drumming. Then–- surprise!-- some analog synthesizer and heavily wah'd guitar enter the mix. This is pure cliché, folks, and it suffocates Cinemaphonic. At times, the stereotype is reasonably well-executed-- note the funky crescendo of Edward Simon's "Harvey Wallbanger" and the inventive analog bleeps on Emmanuel Vardi and Lenny Harnbro's "Hot Line," reminiscent of the works of deceased electronic composer Bruce Haack.

But though Cinemaphonic has its interesting moments, for the most part, it's pure cheese. Occasional bursts of inventiveness are almost instantly squelched by that painfully predictable hi-hat, analog synth, and wah-wah motif. Thus, the majority of Cinemaphonic is unduly homogenous for a compilation with so many contributing musicians.

Let's face it: the time and money that went into unearthing these tracks, which until now have been relegated to the archives of Major/Valentino Records, probably could have been put to better use. Cinemaphonic may make for a great piece of '70s nostalgia, and sometimes even a decent nugget of musical history, but it's far from compelling. Let's stop living in the past, people. The '70s are dead and gone. Take off your rose-tinted glasses and get over it.

-Matt LeMay