This article retraces the history of a prolific, yet culturally neglected and marginalized music industry—that of library music of the 1960s and 1970s. It questions its modes of production, mediation, and distribution, examining different aspects and moments of shared or relayed creativity. In doing so, it highlights a network of mediators, objects, infrastructures, composers, and musicians that have hitherto remained anonymous and invisible. Library music could be viewed as a specific but historically undervalued embodiment of popular music—a form that could be described as parallel music or “paramusic.” This article aims not only to reconstruct its little-known modus operandi, but also to reconsider the ways in which creativity, experimentation and standardization, originality and borrowing, and art and commerce are interrelated. More broadly, it seeks to reassess how these categories influence the shaping of objects of study and canons within popular music.