Musica per commenti sonori - Puccio Roelens

Library Music sounds like a contradiction in terms, but rather than being music to soundtrack your favourite library visits, Library Music is music composed for unknown projects; music stored away in an archive until someone needs to inject a certain mood into their upcoming movie, television show, TV-documentary, exc. That's exactly what we have here from the Italian library composer, Puccio Roelens. 

Library Music happened (and maybe still happens, although I'm not entirely sure whether in the same way as it did in the '60s and '70s) across different countries and was often commissioned by television broadcasters, for example by the BBC in the UK and RAI in Italy. The composer would often be given a vague theme; exotic, erotic, energetic, enthusiastic, and they would be required to create a sound that could fit a TV sequence of such an emotion. These compositions would then be filed away until found by a producer or a director. Many compositions would stay hidden away for ever, gathering dust and being forgotten. 

Italy seems to have an incredibly rich heritage of composing Library Music, probably due to the surge of popularity and creation of film in and around Italy after the Second World War. Music by composers such as Ennio Morricone, Nino Rota, Piero Umiliani and Puccio Roelens, who wrote soundtracks to specific films alongside Library Music and other projects, has been gaining attention recently with reissues of some gems, up until now being the reserve of dodgy Youtube videos and wealthy record collectors. 

So is the case with Musica per commenti sonori by Puccio Roelens. Original vinyl copies from 1979 go for around £300 so thankfully the guys and gals at Schema, a fantastic reissue label who have recently reissued much of Morricone and Umiliani's work, are releasing a reissue of Roelens' funky groover. 

The tracks are 3 minute grooves, each with its own '70s funk feeling. A favourite of mine is Cobwebs, a dusty, sultry track with a killer moog bassline that surges and dissipates, as if the breathing of some electro-giant. The middle of the track surges with blissful strings before being reigned in again with that infectious bassline and percussion. 

Effuse is a slow, moog drifter, with some scratchy guitar fading in and out behind some floating moog that sounds like it has a life of its own, drifting along in the wind. Lipstick gets things moving, with some pure funk that could easily have a dance floor grooving. Its piano notes jump in and out before a beautiful sleazy saxophone breakdown, classic move. 

One of the reasons I find Library Music so enthralling is that across a 30 minute vinyl LP there are so many different moods and feelings and musical techniques, yet all have a distinct feel of the composer and of the time the recording was made. As each track has such an identity, having been written around a concept or a theme, the tracks have so much narrative within them, giving them such a rich visual feeling. So allow Puccio Roelens to provide the soundtracks to the films he conjures in your mind and get down with the groove. 

Puccio Roelens

Musica per commenti sonori

Schema 

Vinyl LP out: 14/10/2016 at Norman Records 

Nigeria Soul Fever - Compilation

Sometimes the stars seem to align and you find your interests slotting right into the Zeitgeist. That's the time I find myself in right now and it's bloomin' great! 

As an enthusiast for Nigerian music from the '60s and '70s and a collector of original Nigerian highlife records, the latest craze for everything Afrobeat, Fela Kuti and African has given me plenty to get my teeth stuck into. Whether it's the ever growing Felabration, the annual celebration in honour of Fela Kuti on the 7th of October, or the gigs happening across Europe by some of Nigeria's greatest musicians including Dele Sosimi, Tony Allen and Orlando Julius, not to mention the numerous club nights blasting some killer grooves from this musically rich part of the world, Nigerian, African and so-called "World Music" (what a horrible phrase) is booming in popularity.

Truly cementing Nigerian music as part of the current Zeitgeist was The Guardian and Boiler Room's joint series of videos and articles all about the scene. Nowadays there's seemingly always something or someone celebrating Nigerian music and it's been a bit of a treat for me personally. Something especially exciting has been the sheer amount of reissued CDs and vinyl albums of some of the best, and previously horribly rare, music from the country. I've already written a post about one such release, the Keni Okulolo reissue on Hot Casa Records, and another about the Freedom Sounds compilation on Soul Jazz Records. 

Well, Soul Jazz just keep wanting to spoil me for some reason as they've done it again with Nigeria Soul Fever, described as a compilation of West African Disco Mayhem! As a fan of disco and funk in general, the combination of everything I love from West African music - the infectious percussion, chorus vocals, the sunny guitar playing - with classic funk and disco grooves is something pretty irresistible to me. My knowledge of Nigerian disco had been pretty much limited to William Onyeabor or the occasional funky Afrobeat or Soukous tune from the likes of Joe Mensah or Ebo Taylor. 

Nigeria Soul Fever is a fantastic introduction to the vibrant and varied disco scene from the late 1970s/early 1980s in Nigeria. Spread across 3LP (or a 2xCD), the package is typically polished with liner notes and pictures giving a taste of the time and track lists giving details of each track. 

Joni Haastrup is the star of the show with 4 tracks in the compilation, each one a perfect example of classic funk grooves with the addition of killer Nigerian horn arrangements, vocals and clunking percussion. They're all absolute bangers, from the dance-floor filler Do The Funkro, to the fuzzy guitar of Greetings and the sultry opener to the compilation, Free My People, that sounds like a funky disco banger that could easily have been a club hit in 1980s New York. 

Many of the tracks strongly show their influences but my favourites keep that Nigerian quality. Angela Starr's track, Disco Dancing, is a great example. It's a chilled out boogie track and is clearly influenced by b-boy tracks such as (Hey You) The Rock Steady Crew by The Rock Steady Crew, which came out three years previously in 1983 in New York. It's got the b-boy effects and bass and the vocal delivery style but with some Nigerian style percussion in parts and Starr's honeyed vocals making it a tune to hum all night long. 

Christy Essien's You Can't Change a Man is also heavily influenced by New York disco and has a fantastic bass line and a buzzing guitar riff throughout. Afrikana Disco by Akin Richards & The Executives probably has some of the best Nigerian flavour; with highlife type instrument arrangements, traditional instruments and that unmistakable percussion. 

"Boogie boogie boogie down, Afro disco all around!"     

One of the things I particularly like about this compilation from Soul Jazz is how it treats the artists as funk and disco musicians before Nigerian musicians. I find that with many compilations of African music in particular, but also other "world musics", the music on the compilation can often be only linked by the fact that it has come from Nigeria or Africa. Imagine creating a compilation of music from Britain, from Germany, from America, or, if we're honest, from any "white country". No such compilation could do justice to the diverse music scenes in these countries so why can we get away with vague compilations of music from Nigeria? I understand that these can act as an introduction to many to the music of a nation, but a little curation and direction in the content of a compilation, like we have here, makes those featured musicians into musicians to sit alongside James Brown or Nile Rogers rather than a simple foreign curio. 

This compilation from Soul Jazz is a fascinating insight into the funk and soul scene emanating from Nigeria in the '70s and '80s and a true testament to the skill of these musicians is that these tunes are in demand and able to fill a dance-floor 30 years after they were made. Long live the Nigerian Zeitgeist! 

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Compilation

Nigeria Soul Fever

Soul Jazz Records

Triple Vinyl LP or 2xCD out: NOW! at Sounds of the Universe 

Talkin' Bass Experience - Keni Okulolo

I recently re-watched the BBC TV series Detectorists for the third of fourth time. It's such a wonderfully twee British comedy-drama about the most mundane of people and things and celebrates the everyday lives of the average Joe in such an engaging and simple way. It's written by Mackenzie Crook and stars him alongside Toby Jones as two Detectorists, the blokes who do the metal detecting around England's sodden fields, looking for Saxon gold and Viking hordes but ultimately finding tin cans and ring pulls. It really is my cup of tea and I'd recommend it to everyone, being fully aware that it might be the wrong brew for some but do give it a go, series one is available on Netflix and I hope you find it as lovely and engrossing as I have. 

Among the myriad of reasons why I love the show is because it boils down to men and their hobbies. Along the years I've fluttered between so many hobbies and collected so many thing, only for the majority of them to find their way boxed up in a cupboard, down the garden shed or under the stairs in my Mam's house. I've got some sort of collecting urge that has always been a bit of a man's thing and has seen me collecting pebbles in the playground at school to vinyl records in the dusty basements of record shops all over the place. As Toby Jones' character Lance says in the show; "Men have hobbies and women don't understand them, it's the way it's always been ... how many women commit to an afternoon reorganising their vinyl in alphabetical order?". 

This man certain has committed many an afternoon to such a thing and it looks like another is on the cards what with the state it's all looking in at the moment. My record collection is organised by genre rather than alphabetically (of course, who'd be stupid enough to organise alphabetically - although that's a debate that probably rages across many a dark, vinyl-enthusiast forum). I start off with modern psych; we're talking Tame Impala, The Horrors, some Slowdive, before moving briefly through Turkish and Middle Eastern psych and into Brazil's rich musical scene. Their fantastic culture of solo singers moves me into singer-songwriters before a brief foray into punk and reggae. Next is the biggest and fastest growing section - Nigerian music, primarily Nigerian highlife music. It's a genre of music that I stumbled into but have found ever more reason to stay and discover more. 

As you become interested in a new hobby or a new part of a hobby, you snuffle up all details about it; gorging on podcasts, tucking into Youtube videos and munching through books as if you were at an all you can eat buffet. Soon you discover the experts in the field, those you can go to for all your knowledge needs and then discover all the key players, those who make your hobby worth your time.

Talkin' Bass Experience by Keni Okulolo combines these two things. Originally recorded at Nigeria's EMI studios in 1974, Hot Casa Records represent the experts who are introducing me to this LP by reissuing this disco funk hidden gem. Keni Okulolo is one of those key players, a highly revered bassist, but another is Odion Iruoje, the producer at EMI in Lagos who produced this LP. You soon come across Iruoje's name if getting into Nigerian music from the '70s. Iruoje worked on many of Fela Kuti's tracks along with putting his unique approach to production on some of the best Afro Rock tracks. He was influenced by his training at Abbey Road studios in London alongside legendary producer George Martin and Iruoje used the production stage as an instrument itself, trying to move away from just capturing a live performance as had been the norm at this time in Nigeria. 

The LP is a funk riddled groove with Okulolo's bass hooking everything in and some killer horn arrangements keeping everything groovy and dance-inducing. The raw funk failed to make much of an impact in 1974 and the original pressings of the album now fetch high price tags if a copy is ever found for sale. Thanks to Hot Casa Records, the funk lives on. Check out their website for some sound clips and more information.  

Keni Okulolo

Talkin' Bass Experience

Hot Casa Records

Vinyl out: 26/08/2016 at deejay

   

Nobody Can Live Forever - The Existential Soul of Tim Maia - Tim Maia

Some artists have a story which can be more infectious than their music. My true introduction to the classic rock band Cream was through the excellent documentary Beware of Mr Baker (2012), which documented the life of the band's drummer, Ginger Baker. Cream are an incredible group - with Clapton on guitar and Ginger on drums it was bound to be - but it's not the kind of music I lap up enthusiastically, playing on repeat until I know every slight key change, peddle press and bass tweak. But Ginger's story and character is so incredibly bold, brash and hedonistic, it becomes magnetic; pulling me in so I can learn more about the complex man who's true rock n' roll credentials are shown by the fact he's known by his first name; Ginger. It's a story of booze soaked violence, drugs, sex, crazy falling outs with his band mates, his label, his family. It's one of those true rock n' roll lifestyles which we all crave a little but most, like myself, are happy to live them vicariously through the true stars, ultimately being content with life as a lame office drone when we see the present day Ginger; grouchy, finding it hard to walk and living on a ranch in South Africa, penniless and having broken most of his friendships. Beware of Mr Baker is a great film and I think it's on Netflix and other such sites so do check it out. The trailer's enough to make me want to watch it again: 

It was a desire to be close to this character, even if sat in my bedroom, watching a Youtube video of Ginger doing a drum solo back in the '70s, that lead me to listen to Ginger's music. It's all very, very good, but it didn't totally grab me. It was Ginger himself who did that. I eventually saw Ginger playing live, playing the jazz music he talks about so passionately in the documentary. He had to have help walking to the drums but no help when playing them. He was brilliant, the band was brilliant, the sound was fantastic but I hadn't really gone for the music, but to see a bona fide rock and roll legend.

So is the case with Tim Maia. There's something about Maia's music which has always distanced me a little. I think it's his voice. It's deep and rounded and perhaps a bit too polished for my liking. The instrumentation is great, moving from funk to soul to pop, but it's not as good to my ear as that of another Brazilian super star, Marcos Valle. But Tim Maia sounds like he was a proper star. Watch the cool video to accompany this compilation to learn a bit more about this crazy cat;

  

The chubby, slightly nerdy looking Maia with his big afro, dodgy moustache and bad album covers, contrasted with the stories of his rock n' roll lifestyle, is enough to grab my attention. All that said, Maia's music is damn groovy, with some great horns and instrumentation and has a really great mix of American soul and the kind of Brazilian experimentation that is in much of the country's music in the 1970s. This compilation by Luaka Bop, the same guys who did the William Onyeabor compilation, is a great intro to the man's vast back catalogue and is getting a repress later this month. Check out one of the standout tracks, Bom senso, and let me know what you think. To my ears this track has a very Tom Jones feel. Nice. 

   

       

Tim Maia

Nobody Can Live Forever - The Existential Soul of Tim Maia

Luaka Bop

Double Vinyl Repress out: 22/07/2016 at Resident