Inhalt: Gert Wilden, seines Zeichens Komponist und musikalischer Betreuer von Künstlern wie Hans Albers, Zarah Leander und Hildegard Knef, ist als Filmkomponist für die Untermalung von über 50 Spielfilmen (Krimi, Abenteuer, Softerotik) verantwortlich, sein Name findet sich auf mehr als 300 CDs und LPs. Ende der sechziger - und Anfang der siebziger Jahre widmete er sich einem ganz besonderen Genre der Unterhaltung: dem Softerotikfilm. Obwohl einige seiner Soundtracks auf Singles veröffentlicht wurden, ist dies die erste Übersicht seiner musikalischen Arbeit für das erotische Kino in digitaler Qualität. Filmmusiken von "Schulmädchen Report", "Madame und ihre Nichte", "Die jungen Ausreisserinnen", "Was Männer nicht für möglich halten" oder "Die dressierte Frau" werden hier zum ersten Mal vorgestellt. The tag end of the 1960s and the beginning of the 1970s brought a river of permissiveness into film, with sexploitation getting a pretty good foothold in American drive-ins and cheap theaters -- not porn, but softcore weirdness involving lots of young people running around naked in whatever circumstances could be concocted. As good as America's breed of low-rent filmmakers got with this, though, they couldn't hold a candle to the Europeans -- particularly the Germans, who all but turned softcore into a science. It may well be that America retreated to cheap horror movies in self-defense (and a case could be made that the English also beat a retreat, assuming a hardcore literary stance). And so, Germany produced Schulmäedchen Report (Schoolgirl Report), its many sequels, and its ilk. There were a lot of them, many of which wound up exported, badly dubbed, and run to death. If they didn't have a soundtrack by Gert Wilden & His Orchestra, then they weren't worth bothering with -- well, at least according to the liner notes here. Going by the evidence at hand, the liner notes might well be right. Wilden's music is a wonderfully demented pastiche that takes its inspiration from all kinds of sources -- "Dirty Beat" swipes fr