The genre of sex education-movies boomed massively in Germany in the late Sixties. Based on a (more or less) scientific plot the audience was for the first time confronted with bare facts in form of nudity. In this category successful director Franz Josef Gottlieb shot several pictures even for Oswalt Kolle, the originator of the genre. For production company “Rialto Film” however he adapted a 40 year old book by the Dutch gynecologist Theodoor Hendrik van de Velde to create two (pseudo-) scientific movies for the eager audience: ”The Perfect Marriage“ (1968) and ”Every Night of the Week“ (1969).
Producer Horst Wendlandt asked his friend Peter Thomas (“Space Patrol”, “Jerry Cotton”) to compose original scores for both films. Until then they had worked together on numerous “Edgar Wallace” films and other blockbusters.
Peter Thomas got honoured with the German Composers Award for his lifework in 2009.

Atypically for veteran sound pioneer Thomas his score to “The Perfect Marriage“ is outrageously romantic and of an eroticizing intensity, and the work holds an exceptional position in the composer’s ouvre. Unfortunately this supreme accomplishment could be heard infrequently. Almost the complete opposite is the score to “Every Night of the Week“. Here the composer is in his element again; contemporary jazz and beat arrangements, and unconventional use of the human voice dominate. Together both scores deliver a fascinating insight into the mastery of one of the most prominent composers of the German motion picture industry.

Besides this release is a real world premiere: Most of the tracks, so the complete score of “Every Night of the Week” have been discovered in the archives only now, 40 years after their recording. Just some titles from ”The Perfect Marriage” have been released once in Canada on one of the rarest soundtrack LPs ever.

The CDpackaging is as always designed stylish and comes with a 24 pages booklet including detailed liner notes by Peter Thomas’ biographer Gerd Naumann (”Der Filmkomponist Peter Thomas“, ibidem-Verlag 2009) and an essay on sex education-movies by film journalist Marco Geßner, both in German and English language, as well as some extraordinary full size color film stills.

Additional tracks can be downloaded from several internet music platforms.

Press

Scorebaby.com [December 2009]: "Thomas shows his stylistic range, from jaunty brassy pop and sexy lowdown groovers to languid floaters with wordless female vocals and exotic moodsetters... Overall, the musical arrangements have a great deal of '60s easy listening charm, favoring Tijuana-type brass, frolicking flutes, jangling guitars and crisp jaunty rhythms

Jeff Hall, Screensounds [November 2009]: "... if you like European film music of the sixties, or maybe if you're a James Last fan, this will very likely appeal to you. It's undeniably a very tuneful and infectious little disc."

Boomkat [November 2009]: "... this is priceless lounge exotica of the highest order."

Darren Allison, Cinema Retro magazine [October 2009]: "... a quality CD capturing a unique corner of the soundtrack market. A stylish 24 page booklet is included with informative notes and some damn, dapper sexy colour stills; in fact the only thing missing was the Government health warning, Baby boom Imminent!"

Tracklisting:

	01.	Natascha (End Title)	1:59
	02.	Love Sequence	1:21
	03.	Love Maker	1:37
	04.	Embrace	1:38
	05.	Gisela's Seduction	1:51
	06.	Teach me, Teacher	1:08
	07.	Big Love	1:37
	08.	Natascha (Main Theme)	2:02
	09.	The World's History	1:40
	10.	Cin-Cin Mon Marie	2:10
	11.	Lord Esquir's Party Tune	2:21
	12.	Hurdy-Gurdy	0:47
	13.	The Grand Day	1:12
	14.	Love Bureau	1:21
	15.	First, First Love	1:07
	16.	Eternal Song	1:05
	17.	Love	3:28
	18.	Girl and Teacher	3:10
	19.	Shaker	1:16
	20.	Playboy	1:29
	21.	Tivoli	2:05
	22.	Rookies	1:46
	23.	Coitude Melanchodelic	3:49
	24.	The Marriage	0:30
Tracks 8-11, 15-17, 23,24 from "The Perfect Marriage" Tracks 1-7, 12-14, 18-22 from "Every Night of the Week"