musicology #396

PostMod/ernist #6

(Toussaint McCall – Nothing Takes The Place Of You)

Final cut on the PostMod/ernist. To be honest I have struggled with this theme. The circumstances I find myself in have affected my confidence which, unlike belief, is buried in the unconscious making it impossible, in my opinion, to cultivate, (again unlike belief), internally. Put simply it’s other people who are responsible for our fragile confidence and my observation is that too many don’t take responsibility for making and breaking it. I’m not laying any blame as that’s for the immature. Neither am I making any excuses, life is a two way street and I must be just as guilty of being irresponsible.

As you may already be aware themusicologist for me is and always has been a kind of diary shot through with Joy & Pain and utilising the power of music as communicator, comforter and guide.

Bottom line…my lifetime’s observation so far is that people will always let you down. Rarely intentionally but that doesn’t lessen the impact. One way to lessen the impact is to not have what Charles Dickens called ‘Great Expectations’. Shoot for the stars but accept that the probability is that you will miss. This attitude has led me to the belief that it’s the journey of and through life that’s important rather than the destination and along the way our companions will come and go. Some will last longer than others. Some will bring and share love while others will try to hurt and hinder. Live by your own values and pass no judgement on those of others. It’s a mean, fucked up world and, from what I can see, it’s only getting meaner. Play by your own rules and do what you think is neccesary for survival and bear in mind that the society that we live in has been created without our consent.

The final cut is a classic slice of 1967 Southern Soul courtesy of Louisiana born Organist and Vocalist Toussaint McCall with a tune that is known to Soul fans the world over which never fails to tremble themusicologist’s marrow. Especially poignant and a fitting end not only to this theme but also to the 20 year relationship I have had the pleasure to share.

musicology #395

PostMod/ernist #5

(Fuller Brothers – Stranger At My Door)

One of themusicologist’s most loved slices of 60’s Soul…BIG tune. Released on San Francisco’s GD&L label.

musicology #394

PostMod/ernist #4

(Leon Ware – What’s Your World)

Quality piece of Soul from long time musicologist, arranger, singer and songwriter extraordanaire who’s career stretches back to the late 1950’s. First brought to themusicologist’s attention in 1982 as the Cat responsible for the Soul&Boogie / ‘Jazz-Funk’ classic ‘That’s Why I Came To California’. A BIG tune with London’s hipsters at the time of it’s release. Mr Ware is still going strong and celebrates HALF A CENTURY in what must be one of the most cut throat, back stabbing industrys out there. Today’s slice is borrowed from his excellent debut album released on United Artists in 1972.

musicology #393

PostMod/ernist #3

(Paul Weller – I Didn’t Mean To Hurt You)

Today’s cut is from PostMod/ernist supreme and musicologist inspiration who, for me, always creates and delivers ‘value’ (on top of being one of England’s most cherished talents), none other than Paul John Weller with a piece taken from the 1992 album that, (to his critics), signalled his so called return while to his appreciators it was nothing more than a part of his evolution. No prizes for guessing who this one is dedicated to.

I heard them all talking,
I guess you have too,
Adding flickers to the flame,
How I’ve treated you,
Yes I take the blame,
Let me say, that they don’t know,
The fools don’t know, they really don’t know,
That I really didn’t mean to hurt you,

Oh darling, I didn’t mean to hurt you,
Please believe me when I say,
I never meant to hurt you,
Hey I didn’t mean to hurt you girl,

Whatever they tell you,
There’s more I could say,
Lending motion to the wheel,
How you built me up,
When I was falling down, down,
But who knows you just might find,
Just might find that I’m just your kind,
And I really didn’t mean to hurt you,
Oh darlin’ I didn’t mean to hurt you,
Deep down inside I never meant to hurt you,
Oh child..didn’t mean to hurt you girl,

I was looking there for something,
But some things have no meaning,
While I was looking there for something,
Everything went wrong,
Was looking there for something,
But some things have no meaning
While I was looking there for something,
Everything had gone,

Soon as I looked, I lived,
Soon as I lived, I wondered,
Soon as I looked, I lived,
Soon as I lived, I wondered,

‘Cause they don’t know the fools don’t know,
They really don’t know,
That I didn’t mean to hurt you,

Deep down inside I never meant to hurt you,
Yeah..didn’t mean to hurt you girl,
Please believe me when I say,
Didn’t mean to hurt you,
I didn’t mean to hurt you girl,

I was looking there for something,
But some things have no meaning,
While I was looking there for something,
Somethings have no meaning,
While I was looking there for something,
Some things have no meaning,
While I was looking there for something,
Some things have no meaning,

Soon as I looked, I lived,
Soon as I lived, I wondered,
Soon as I looked, I lived,
Soon as I lived, I wondered

musicology #392

PostMod/ernist #2

(Ronnie Taylor – Without Love)

Slice of early 70’s Deep Soul courtesy of Bill Moss’s Ohio Label CapSoul. Rediscovered and released by the Numero musicologists on their top ranking, solid gold series of lost Soul Sets.

musicology #391

PostMod/ernist #1

(Terry Callier – Keep Your Heart Right)

Transcendental cut from one of the great sets, (Timepeace), courtesy of the genius that is Terry Callier. Dedicated to my two children who have had to endure much in their young lives and today is no exception. Know that no matter what lies ahead, Dad is, and will always be, by your side.

“Can you feel the way the world is turning,
Will we live to love another day,
Is the lesson too late for the learning,
And do our emotions just get in the way,
Ohhh what d’ you say,
If the truth appears,
Will you turn away, turn away, turn away

In brightest day or darkest night
Dont give up the faith and keep your heart right,
Like a mountain stand for eternity,
Ohh your light will shine for the world to see

Keep your heart right,
Keep your heart right,

In a weary world that needs redemption,
Maybe we can learn to love again,
And this time there will be no exemptions,
Only better days ahead for us my friend
And it’s time to begin,
And if the thoughts are true wooohh,
The song never ends, never ends, never ends,

In brightest day or darkest night
Dont give up the faith and keep your heart right,
Like a mountain stand for eternity,
And your light will shine for the world to see,

Keep your heart right,
Keep your heart right,

musicology #390

Modernist #18

(Ernestine Anderson – Keep An Eye On Love)

Cats…apologies for leaving you all ‘hanging’ for this final slice..my excuse is that it has been ‘on me like a rash’ for the last couple of weeks and I haven’t been able to find the time for themusicologist. The Project is taking up most of my time leaving precious little for Mod/ernist musings although the combination of the two has produced the latest addition to the Tribute Tees below. Available in two colours, sizes from Small to XLarge and THREE cuts ‘Dubplate’, ‘Classic’, and ‘Double A’, (American Apparel) see Tribute Tees for further information

Modernist ‘Classic’

Modernist ‘Double A’

Final cut on the Mod/ernist theme..and I’m wrapping it up with this fine piece by extraordinary singer Ernestine Anderson whose long career stretches back to the early 50’s when as a teenager she toured with the, (legendary), Johnny Otis band and then Lionel Hampton’s. Essentially a Jazz singer but I’m sure she could ’sit down’ on any piece of music with effortless ease. Recorded and released in 1963 it won’t come as a surprise to those who know this cut but for those who don’t know it, (as well as them that do),

Released on New York’s Sue Label (another slice of the Juggy Murray pie), and in the UK on the Mod/ernist’s most cherished Red & Yellow label of the same name. Apparently it didn’t get much play at the time, (according to my sources), but for me this piece is ‘well modern’ and If I had been on the wheels of steel back then it would have been one of themusicologist’s choice plays….what’s ironic is the timing of today’s cut. I have honestly tried my best to ‘Keep an Eye’ but all my efforts have been in vain…

LISTEN TUNE…

musicology #389

Modernist #17

(Charlie & Inez Foxx – MockingBird)

Penultimate day of the Mod/ernist theme, (honest guvnuh !!), and then it’s onto musicolological pastures new. Hard for me to leave this theme as I love the music and am really enjoying the dialogue.

Couldn’t complete a mod/ernist theme without including this one from Charlie & Inez Foxx…1963 cut on Juggy Murrays Symbol label. BIG, BIG tune from back in the day.

musicology #388

Modernist #16

(The Orlons – The Wah Watusi)

Have to keep it brief today as I’m up to my eyeballs with various things that demand my full attention making it nigh on impossible to wax lyrical about Mod/ernists, Musicology, Sociology, Philosophy, The Bauhaus and all of the other strands that woven together inform who I am or even ‘we’ are.

So without delay hold this cut. Yet another from the magic year of 1962 by vocal group The Orlons..one of the important things about this cut is that it made #2 in the U.S Pop chart which for an ‘R&B’ vocal group was no mean feat and for me highlights one of the reasons that 1962 was an important year sociologically. Before then the likelyhood is that it would have been re-recorded by a more shall we say marketable vocal group but ‘walls’ were breaking down especially in America and ‘Race’ music was leading the charge.

musicology #387

Modernist #15

(Barbara Lewis – Hello Stranger)

Laszlo Moholy-Nagy, a pioneer typographer, photographer, and designer of the modern movement and a master at the Bauhaus in Weimar, may have come closest to defining the Modernist who in his opinion was;

“an idealist and a realist using the language of the poet and the businessman. He thinks in terms of need and function. He is able to analyze his problems, but his fantasy is boundless.”

“The basis of style is the appropriation and reorganisation by the subject of elements in the objective world which would otherwise determine and constrict him. The Mod/ernist combined previously disparate elements to create himself into a metaphor, the appropriateness of which was apparent only to themselves. Like the surrealists they underestimated the ability of the dominant culture to absorb the subversive image and sustain the impact of the anarchic imagination. The magical transformations of the commodities had been mysterious and were often invisible to the neutral observer and no amount of stylistic incantation could possibly effect the oppresive economic mode by which they had been produced.

Today’s 1963 cut is another Mod/ernist classic but this time courtesy of female vocalist Barbara Lewis..BIG tune on the scene and one of themusicologist’s earliest musical memories. Ranking tune that never fails to hit the spot.

musicology #386

Modernist #14

(The Valentinos – Darling Come Back Home)

Today it’s the turn of youth cult ‘observer’ and prolific writer on the subject Paolo Hewitt with what I think is a worthy insight into Mod/ernist that resonates throughout the whole spectrum from conception right up to today and beyond.

“Modernism has remained Britain’s most enduring youth cult because it’s originators created a blueprint that has proved timeproof. By doing so, they put up a safeguard against the transient nature of fashion. Mod has never withered against the ravages of time because it is so particular. About everything, Detail is all. Mod created, for the very first time, a twenty four hour lifestyle that totally revolved around clothes, music, drugs and attitude. They did not oppose society, they simply ignored it. They created their own simple sign language, devised fashion codes and style statements to develop their very own culture of cool. That they were initially hidden from view did not stop them contributing heavily towards the society that ignored. Their demands for clothes and music laid the foundations for the emergence of these industries in Britain and their style demanded a complete shift in attitude towards menswear. The true Modernist transformed London and made it the centre of ‘Hip’. Their clubs were the best in town, The Dj’s played the best and most exciting records and they danced the best dances.

All this because they had no problem mixing other cultures into their own. They were many things, arrogant, contemptuos, sometimes cruel and peacockis to a ‘man’ but they were also open minded and ambitious. One of their credos was simple; if it’s good, absorb it, wherever it’s from. Consequently Mod musical taste was immaculate an it’s development is entwined with the history of Soul music’s triumphant entry into Britain and when it was time to move on they did so. Which is so perfectly right, so perfectly Modernist”.

Today’s cut is one from themusicologist’s vaults recorded and released in 1962 for Sam Cooke and J.W Alexander’s trailblazing SAR label. Hold this quote from the book ‘Dream Boogie’ about the year in question..

“There was a new kind of pride in the air and a new kind of proclamation. Sam’s ‘natural’ hairstyle, (what became known as the Afro), was finally beginning to catch on and a few months later the Philadelphia Tribune defined ‘Soul’, a term confined for the most part at this point to the downhome instrumental sounds of Jazz musicians such as Bobby Timmons, Horace Silver and Cannonball Adderley as “the word of the hour…a spiritual return  to the sources, an emotional intensity and rhythmis crive that comes from childhood saturation in Negro Gopspel music”. “Oh we all heard it said onetime ‘Wonder Boy’ preacher Soloman Burke, a lifelong Soul Stirrers devotee who had positioned himself somewhere between Sam and Brother Joe May in his own persuasive style, of Sam’s new Soul sound. “Pop audiences heard that yodel…like it was some shiny new thing. But if you knew Sam from Gospel, it was him saying, ‘Hey, it’s me’.

This was in the early months of 1962 at the same time that young working class kids in London were beginning to galvanise a new movement of their own and were instinctively drawn to this fresh sound coming out of America’s big cities. The group in question had a name and sound change from The Womack Brothers to the Valentino’s and it was their preceeding cut ‘Looking For A Love’ that provided them with their first breakthrough but for me this one takes some beating.

musicology #385

Modernist #13

(Gene Chandler – You Threw A Lucky Punch)

After two days of rest themusicologist is coming down the home straight for the Mod/ernist theme this week so I’ve decided to fly by the seat of my pants , (so to speak), and lay down some cuts that might not have been played in the critical years, (1961-1963), but I’m sure would have been if known about. As the theme has unfolded and due in part to the dialogue I feel like I am tuning in to the pace of the music that moved the crowd. As Tony Blue said ‘Shout & Shimmy’ was too fast whereas all the commentators have, (independantly), identified some of the key sounds and what has emerged is that they are all of a certain tempo. No surprise really as my own experience of the various scenes that I have been privliged to have been involved in over the years have all marched to one special beat, (whatever that may be), seems like the ‘biggest’ cuts of the theme so far are all what I would call Mid Tempo…or to put it another way…the ‘Perfect Beat’. Not too fast or too slow but just the right pace to make your feet move without forcing them to. The Cats know the beat of which I speak….the one that would ‘raise the dead’ and compel them to throw whatever ’shapes’ were in their bones. Of course there are some whose sense of timing and natural rhythm is a joy to behold but even their best is brought out by the same beat that seems to catch all of our dancing feet and moves us onto the floor. Today’s cut is, (for me), in that groove and is also the original to the Mary Wells cut ‘You Beat Me To The Punch’, (musicology #376), sung by none other than the ‘Duke Of Earl’ himself, Gene Chandler whose name, (or if not name then certainly his musical contribution), should be known to Mod/ernists everywhere. Recorded for and released on the Vee Jay label in the magic year 1962.

musicology #384

Modernist #12

(The Drifters – Up On The Roof)

Modernist / Mod / Mods..for me the label is not the issue it’s the philosophy..the ideology that’s important and how it evolved to influence almost every ‘trend’ that followed. That’s what fascinates me. The narrative of the early sixties is well documented from almost every angle other than the ’street’ perspective in part because the voice of the people is not one that is often heard. As Johnny Spencer said ‘by 1965 the essence and meaning was gutted from the original movement because it was a genuine threat to the staus quo’. For sure the consumer revolution had been managed as far back as the early part of the 20th Century but ‘Mod/ernist’ was never part of the equation because it came up from the street where the establishment had no control or initial interest other than in how to ‘capitalize’.

By the time I was born in 1968 the control was being fought for and for a moment the chance was there to bring down the system but by then the momentum was with the bourgouise intellectuals who when it came down to it didn’t realise that in the words of Martin Luther King there would be ‘No victory without sacrifice’. As the 70’s rolled on everything had been commoditized and the moment passed, (much to the relief of the establishment), who then went on, (in the 80’s), to destroy the working class by giving us ’something’ to lose in the way of our own property which, of course, wasn’t ours anyway as it belonged to the banks that had sold us into debt slavery.

Interpret my musings how you will but I know how it was to live through these times with a narrative of Mod/ernist as the guiding principle which is after all an Attitude rather than merely a fashion trend. In my opinion part of why the lifestyle of Mod/ernist has been, (and continues to be), so enduring is the underlying principle at the heart of it which is to follow your own path and, (as much as you can), decide for yourself what to do, wear, listen to, watch, read, learn etc.

Today’s 1962 cut by the Drifters is so well known that it is easy to dismiss it as nothing more than pop but if you listen to the words it speaks the language of pure Mod/ernist, the cats who met, walked, talked and lived together metaphorically

“Up On The Roof..way up where the air was fresh and sweet and away from the hustling crowd and all the Rat Race noise down below…….right smack dab in the middle of town..”

Listen Tune…

musicology #383

Modernist #11

(Chris Kenner – Land Of 1000 Dances)

Sliding out of the Jamaican selection into one from New Orleans featuring a Cat who is perhaps best known to Mod/ernists for his 1961 cut ‘I Like It Like That’.

Popularised by Wilson Pickett in 1966 this, the 1963 original, speaks volumes for what distinquished the Mod/ernist from the Mods. Hold this quote from an ‘information panel’ on the subject by musicologist Johnny Spencer, (he of the magnificent project)

“By 1964 the Mods had arrived and it was all over for the Modernists, the faces that had piloted this new paradigm of liberty for British youth, a liberation that was carried in the mind from generation to generation. Mods, generally the younger siblings of the Modernists, could not claim the originality of their predecessors, although they shared many of their preferences, smart clothes, Soul music etc, they came to a ready made situation, the territory had been won, what they chose to do was enjoy it. They were more casual and this led to a lack of vigilance, a dropping of the guard, and soon the media and corporate interests were in there, bleeding, filleting and gutting this new market and threat to the status quo. Masses of newer converts, ‘tickets’, were soon sold the concept of Mod: an outfit, pop idols and an attitude, it was small wonder that by 1965 the entire movement was dead, and with the age of the ‘Skinhead’, who also shared a subtle common bond with an emerging, oppressed black culture, the first real and enduring anti-fashion movement started”.

Nailed on..

Today’s cut is based on a spiritual entitled ‘Children Go Where I Send You’, further evidence of the debt owed to the Gospel tradition by the new music emerging out of the urban experience of big cities such as New Orleans, Chicago, New York, Detroit and Memphis where migration had a major impact. Recorded for and released on the fabulous Minit label which had already scored with Mod/ernists by releasing cuts like the above mentioned ‘I Like It Like That’, Ernie K Doe’s ‘Mother In Law’ and Benny Spellman’s ‘Fortune Teller’, (To name but Three)..written by Chris Kenner and Fats Domino.

musicology #382

Modernist #10

(Derrick & Patsy – Housewife’s Choice)

Sticking with the Jamaican selection with a next piece that was spun back in the day. The quote below from a cat named Ian Hebditch confirms conversations about them days that I have had with a good friend of mine’s Dad, (hold this one Don), who is Jamaican, born in 1947 and was there on the London scene at the time in question.

“There was a great degree of respect between the Mods and the West Indian Community. I personally found that. Within the Mod movement I don’t recollect any element of racism at all and by racism I mean anti-black feeling”.

Many a reason for this but one I would like to add is that in my experience Jamaicans have much of the mod/ernist attitude. Confident, Proud, Defiant, Dynamic are all attributes I have come across in my friends and their familys over the years and often have I witnessed this being interpreted as them having ‘a chip on their shoulder’ a misinterpretation that lingers on to this day.

Today’s cut is a 1962 slice from early Ska proponent Derrick Morgan in combination with a female singer by the name of Patsy Todd and I’ll leave it to Johnny Spencer to give you the details of the cut, a picture of the label and an informative piece of writing on it here on his magnificent project

musicology #381

Modernist #9

(Folks Brothers – Oh Carolina)

Today I’m rolling with another quote from early Mod/ernist Patrick Uden..who as far as I’m concerned has much of value to say on the subject.

“You have no idea how dreary it was. It was really dreary. And then what happened was that the first group of 15 year olds born after the war emerged into a world where they had some money to spend. And at the same time the British economy was being turned around, (other countries had been more fortunate following the war), It was going from what’s called a ‘command economy’ to a ‘demand economy’. This meant that things started to appear that people could buy and there were certainly imports starting to come in. Some of them were ‘grey imports like Levi’s coming through the PX stores in American bases and moving into the black market via, you know, the East End markets and that sort of thing. So very slowly, and then quite rapidly, this purchasing power began to affect what was available. And this blossomed into a kind of early spring, if you like. I’m talking now around 1961/2, and that’s when it started, although you can trace the movement, in terms of things like music and so on, back into the 50’swith the interest in Modern Jazz and those sorts of things. But popular Modernism began to emerge around 1961 and I think that’s the real source of it.”

Reflecting on this and other snippets of knowledge from those who were there at the time crystalises in my mind that the most important and enduring aspect of the nameless thing moved out of the shadows in late 1961 and flowered for almost three years before being rinsed by the establishment for many years to come. All the ‘movements’ that I have had the pleasure to be involved in, (Casual/Rare Groove and ‘House’), lasted for the same duration so I conclude that it’s the nature of such things that the vanguard move on to pastures new once the herd pitches in. Maybe that sounds, and is, elitist but I make no excuse for it. The Elite govern and in some cases dictate all aspects of society and in such matters as trends this is no different. I’m not a supporter of Elitism but in my mind there’s no denying that it doesn’t have the power to exert strong influence on the shifting sands change.

Today’s cut, (courtesy of my uncle), is one that was on the vanguard of the change from what’s known as ‘Shuffle’ to ‘Ska’ a piece produced by ‘The Voice Of The People’…Cecil Bustamante Campbell a.k.a Prince Buster who is as responsible as anyone for Jamaican music shaking off it’s colonial/imperial heritage to stand on it’s own as an authentic language for ’sufferers’ everywhere. Recorded, (according to Steve Barrow who has it on good authority from Owen Gray..thanks Steve), probably late 1961 but released on BlueBeat in the UK in 1962 if memory serves me right. Not only the year of Jamaican Independence but also the year that Mod arrived. Unique in that it was the first recording to feature Rasta ambassador Count Ossie. DEFINATELY played on the scene back in the day on release making it one of the first Jamaican crossover records to have a universal appeal.

musicology #380

Modernist #8

(James Brown – Shout & Shimmy)

First up I want to thank The Countess, Steve Barrow and Tony Blue for their quality input on this theme so far. One of the most valuable things that has emerged as a result, (and cemented my belief), is the key year which seems for all three of them, (independently), to be 1962?. As a student in the history of music, society and the cultures that emerged on the strength of it the dialogue has gone a long way to nailing what I have thought for a while.

As previously mentioned/discussed here themusicologist ‘files’ music on the year it was released and over the years I have come to a conclusion that 1962 was the pivotal year as far as Mod and Soul were concerned..not Modernist or MODS they came before and after and as a result of this theme I’m sure of that now so next week I’ll be laying down a 1962 Selection to help ground my theory in musical evidence. Not just the music of America by the way as Jamaica’s independence was ‘granted’ in that year too so obviously the winds of change were not a Local phenomenon. I could go on but I’ll save it for next week.

Today’s cut is from another Mod/ernist legend, The hardest working man in Show Business, (but certainly not the Godfather of Soul), none other than James Brown and the foundation stones on which he built his well deserved reputation…the Famous Flames with a piece from, you guessed it 1962. I don’t know for sure because I wasn’t there but I’m assuming this would have been played in and around the Capital during the summer of that year?

A 45 on the King label

musicology #379

modernist #7

(Jackie Wilson – Lonely Teardrops)

Part of the method of inquiry adopted here on this theme is to get a better idea of, (as TonyBlue said in the comments), what, who, where, why and how the nameless thing evolved from the depths of the young Urbanite experience and as far as I am concerned, (and have already stated), the music is the key to unlocking the period. Not only the music of America but also from the island of Jamaica. One conclusion is that in each of the places of note there was a genuine sense of shaking off the chains of Imperial/colonialism and the Slave/Master mentality that had ruled around the world for longer than living memory. Not just in terms of skin colour but also the ‘Class’ system which in England at least was deeply entrenched like nowhere else in the world.

A Cat named Patrick Uden makes a great point on the nameless thing, (we’ll be hearing more from him later), and it’s this

“To be a Mod/ernist you had to come from a culture where Modernism didn’t exist and therefore that made you different and England at that time was ancient it…was falling to pieces. I mean it was awful. You have no idea how miserable and Grey Britain was. The first Habitat shop opened, I think in 1962 in Chelsea and was a complete revelation”

For me the point here is that all over Europe and America the ‘Modern’ had been part of the language since the early part of the century from music in America through to architecture and design in Europe so under those conditions there was nowhere else for a youth movement to be different other than England and especially London until a group of young-bloods emerged to drag Britain kicking and screaming into ‘today’ which according to a Philosopher who I rate highly is the stomping ‘ground’ of the proletariat, one of three ‘classes’ he defines. The other two being the Arisocrat, (who lives in and on the past) and the Bourgoise who looks to and lives in tomorrow. A great observation which for me is spot on.

Today’s slice is courtesy of a member of the elite..Jackie Wilson who somehow managed to shine even under the conditions forced on him by his ‘Master’ Nat Tarnapol. It’s true Jackie was humiliated by recording some awful p(o)op between but as we all know cream rises to the very top of the bottle and in matters musical Jackie delivered some of the best Soul ever made. Hold this 1958 cut to hear what I mean…ignore the terrible backing on this cut and listen to Jackie soar whilst standing on the vanguard of the transition from Rock & Roll into Soul. Again I would just like to add that the cuts upto and including this one are not in any way ‘Rare’ but in the context of ‘Mod/ernist’ there’s no denying that when released they were as fresh as spring daisys.

musicology #378

Modernist #6

(The Impressions – Say It’s Alright)

I was going to end this theme tomorrow but on reflection there’s too much music yet to be featured and such is the quality of the dialogue from the commentators I’m letting it run for another week.

A large part of the debate has been the use of the word ‘Modernist’ and whether it was in fact used by anyone at the time? with that in mind hold this quote from the book ‘Soul Stylists’ compiled by Paolo Hewitt which is full of anectodes from Cats who claim, (and I see no reason to believe they are lying), to have participated in the ‘nameless thing’ of the early 1960’s.

“The bands from our youth club in Hastings were dressed like The Shadows on the cover of their first album; very neat red jackets, dark ties and white shirts. Then I spotted these strangely dressed guys from another school. They had short Italian haircuts and they wore bum freezer jackets with cut away collars and half belts on the back, narrow ties, tapered trousers with slits up the sides and side laced winklepickers. I went up to one of them and asked;
“Why are you dressed like that?” and he spoke the immortal words;
“Because I’m a Modernist”

The cat’s name is Lloyd Johnson and no date is mentioned but from the sounds of the ‘clobber’ it’s likely to have been before 1964

From themusicologist’s perspective what is beyond doubt are the release dates of the music contained on the theme which is obviously, (in almost all cases), not subjective and delivers insight into the most important aspect of any ’scene’..the music and today’s cut is, in my mind, one of the greatest pieces of mod/ernist musicology of the period from quite possibly the driving force behind the winds of change none other than Curtis Mayfield who has featured heavily on themusiciologist over the last few years but also in my life since babe in arms.

hold this next quote on today’s cut from a book on the legend by author Peter Burns.

“Recorded in August 1963 the horn arrangement, a suggestion of Mayfield’s, took it’s inspiration from a Bobby Bland single but the idea for the song itself had come from a conversation between Curtis and Fred, (Cash, member of ‘the holy trinity’), one night when the Impressions were on tour in Nashville. Mayfield was effusively expounding some ideas and future plans and Cash was interjecting from time to time and concurred with “Right” and “Well that’s allright”, suddenly Curtis had a hook line ‘Say It’s Alright’. They cut this historic track at Universal studios in Chicago just two months after Curtis’s hit production of Major Lance’s ‘The Monkey Time’ which was still riding high on the charts. All the vital elements came together and this modern classic brought The Impressions back even stronger than before”.

Released on ABC-Paramount and arranged by Johnny Pate

“Say It’s alright, (it’s alright), say it’s alright, (it’s alright),
It’s alright have a good time cause it’s alright wooohh it’s alright,
We’re gonna move it slow, when lights are low,
When you move it slow it sounds like a moan and it’s alright wooohh it’s alright
Now listen to the beat, trying to catch your feet,
You got Soul and everybody know that it’s alright wooohhh it’s alright,

When you wake up early in the morning feeling sad like so many of us do,
Hum a little Soul make life your goal and surely something’s gotta come to you,
And say it’s alright, say it’s alright…it’s alright have a good time cause it’s alright woohhh it’s alright,
Now everybody clap your hands give yourself a chance,
You got Soul and everybody know that it’s alright wooohh it’s alright,

Some day I’ll find me a woman who will love and treat me real nice,
Then my roams? gotta go and my love she will know from morning noon and night,
And she’s gotta say it’s alright..say it’s alright,
It’s alright have a good time cause it’s alright woohhh it’s alright,
Now everybody clap your hands, now give yourself a chance…you got Soul now baby..”

musicology #377

Modernist #5

(Ray Charles – What I’d Say)

Received this on an email last night and thought this was probably the best place to share it rather than on the Comments. Why? because It’s another piece of critical writing straight from the horses mouth so to speak and in keeping with the authentic nature of this theme deserves a place on the front page. There’s some excellent dialogue taking place in the comments so it’s a small dilemma as to whether to put it there but, (in the words of Rupie Edwards on ‘Census Taker’) “time is short and money a roll on this ‘ting”, (not really money but certainly time !!) anyway on with the debate..

“Purely out of academic interest I’ll start by asking a question. It’s a simple, honest, and open question that I’ve not only (and often) asked myself, it’s one I’ve left hanging out there since first stumbling across it for any other interested party or person to answer. To date no-one’s properly answered it!

The question is this. Do you or did you know a Modernist?

Well, put simply, I didn’t, or if I did then said Modernist didn’t make it clear to me (which is the same thing). Thus, and as no-one else responded to the question, I’m left to ponder the very existence of this mythical harbinger/precursor to “Mod”.

Who was he? Where was he? When was he? What was he into? How many “hims” were there? (I’ll stick with the “he” if that’s OK ladies? Purely as a literary tool, nothing else)

First. Who Was He?
According to the little what’s known he was well educated (grammer school at the very least) and he wasn’t working or upper-class. So does this establish him as “middle-class” then? Somehow I doubt it. The middle-classes were, well, the “middle” class: safe, plodding, grey, they were rocking no boats with “attitude”, they were quite happy living the “you’ve never had it so good” life in their “Little Boxes”. So if Modernist wasn’t upper, middle or lower (working?) class who was he? From which social category did this legend rise from? It can only be from the post-war “striving” class i.e. upper-lower/lower-middle class families (mainly second generation immigrants and of those most likely Jewish or Italian… now there’s a religious conundrum if ever there was one! ).
As we know he was well educated that means he was over 16 and under 21. Why? Cutting a long explanation short, bright boys like him stayed on at school to the 6th. form and he wasn’t conscripted into the army.

Again, according to what little is known, he was a very sharp dresser, neurotically so! Clothes were more important to him than money or sex. This guy was a real true dandy! The clothes he wore were either designed (sometimes made) by him or his VERY close circle of fellow Modernists or rare and expensive imports. Once worn or better said shown-off they were disposed of fast; past on/over to younger brothers or the such like. His clothes were SHARP to say the least. Every detail, from style of shirt collar down to the cloth cover buttons on trousers (yes, trousers) was meticulously thought out. What he wore no-one else wore (if they did he – and the other face – was a finished article in the circle). Styles changed at the speed of light. The pace of it all took it’s toll. Going out looking like he did was all about being SEEN; being looked at and being copied. It goes without saying that aggro was avoided like the plague.

To summerize… He Was.
Aged 17-19. Good looking, slim build. Clever but no academic (good head on his shoulders). Not short of a few bob (son of a local businessman perhaps). Street-wise but not tough (a lover not a fighter). An individualist (with those clothes he had no choice). A narcissist…Next installment… tomorrow.”

Today’s cut is from a legend who needs no Introduction with a tune that needs none either. The great Ray Charles Robinson with a groundbreaking piece of modernist musicology that as far as I’m concerned defines the word and essence of the elusive ‘Modernist’ in a matter of minutes…

musicology #376

Modernist #4

(Mary Wells – You Beat Me To The Punch)

As the the theme moves into the second half I would just like to add that as far as the music is concerned I am resisting the urge top throw down obscure cuts from the period in question purely because the chances of them being played back in the day were almost non existent. The fact is that the rare pieces that have come to light over the last 20 years would NOT have been available to the cats who were exposing the music of America and even Jamaica in and around London’s clubs and venues. Not even Guy Stevens or Sammy Samwell would have had access to pieces on such labels as One-Derful, Butane, Witch, Cortland, Sar and the like so as much as I would LOVE to expose them here It’s not my intention to impress anyone with the lesser known cuts rather it’s to lay down pieces that were actually played in places like The ‘Ly, Scene, Disc, Flamingo, Disc, Tottenham Royal, Streatham Locarno etc so if that’s a dissapointment to some then, (in the words of Lord Creator), ‘Such Is Life’…..

With that in mind today’s slice of the Modernist pie is another classic from the Tamla Motown stable that shook up some of the London venues mentioned above. A response to Gene Chandler’s majestic ‘You Threw A Lucky Punch’ from yet another ‘Mod/ernist’ Icon Mary Wells who went on to feature heavily between 1962-1964 and along with The Marvelettes blazed the trail for the inclusion of the ladies in the male dominated world of Modernist musicology.

musicology #375

Modernist #3

(Major Lance – The Monkey Time)

Following yesterday’s dynamic duo of, (an extract from), Johnny Spencer’s excellent ‘Mod/ernist’ critique combined with the equally inspirational Miracles cut I would like to continue by quoting from a piece by Dick Hebdige who wrote a paper, (presumably for a thesis), in 1974 called ‘Style Of The Mods’. The majority of it, (as the title suggests), involves ‘Mods’ which is a different subject but obviously connected.

“All youth styles are threatened with the eventual neutralisation of any oppositional meaning. Mods were particularly susceptible to this combination of limited acceptance and full blooded commercial exploitation. According to George Melly the progenitors of this style appear to have been a group of working class dandies, possibly descended from the devotees of the Italianate style known through the rag trade world as ‘modern’ who were dedicated to clothes and lived in London. Only gradually and with popularisation did this group accumulate other distinctive identity symbols, (The Scooter, Pills and music). By 1963, the all night R&B clubs held this group firmly to Soho and Central London”.

In my personal experience the ‘Modernist’ of the early 1960’s steadfastedly refuses to align themselves with the ‘Mod’ movement that followed even though between 1962-1965, they shared many of the same clubs, dancehalls, venues and of course music. The ‘Modernist’ was not all all interested in imitation and therefore the music had to be Authentic. Be it Modern Jazz, Early Soul, Rhythm & Blues, Blues or the sounds of Jamaica that were beginning to be heard in and around London’s clubs at the time so NO English band imitating R&B would ever have been taken seriously. An exception may have been Georgie Fame’s Blue Fames who were BIG downstairs at the Flamingo but NEVER groups like The Animals, The Who, The Stones, Small Faces etc..they would be considered MOD bands.

Today’s slice of modernist musicology is courtesy of Major Lance whose vocal sound helped revitalise the sound of Black America. Mainly it must be said down to one man…Curtis Mayfield who in 1963 was at the forefront of the OKeh label’s re-emergance as a serious force to be reckoned with. This cut I know for a fact was a firm favourite downstairs at THE club for hip cats of the time ‘The New Scene’ , (located in Ham Yard Soho). Arranged by Johnny Pate and produced by Carl Davis

Hold this quote on the cut from Robert Pruter’s definitive book on the subject ‘Chicago Soul’.

“On May 8th 1963, Lance went into the studio again and made what has to be considered recording history. He did three songs; ‘Monkey Time’, ‘Please Don’t Say No More’ and ‘Mama Didn’t Know’, the latter an answer to Curtis Mayfield’s Jan Bradley hit, (or the much more obscure Fascinations cut), from earlier in the year ‘Mama Didn’t Lie’. Monkey time was paired with ‘Mama Didn’t Know’ for Lance’s second release on OKeh, and the record became a monster hit during the summer and early fall, eventually selling more than a million copies. ‘Monkey Time’, featuring the classic brassy sound that distinguished later OKeh hits, launched the OKeh label and popularized a dance of the same name.”

musicology #374

Modernist #2

(The Miracles – Way Over There)

Today I would like to take the opportunity and quote from a top ranking piece of critique on the subject of Modernist by a Cat named Johnny Spencer who lived through as well as observed the changing face of London during the early Sixties.

“In London during the early sixties as in other parts of the British Isles a tiny minority of young, (mostly working class), boys and girls known only to themselves as ‘Modernists’ were walking, talking, dressing and dancing to a different song. These youngsters who were conceived in the heady and delirious optimism that marked the end of WW II had passed onto them in their genes a very real sense of supremecy, invincibility and confidence, a confidence that was fuelled and underpinned by the meta narrative of the western world, the concept of modernity, then at it’s zenith. By the early 1960’s the social fabric of cities in England had changed radically from the period before 1945, the war had dealt attitudes of authority and deference a mortal blow, conscription had ended, and the young en masse for the first time found themselves with a realistic disposable income. With history on their side this generation of independently minded teenagers felt able to think and act for themselves, not in a quasi-intellectual way as the ‘beatnicks’ had done, or to have to rebel, like the ‘Teddy Boys’, but as a truly autonomous entity.”

The musicology is courtesy of modernist icons ‘The Miracles’, (Smokey Robinson, Bobby Rogers, Marv Tarplin, Ronald White and Claudette Rogers), whose unique and distinctive sound epitomised the emerging sound that became known as Soul. The cut that was BIG on the London scene was in fact the second version, (with strings), but in the essence of ‘Modernist’ I had to lay this, (regional) one, (without strings), on you. Recorded for and released in 1960 on Motown.

musicology #373

Modernist #1

(Bobby Bland – Turn On Your Lovelight)

‘Modernist’ was a word used by some on the London scene in the early 1960’s to describe the ‘new breed’ of young bloods that had emerged out of the post war doldrums in Great Britain and had begun to throw off the shackles imposed on them by the establishment to do their own thing. They weren’t catered for or to so had to create a new set of ‘rules’, (clothes, music and attitude), and as a predominantly youth movement were unknown and unrecognizable, (this was when adolescents/teenagers were not even seen let alone heard), to all but those in the know. The influences of this movement were varied, (and will be gone into in greater detail as the theme unfolds), but as is often the case, (in England anyway), they were fused together by a creative vanguard to bear Englands first and most important youth movement.

Today’s cut is courtesy of a Modernist icon who has featured a few times on themusicologist and whose output was as important as any single artist’s in defining the new genre that became known as Soul. Born in 1930 Robert Calvin Bland begun his career in Memphis in the early 50’s associating with a collective known as the Beale Streeters but it wasn’t until ,1958 (at the dawn of Soul), that his distinctive vocal style begun to make Modernists sit up and take notice. Up until then he was a Blues singer but in ‘58 he begun to set himself apart from categorisation with a string of monumental cuts of the highest order. This one is a classic from 1961 the year that his landmark album Two Steps From The Blues hit the streets. Many artists have cited Bobby as a major influence including original Modernist David Bowie who is reported to have said that the album changed his life.

Of note is that Bowie was born in 1947 making him 14 in 1961 and ripe for being at the forefront of a youth movement that peaked in London in 1964, (not sure about anywhere else as I have no background knowledge), and fell soon after when the media packaged it as ‘Mod’. Just like to add that In no way am I disregarding what came after ‘Modernist’, (especially not as far as music is concerned), but for many who were on The vanguard and had been at it since 1961 the infamous Bank Holiday gatherings signalled the end of the movement they cherished. I know that there will be many who disagree with me about the dates and events and I’m sure they can support their views and present them in their own way but certain dates such as ‘The Scene’ opening in August 1963 can not be disputed neither can the release dates of the musicology that supported and drove the movement as I intend to show. Finally I would also like to add that those born before 1946 and after 1948 must have been on the fringes purely as a result of their age and not their appreciation of either the music, attitude or the lifestyle in question.

All that’s left to say is that this one is for all the Lyceum, Town Hall, Tottenham Royal and Streatham Locarno Cats whose memories of being there can never be replaced.

musicology #372

SuchIsLife #6

(Bill Withers – World Keeps On Going Around)

Final slice of the SuchIsLife theme…which for me have been less demanding mentally than the two that preceeded it so I’m almost tempted to stick with it but, there’s a subject that I would like to share that is not only close to my heart but has informed the I since birth and that subject is ‘Modernist’. I’ll say no more about it until tomorrow when it kicks off.

Back to today though and what more authentic way to finish than with this cut from a Cat whose influence on themusicologist stretches way back to the early seventies when as a toddler he was often to be heard, (along with Bobby Womack, Curtis Mayfield, Marvin Gaye and Stevie Wonder), drifting out of the speakers. Especially this 1973 album ‘Live At Carniege Hall’ which has been etched into my consciousness from the age of 4. Exceptional album from an exceptional Lyricist, Singer, Social Commentator and Performer. Still moves me and always will..every slice a winner. Not often that themusicologist makes recommendations but if you get the chance buy this album.

“Looking at the pictures of the places that he’s been,
Old man told me what he found,
Said it don’t make no difference whether you’re out or whether you’re in,
Know the world keeps going round and round,
Going round and round,

Said he looked at the places, and talk to the faces that he seen,
Then he turned the pictures upside down,
Said it don’t make no difference how many places that you been,
Said the world keeps going round and round,
Going round and around,

Then  he put up the pictures shook his head and with a grin,
He talked about his ups and downs,
Said it don’t make no difference how many fixes you been in,
Know the world keeps going round and round,
Going round and around,

Betty Joe Johnson, don’t you pull no Daisy Mae on me,
Daisy Mae she did me dirty,
so I had to leave her for Anna Lee,
Anna Lee she had big street feet,
she spends her nights out on the road,
So I started seeing Sally Jackson,
I had to let old Anna Lee go,
Sally Jackson was a player,
had another man along with me,
So I just took me one step backwards,
checked up on old Anna Lee,
Anna Lee still had them street feet,
Like to dance all night and sleep all day,
So I just took one more step backwards,
checked up on old Daisy Mae,
Daisy Mae is still doing dirty,
so I tell you what I had to do,
I had to go just one step further, Betty Joe Johnson
And that’s how I know you,

Then he looked at the places, talk to the faces in life that he had seen
Then he turned the pictures upside down,
Said it don’t make no difference how many places that you been,
Said the world keeps a going round and round,
Going round and round”

musicology #371

SuchIsLife #5

(Jackie Wilson – Love Is Funny That Way)

Day five..bit later than intended but Such Is Life..

Today’s cut is from one of the greatest singers to have ever recorded….Jack Leroy Wilson Jr known simply as ‘Jackie’ who ranks right up there with the best. Jackie, Sam Cooke and Curtis Mayfield were instrumental in fusing Rhythm & Blues, Gospel and ‘Popular’ music into what became known as Soul. Of course there were others who deserve recognition but without these three it wouldn’t be the same.

Jackie’s recording career begun in 1951 but really begun to take off after replacing Clyde McPhatter, (who left to form the Drifters),  in Billy Ward’s Dominoes. In 1957 Jackie, (possibly inspired by his greatest ‘rival’ Sam Cooke), went Solo and begun his unfortunate lifelong ‘bondage’ with ‘manager’ Nat Tarnapol who is reported to be the one most responsible for robbing Jackie blind for his whole career. But the least said about him the better. Jackie racked up many hits and was quite possibly the world’s greatest performer whose stage shows are the stuff of legend. He could dance and almost sing anyone under the table but as so often seems the case died broke due to his manager’s ruthless greed and exploitation. This one from 1971, (no idea who is sharing the mic with him), was recorded and released on the Brunswick label.

Listen Tune

musicology #370

SuchIsLife #4

(Howlin’ Wolf – How Many More Years)

Missed yesterday’s date with themusicologist but returning early this morning with a wicked slice of 1951 Rhythm & Blues from the magnificent Chester Burnett, (A.K.A Howlin’ Wolf), and band featuring none other than Ike Turner on Piano, Willie Steele on drums and Wille Johnson on guitar with the Wolf blowing up a storm on Harmonica. (Produced By Sam Phillips)

musicology #369

SuchIsLife #3

(The Soul Stirrers – Looking Back)

Slipping and sliding from Paul Weller into a slice from the greatest Gospel, (and possibly vocal), group to have ever stepped up to the M.I.C, into the studio or onto the stage, the Soul Stirrers with a fine piece on Sam Cooke and J.W Alexander’s groundbreaking Sar label. I think it’s the majestic Jimmy Outer singing lead on this one backed by Paul Foster, Richard Gibbs, Leroy Crume and J.J Farley. Recorded and released in 1964.

musicology #368

SuchIsLife #2

(Paul Weller – Foot Of The Mountain)

Sliding out of the Creator selection into this one from the most influential English musicologist ever to grace my life, none other than Mr Paul Weller whose guidance has been an important part of my learning curve from 1977 onwards. Having featured him consistently over the last two years there’s not much more to add so I’ll just leave it to the man and his music to speak about what for me is one of life’s greatest mysterys…Women.

“Like a dream on the ocean,
Always drifting away,
And I can’t catch up,
She just slips away…on the tide,

Sometimes a great notion,
Can lead you astray,
So weak to devotion,
So strong to desire,

Baby, baby, baby won’t you let me ride,
Take me off on your sail boat ride,
Come on now angels are on your side,
But she slips away oh and never stays,

Like mercury gliding,
A silver teardrop that falls,
And I can’t hold on,
Through my fingers she’s gone,

At the foot of the mountain,
Such a long way to climb,
How will I ever get up there,
But I know I must try,

Baby, baby, baby won’t you let me ride,
Take me off on your sail boat ride,
Come on now angels, are on your side,
But she slips away oh and never stays,

Like a dream on the ocean,
Always drifting away,
And I can’t catch up,
She just skips away..on the tide,
Oh slips away…on the tide,
Oh slips away as she glides “

musicology #367

SuchIsLife #1

(Lord Creator – Such Is Life)

As promised, new theme kicks off today concerning musical wisdom as laid down by various Cats from across the musical spectrum, inspired by today’s slice of incredible musicology from Trinidadian singer, songwriter and sufferer,Kentrick Patrick, (A.K.A Lord Creator), who penned this unbelievable 1968 marrow trembler while down on his luck living in a tree!! in Jamaica having found himself ‘on the floor’ after a career stretching back to the dawn of Ska recording for the likes of Sir Coxsone and more prominently the producer Vincent ‘Randy’ Chin. In answer to his downturn in fortunes..Creator had this pearl of wisdom to say

“That is in my days of suffereation and alcohol, when I had nothing, when I could not pay rent, when I could not find food for me and my children to eat. While sleeping up in a plum tree with a pregnant woman, I put together a melody, and that is how I recorded the song called, ‘Such Is Life’. It was not a hit, it did not get much airplay, but it meant a lot to me”

For me this cut sums up the essence of music’s incredible power to communicate emotions..Respect is due to Alan from musical storeroom Honest Jon’s who brought me in on this one a few weeks back after a dialogue concerning music and the ‘Project’. I am eternally greatful..

“One day you got plenty money yeah…such is life, such is life,
Sometimes you ain’t got a penny no, such is life, such is life…..

musicology #366

Ideology&Philosophy #7

(Randy Crawford – Everything Must Change)

Taking a break from the Philosophy theme next week. To be honest it’s consuming too much of my time, is a bit too demanding and is affecting the consistency on themusicologist. Maybe I’ll come back to it at a later date? Maybe…But until then hold this final piece of dialectic concerning another stepping stone along the way, the Philosopher Jean Jaques Rousseau whose studies and subsequent observations on, (among other things), Society and Education being dominant forces controlling our lives are worth their weight in metaphorical Gold and well worth investing time in learning from.

The musicology is from the Majestic Randy Crawford….Listen Tune.

musicology #365

Ideology&Philosophy #6

(Luciano – Know Yourself)

Following on from yesterday’s introduction to the ‘Enlightenment’ with a four minute critique of one of it’s most revered figures, Immanuel Kant whose contribution to the ideology of ‘Reason’ is as important as Plato’s was to ‘Dialogue’. The key word today is Metaphysics…

The musical wisdom is one from themusicologist’s top ten. Wicked slice of late 20th Century ’steppers’ from the prophet Luciano on the Chant Out Label.

“The greatest knowledge is the knowledge of god and self, It surpasses material wealth,
Seek ye first wisdom ’cause that’s your health and strength,
It will preserve your soul until the end,
Consider yourself oh important my child..be positive and live upright,
Before you think about taking one’s life…think twice..”

musicology #364

Ideology&Philosophy #5

(The Wailers – The World Is Changing)

Out of the Tao and into the next phase in the wanderings with a slice of spoken word from a next facilitator of learning on the journey to the self. But as we move out of Classical Antiquity and into the modern world I would just like to add that a few minutes from each of these Cats is nowhere near enough to do such an important subject justice but doors are made to be opened and Philosophy along with music is, for me, a door to knowledge that has resonated loud and clear on the quest for ‘meaning’.

The music is yet another slice courtesy of The Wailers but this time it’s a later cut, (1968), on Danny Sim’s JAD label featuring the hard hitting Peter Tosh on lead with Bob Marley and Bunny Wailer harmonising.

musicology #363

Ideology&Philosophy #4

(Sun – Conscience)

Out of the Greeks and into the next stage of themusicologist’s ‘development’ with some words of Wisdom from an English Philosopher, Alan Watts. The man who helped me make some kind of sense out of an ideology, (The Tao), that has resonated with me since first coming into contact with it during some of my darkest days.

The music is A QUALITY slice of mid Seventies funk and boogie from a little known group out of Dayton Ohio. Who along with Slave, Faze-O and Zapp, (three of the most respected boogie outfits), put the funk back into ‘Disco’. Recorded and released in 1977 on the Capitol label which for a short period had it’s finger well and truly on the pulse.

musicology #362

Ideology&Philosophy #3

(Bobby Bland – If You Don’t Share Your Love With Me)

Final slice of the Greek Philosophy pie features the other of the three most well known Ideas men of Greek antiquity..Aristotle. A name known on some parts of London’s mean streets for his contribution to Double back Rhyming Slang..Aristotle rhymes with Bottle which leads to ‘Bottle and Glass’ which rhymes/translates as Arse !! for example
“did you check the bottle on that Richard?!!”

Anyway back to the Greeks..Aristotle is quite possibly the prime mover in today’s Western Ideology in part for his clear definition of Politricks. Any major Politician today is schooled in Aristotelian Ideology, (it goes with the territory), why? because it’s much easier to maintain the system. That way the ‘blame’ can always be laid at someone elses door. It’s almost unthinkable that many, many years later the society that we live in has NOT evolved much beyond Aristotle’s (much mis-interpreted), Ideology..Our children, (and us), are steeped in the interpreted version of his thinking. Not that I’m imagining this will be clear based on 2 minutes of interperatation here but maybe it will be a doorway to dig deeper…

The musicology is another slice from one of the greatest Soul singers, (featured a few times already on themusicologist), none other than Bobby ‘Blue’ Bland with 2 minutes 43 seconds worth of pure poetry about what, for me, is the thing that makes life complete…Love.

“It’s an ill wind that blows no good,
And it’s a sad heart that won’t love like I know it should,
And oh how lonesome you must be yeah,
And it’s a shame if you don’t share your love with me,

And it’s a heartache when love is gone,
But it’s bad and even sad, woooohh later on,
Woohhh there’s no one blinder than he who wont see,
And it’s a shame if you don’t share your love with me,

And I can’t help it woohhh no if she is gone,
You must try to forget woohhhh you must live on,
And I swear it’s a good thing to love someone,
But it’s bad and even sad when it’s not returned,

And oh how lonesome yes you must be yeah,
And it’s a shame if you don’t share your love with me,
And I said it’s a shame woohhh if you don’t share your love with me
woooohhhh yeahhh”

musicology #361

Ideology&Philosophy #2

(Billie Holiday – Getting Some Fun Out Of Life)

Looks like we may be in for the long haul again on this theme ! although this is NOT going to be about the history of western Philosophy more like the history of Philosophy that has influenced themusicologist or definitions of concepts that I believe are critical to living in this mis-information age..so maybe it won’t turn into an epic. Either way the ‘musical diary’ will be left open for those who have eyes and ears to see and hear.

But before we get into round two I just want to let all the Cats know that ‘The Project’ is picking up momentum so I am, (and have been), very busy trying my best to walk on water, which is hard work but once you get used to it it’s like riding a bike..you get on, you fall off, you get back on again until one day you’re riding down the street pulling wheelies shouting “Look ma…no hands” !!

I’m not there yet but for me belief is more powerful than fear in the same way that love is more powerful than hate and as a ‘believer’ there is no way negativity will dominate the one life I have to live.

Today’s dialogue, (of course strictly speaking it’s a monologue but I hope that dialectic comes from it), says a few more words about Greek philosophy, (which was in fact the first step on themusicologist’s journey to knowledge of the self after reading a short book by Plato called ‘The Trials Of Socrates’) . The way I have interperated it Socrates was the first in the western world, (on record), to question everything which, at the time was quite monumental. Up until then people, (at least the majority), just accepted whatever the dogma was and placed little importance on evaluation. Socrates through Plato, (or the other way around), challenged almost everything that was said to him in an effort to question the meaning of words. When I first read this small book I found this to be in synchronicity with my own feelings on such matters and armed with the bare minimum of formal education was able to follow Plato without trying. This important discovery helped me to realise how important it was for me, (and in know way am I trying to convince anyone else), how critical Philosophy is in making sense of the world I find myself in so the following extract is a very brief introduction to some of the thoughts contained in such a valuable discipline. By the way I’m by no means a disciple of Plato or any of the Greeks but it was where the journey started.

The music is a cut from a female singer who for me is one of the most important interperators of the 20th Century…Billie Holiday, who also happens to be one of my earliest teachers on the subject of the expression of emotions. A 1937 slice originally recorded on Vocalion. Backed up on the session by the legendary Buck Clayton, Buster Bailey, Lester Young, Claude Thornhill, Freddie Green, Walter Page and Jo Jones almost all of whom featured heavily in creating the backbone of the great Count Basie Band. The Painist, (strangely), is uncredited but it could only be one of two, the majestic Teddy Wilson or the ‘Count’ himself.

musicology #360

Ideology&Philosophy #1

(The Silvertones – Smile)

So as one theme ends another begins…Didn’t have a clue what it might involve until last night when it came to me while soaking in some ’spoken word’, (a daily occurence in the home of themusicologist). So to keep it fresh in my heart and mind I would like to share and combine two of my passsions with the crew, music…and the ‘love of wisdom’ or what’s better known as Philosophy.

My intention is to keep the dialogue going and start each slice of musicology with a bit of spoken word followed by what I believe is a piece of musical wisdom. Not sure how it will unfold but as with all the themes on themusicologist I feel compelled by something other than logic or reason so I’ll continue to let intuition be the guide.

Day one features an introduction to the Western Worlds first and still prevalent Ideology, Greek Philosophy. Borrowed from a ‘top ranking’ lecture on the subject by a lecturer called David Roochnik who, for me does a perfect job in explaining the meaning of ‘Dialectic’. A word that I have heard and read many times but until this Cat laid out this definition was never satisfied with my understanding of it. A very important concept that continues to have a major impact on all our lives

The musicology is a fine piece of wisdom from Jamaican vocal group, the Silvertones featuring the talents of Gilmore Grant, Keith Coley and Delroy Denton. Yet another piece of ‘Coxsone’ magic, (first press 45), from the back end of the sixties…

musicology #359

AlternativeSoundtrack4 #26

(Irma Thomas – It’s Too Soon To Know)

Final slice of the Alternative Hustler Soundtrack and it’s come down to the faceoff between Eddie and Bert. Yesterday’s slice heard Fats declare that Eddie was the new king of pool and Bert showed his true colours. Not that he has done much to conceal them but he hints that maybe it was his boys that broke Eddie’s thumbs and if he, (Bert), commands it his heavies will do more than that this time. But our man has learnt some character and is prepared to make whatever sacrifice is necessary to ensure that Sarah’s brings about a Victory over Bert, (who in my opinion represents the establishment).

Bert on the other hand is only really interested in ownership and money, he has said it throughout the film but what he hasn’t said is how much he envies those capable of showing true feelings and who are not chained by the evils of power and money. Classic Capitalist mentality trying to show that it’s wealth, greed and power that makes the world go round and not happiness, love and integrity, (character). I make no bones about it money and power don’t motivate themusicologist and never will. I have bills to pay and, more importantly, mouths to feed and there are some who may, (and do), call that irresponsible and obviously they are entitled to their opinion but integrity/character don’t come cheap and as with most things there is always a price to pay, (for everyone concerned). Fantastic interchange of dialogue and ideology between the antagonist, (Bert), and protaganist, (Eddie), in this scene that deserves mention. How none of the main actors received oscars for their performances is beyond reason and therefore must have been in some sense political.

The director Robert Rosen had integrity/character but ultimately it was shipwrecked on the rocks of so called ‘Democracy’ and he lost it. Which is not a judgement or criticism, (of Robert Rosen), more of an observation. For more insight into the facts of life it’s worth taking another listen to a slice featured earlier on this theme; Memphis Slim’s ‘Mother Earth’ (musicology #352)

Tough call the final cut..couple of options but going with my gut feeling it has to be this one from Irma Thomas with a slice of pure unaldultarated heart wrenching Soul, (with a capital S), A cover of the song made popular first by the Orioles and then by the irrepressible Dinah Washington a singer who set the standards for every female singer that followed. Rare to find a Dinah song covered that even comes close to her version but for themusicologist this one does. Also as far as I’m concerned it’s fitting that the final call belongs to a female in tribute to the character played by Piper Laurie and the answer, (posthumously), is a resounding Yes. Recorded and released in 1961 for and on the Minit label. Produced, (I imagine), by Allen Toussaint.

musicology #358

AlternativeSoundtrack4 #25

(John Coltrane – India)

Penultimate slice of the Hustler ‘alternative’ finds our man having finally reached the peak of his game. No alcohol or bravado..just one man and his craft. Have to give George C Scott a special mention for his contribution on this scene..full of menace and vitriol as he tries one more time to ‘boss’ the kid...

The cut is a second one from mind blowing virtuoso John Coltrane whose command of the language is out of this world. Again let me state that I’m not a big fan of the genre but more than once when the ‘Trane has spoke themusicologist listens. For me it’s like he’s reaching beyond the boundries of tonality to deliver authentic spirit and even though I’m trying, words can’t do the Cat justice.

Recorded for Impulse in 1961 at New York’s Village Vanguard..another live performance that I would ‘give me right arm’ to have been present at and ably supported by Eric Dolphy, Roy Haynes, Reggie Workman and Ahmed Abdul-Malik. What has it got to do with The Hustler and themusicologist? in a word..synchronicity.

musicology #357

AlternativeSoundtrack4 #24

(The Twistin’ Kings – Congo Twist Pt1)

Martin Luther King was quoted to have said

“No Victory without Sacrifice”

Well Sarah has made the Ultimate sacrifice and took her life..I think it was the philosopher Schopenhauer who said/wrote that suicide was a cowardly act and not one of bravery and much as I check for some of his philosophy as far as this act was concerned he was wrong. Sarah took her life for more reasons than one…Eddie. She sacrificed her body to Bert and in the process her heart to Eddie. Some might call that selfish but again they would be wrong. If you know the film, (and if not I hope the dialogue has provided some insight), you may agree that Eddie’s salvation was uppermost in Sarah’s heart and mind. ‘Fast’ Eddie Felson wasn’t cut out for the world in which he found himself…he thought he was but in reality he wasn’t. As Bert said “You’ve got to be hard Eddie” where what we meant to say is “You’ve got to be heartless Eddie” and he is right. There’s no room for ‘weakhearts’ in an environment like that you’ve got to be a killer and grind your opponent into the dust and when they plead for mercy you have to twist the knife harder and further and take no prisoners…and as far as I have read it, Eddie isn’t that kind of person. He just loves to play Pool. A few scenes ago when Eddie asked Sarah whether she thought he was a loser, (as Bert never stopped telling him), Sarah answered that he was a Winner because of the love and passion and childlike joy he got out of playing Pool at the top of his game. He retained the child and that is what made him a winner. Bert on the other hand for all his money and material possesions was twisted, crippled and alone and Sarah knew that. She is the film’s hero not Eddie and in this scene we hear him clarify that. All too late. Remember “No Victory without Sacrifice . If you want something chances are you have to make sacrifices…and very few of us are genuinely willing/able to do that….anyway enough of the philosophy and back to the action.

Eddie’s back at Ames Pool room, the place where it all began to unravel and he’s looking to take Fats on again. But this time he has a lot more to say…

Today’s music is an early Motown, (1961?) instrumental cut by a collective known here as ‘The Twistin Kings’. Who were they? I can only hazard a guess that it’s the same band who backed almost all the Motown artists from 1959 right through. None other than what became known, (after The Soul Brothers), as The Funk Brothers. Far too many Cats were a part of this collective to namecheck here but if they are listening they know who they are so I won’t even begin to list them

musicology #356

AlternativeSoundtrack4 #23

(Bobby Bland – St James Infirmary)

Leaving it all to the dialogue and Bobby Bland today..(both from 1961). So you’ll just have to take a listen for yourself if you want to know what’s occured.

musicology #355

AlternativeSoundtrack4 #22

(Dee Clark – Raindrops)

As yesterday’s slice of musicology pronounced…themusicologist is ‘A Little Busy’ at the moment so i’ll keep it brief. The dialogue today says it all. Eddie’s done his conkers and still hasn’t learnt any ‘character’, Bert still hasn’t learnt any compassion and Sarah, (who comes down to the arena unnoticed), learns that maybe Eddie is not the man of her ‘dreams’. Heart wrenching….

The music is courtesy of the majestic Delectus ‘Dee’ Clark whose voice is how I have always imagined an angels would sound. Yet another BIG mod/ernist dancehall classic, (and eary musicologist memory) from the dawn of a new era, (1961), and yet another on the Vee Jay label which between the years 1960 – 1962 did as much as any label to direct the new sound. Unfortunately that wasn’t backed up by artist renumeration and even though the record sold TWO million copies and hit #2 on the ‘Pop’ charts it signalled the end rather than the beginning for Dee who never scored another hit and ended up absolutely ‘pot-less’ in a Welfare motel in the 1980’s….Tragic.

But his memory lives on and the music he made is as good as it gets…So even though he is no longer with us…Dee this one’s in honour of you..

musicology #354

AlternativeSoundtrack4 #21

(Art Blakey & The Jazz Messengers – A Little Busy)

Apologies for the eleventh hour post yesterday..out grafting and got back late but had to throw one down to try and stay on track for what’s turning out to be the Hustler marathon..best part of a month will be taken up by this theme from the sounds of it but as the French are known to say Ces’t la vie or, (for all us Anglo Saxon speakers), in the words of Lord Creator ‘Such Is Life’, (watch and listen out for this cut…soon come).

Anyway enough of the interlude and on with the marat … story.

The trio are at the party and the two men are enjoying themselves, especially Eddie who is being admired by the ladies. Bert is slinking around like a snake in the grass waiting to pounce on Sarah who is back on the bottle in response to his and Eddie’s behaviour. As previously mentioned for Sarah alcohol is for numbing the pain, sound and fury of reality so all she can do is abstain totally or get hammered..no middle ground. Sarah notices Eddie in conversation with a female and as she is already drunk goes off in search of more medicine. Bert sees this as his time to pounce and makes what must be a sexual proposition. Sarah is disgusted and gives him the least that he deserves, a drink in the face and collapses in tears stopping the party. Eddie rushes over and asks what’s happening and Bert, (the low dog), lies and palms it off on Sarah being drunk.

Eddie, (the fool), takes his word for it and escorts her upstairs to lie down and sleep it off. It’s a painful scene to watch and has almost no dialogue so you’ll have to watch the film to see what I mean…

Today’s slice of the Hustler dialogue follows on with Eddie, Bert and Findlay retiring to the Billiard table to begin ‘the dance’… we are in to the meat and bones of the underlying tensions and, for me, true meaning of the film now and there are some harsh words said here which strip the characters bare as it builds up to the final countdown..

The music is courtesy of one of the most important figures in Be-bop. Drum legend, band leader and inspirational figure Art Blakey, featuring the ground breaking collective known as the Jazz Messengers, (Bobby Timmons, Wayne Shorter, Lee Morgan and Jymie Merritt)..wicked slice of Modernist Jazz from 1960 recorded for Blue Note.

musicology #353

AlternativeSoundtrack4 #20

(John Lee Hooker – Boom Boom)

Words have been spoken and the action begins again..The trio ‘hit the track’ and meet Findlay, (Eddie’s next opponent). Some banter goes down and ‘Fast’ Eddie wastes no time and cuts to the chase and proposes to take Findlay on in game of ‘pocket billiards’. Bert manages to put Eddie down with another mention of him being a loser but this time Eddie, (almost), lets it go. Findlay takes the bait and invites them all to a party that he is throwing. Sarah doesn’t fancy it but Burt insists and finishes the dialogue with a dig at the two lovebirds.

The music today is one that had to be slipped in somewhere on this theme and this is as good a time as any to release it. Classic piece of Rhythm & Blues from Mr John Lee Hooker…yet another MASSIVE mod/ernist stomper that never fails to get the Cats off their arse and on the floor to ‘Block’. The second piece in as many days on this theme recorded and released on and for the Vee Jay label which seemed to have it’s finger well and truly on the pulse during the transition from Blues with Rhythm to Rhythm and Blues with a side order of Soul.

One of themusicologists earliest memories of this kind of sound that still sounds as good and fresh as it always has which is something for a slice nearly 50 years old

musicology #352

AlternativeSoundtrack4 #19

(Memphis Slim – Mother Earth)

Today’s dialogue is unique in that it’s the first piece that doesn’t feature Paul Newman. The trio have arrived in Kentucky and Eddie has sloped off to join some old pool hustling aquaintances he meets in the foyer of the hotel they are staying at. Bert has aquired two adjoining rooms, (much to Sarah’s disaproval), and the two of them are left to ’stake their claim’ on the kid. Bert finishes the scene with menace, (the first time we have seen this side of him), leaving an impression that he is not as cool, calm and collected as he prentends to be………

The music today is quite simply one of the best slices known to man, woman, child or beast from the mouth and hands of the majestic Memphis Slim whose career stretched over many decades. Starting out playing ‘Jukes’ in the 1930’s and later in the decade hooked up with Big Bill Broonzy whom he backed on many sessions. He was also a major influence during the 1940’s in the development of what became known later as Rhythm & Blues but at the time was known as ‘Jump’….Have to cut it short here as I’m off to earn a crust and need to get my skates on !!!

musicology #351

AlternativeSoundtrack4 #18

(Lavern Baker – Shake A Hand)

After the emotional plea yesterday from Sarah, Eddie asks her to join him on the Kentucky trip. They meet up with Bert who tries to belittle her, (but doesnt succeed), and the three of them board the train…

The music today is from one of the great female Rhythm & Blues singers, Lavern Baker whose recording career begun 1n the late 1940’s but had some big hits in the 50’s with cuts like Tweedle Dee and Jim Dandy. This one from 1960 was recorded for and released on the Atlantic label.

musicology #350

AlternativeSoundtrack4 #17

(Betty James – I’m A Little Mixed Up)

So Eddie has taken Bert up on his offer and is planning a trip to Kentucky to get back on the Hustling trail. He takes Sarah out to a fancy restuarant to break her the news that he’s going away for a few days and it doesn’t go down too well. We pick up this soul searching piece of quality dialogue after they have returned to the apartment.

Today’s cut must have been made for this scene. A 1961 cut again from the Chess Records vaults but this time a slice of the emerging sound that fused Rhythm, Blues and Soul. Featuring a little known female singer by the name of Betty James. Big early Mod/ernist cut that had London’s young, (and not so young), Cats throwing tight shapes at clubs like the ‘Whiskey’, The Scene, The ‘Disc’ and The Marquee, (to name but four), from late at night until the early hours.

musicology #349

AlternativeSoundtrack4 #16

(Jack McDuff – Brother Jack)

Still a week to go for this theme such is the amount of quality dialogue..so wasting no time today’s section features our man ‘back in the saddle’ after having the casts removed. Not sure how long this period would have been…month or two? anyway, during this time there would have been no pool, no hustling, no sharks..just Eddie and Sarah. Back into the frame steps Bert who notices Eddie’s new ‘bridge’ but doesn’t make too much fuss about it…

Eddie, (after having time to think), accepts Bert’s previous offer to become his manager and the ‘action’ is about to begin again.

The music is another slice of Hammond organ but this time it’s courtesy of ‘Brother’ Jack McDuff with a cut from his 1960 album ‘Brother Jack’ released on the Prestige label.

musicology #348

AlternativeSoundtrack4 #15

(Etta James & Harvey Fuqua – My Heart Cries)

Today’s dialogue is especially poignant in as much as it offers an insight into not only the two characters, (Eddie & Sarah), but also a fundamental difference in the sexes. Don’t forget that this is 1961 and the dawn of a new era in the dialogue between man and woman. Sarah makes it as clear as crystal how she feels about Eddie leaving no ambiguity and he, (in time honoured fashion), tries to sidestep the issue but she reiterates her feelings and lets him know in no uncertain terms what she wants to hear him say.

The music is a beautiful piece of Soul from two great singers both of whom have already featured on themusicologist, Etta James and, (her husband at the time), Harvey Fuqua with yet another slice of the Chess records pie, (as influential as any label in the development of what is now known as ‘Urban’ music). Recorded and released in, yep you guessed it, 1961 and featured on Etta’s fantastic album ‘At Last’. Arranged by musicologist Riley Hampton.

musicology #347

AlternativeSoundtrack #14

(Buddy Guy – First Time I Met The Blues)

After taking an old school battering as well as having his thumbs broken by the roughnecks who didn’t take kindly to his hustle Eddie turns up back at Sarahs apartment looking like he’s been ten rounds with Cassius Clay. She takes pity on the kid and wants to take care of him. Some women are funny that way…or is it just the mothering instinct? ..all the bravado and ‘front’ has gone and we catch a glimpse of the boy behind the man. If youve been there you know how it feels.

The music today is yet another slice of the Chess Blues pie but this time from guitar virtuoso George ‘Buddy’ Guy whose influence has spread far and wide touching almost every guitar player that followed; Jimi Hendrix, Jeff Beck, Eric Clapton have all cited Guy as a major inspiration, (especially Hendrix who was known to cancel concerts to go and hear Guy play). His stage antics are legendary which according to the man himself were inspired by, (at the age of 13),  seeing Guitar Slim perform in 1949.

musicology #346

AlternativeSoundtrack4 #13

(Howlin’ Wolf – Down In The Bottom)

Today’s dialogue is from the scene where ‘the kid’ hustles in the ‘wrong kind of place’ disregarding Bert’s ominous warning. If you’ve seen the film you may remember it as the bit where he comes unstuck. For me this is where the film really begins to deal with the human condition in post modern society.

The music is courtesy of one of the greatest Rhythm & Blues practitioners to have ever graced the Earth, stage and studio the inimitable Chester Burnett otherwise known as ‘Howlin’ Wolf’ with a 1961 cut released on the Chess Label. Also featuring Hubert Sumlin on guitar, Willie Dixon, (Producer and Songwriter), on bass, Memphis Slim?, piano and Sam ‘Shuffle Master’ Lay on drums…Rhythm and Blues at it’s finest.

musicology #345

AlternativeSoundtrack4 #12

(Tito Puente – Dance Of The Headhunters)

On today’s piece of dialogue we hear the return of George C Scott, (Bert the Headhunter). Having stormed out of Sarah’s apartment Eddie finds and sits down at a poker table where he loses 20 bucks, he leaves and happens apoun ‘Bert’ in a local bar. The ‘Headhunter’ buys him a drink and proceeds to tell him in no uncertain terms where he went wrong the other night and offers Eddie a chance to take another shot at Minnesota Fats…. But this time with him as the backer. Eddie refuses due to Bert’s percentage demand and gets an ominous warning to be careful where he tries the Hustle…

The music is courtesy of Ernesto Antonio, ‘Tito’ Puente, Jr aka ‘El Ray’, (The King), prolific Latin Jazz/Mambo percussionist and extraordinary Timbales player who is credited with bringing the music of South America into the ‘mainstream’. This one is taken from his 1960 album Tamba and also features, (among others), Ray Barretto.

musicology #344

AlternativeSoundtrack4 #11

(John Coltrane – Spiritual)

Today’s dialogue features Eddie and Sarah almost at each other’s throats. As mentioned yesterday the way Eddie spat Charlie out has left it’s mark on Sarah who has hit the bottle again to try and numb the pain. Alcohol is a problem for Eddie too but not in the same way. For him it’s ‘fuel’ but for Sarah it’s ‘medicine’. I don’t get the impression that he thinks of his consumption as a problem, (the film portrays their reliance on alcohol completely differently), but is all too quick to conclude that for her it is. Anyway in this scene Sarah’s drunk, (it was he who got her back on the bottle at the end of the previous scene), Eddie isn’t and words are spoken, culminating in Eddie giving her a hard slap. Sarah comes back with a scathing response, (one of the best lines of dialogue in the film for me), and Fast Eddie leaves.

Todays’ cut is from a Cat, (with a capital C), whose musical prescence and command of the language is as good as it gets. Must admit that ‘Jazz’ from this period is not generally one of my musical passions but on more than one occasion the ‘Trane has blown my mind with his melodic originality and ability to communicate the message…..The piece also features Eric Dolphy, Reggie Workman, McCoy Tyner, and Elvin Jones.

Garvin Bushell, Ahmed Abdul-Malik and Jimmy Garrison were on the session which was recorded in 1961, (live), at New York’s famed ‘Vanguard Village’ but I don’t know enough about the players or the instruments to discern whether they were involved on this particular Jam. (Engineered by Rudy Van Gelder for Impulse).

musicology #343

AlternativeSoundtrack4 #10

(Otis Spann – The Hard Way)

On today’s slice of dialogue we hear the return of Eddie’s former partner Charlie who has tracked him down and wants to go back on the road hustling. Eddie doesn’t want to know and the truth comes out that he is planning on taking Minnesota Fats on again. Sarah is silent throughout the dialogue between them but sees a new, (to her at least), ruthless side to Eddie that hits her hard and during the conversation Eddie spits Charlie out showing a heart as cold as Ice which leads her to the painful conclusion that the ‘good times’ are over…

The musicology is courtesy of legendary Blues pianist and long time Muddy Waters cohort Otis Spann with a cut taken from a 1960 session featuring Robert Lockwood Jr on guitar and St Louis Jimmy on vocal duties.

musicology #342

AlternativeSoundtrack4 #9

(The Coasters – Snake and The Bookworm)

Not even half way through the film yet so looks like themusicologist is in for the long haul. I promised myself after the 12AngryMen alternativesoundtrack that I would relax the rule of only throwing down music from the year the film was released but on reflection feel that the harmonies involved are too compelling so as a compromise for The Hustler I’m restricting the music to the year the film was released, (1961), and the year preceeding it…1960.

Today’s piece of dialogue features Eddie and Sarah after having spent the last few days together. Not sure whether our man has been hustling during this time but if he has there’s no mention of it. Maybe they have found what they have both been looking for…someone to share a life with? that’s the way I’m reading it anyway.

The music is a piece of ‘Rock and Roll’ from one of the great vocal groups The Coasters, (this line up features Carl Gardner, Billy Guy, Cornell Gunter, Will “Dub” Jones and Albert “Sonny” Forriest), whose star, along with Rock and Roll’s was beginning to fade. Soul was stepping up to take it’s place because Rock and Roll was considered to have corrupted the nation’s youth !! but music is too powerful to control and what seemed at the time to be a more soothing sound was beginning to capture the attention of ‘the new breed’ who would take it on and use it to communicate a more powerful, (and popular), message of freedom and equality.

musicology #341

AlternativeSoundtrack4 #8

(Shirelles – Will You Love Me Tomorrow)

The G20 ‘conference’ has disrupted my plans making it impossible to go out to work today so I’m directing my energies in other directions.

Today’s slice of the Alternative Hustler pie finds Eddie and Sarah together after their first night of passion. Not, I hasten to add, following on from yesterday’s piece of the action where she knocks him back for being ‘too hungry’. That night didn’t end up the way Eddie planned it so the next day he trys to hustle and finds his reputation has already spread around town making it difficult. He manages to find a dive where no-one knows him and makes a few bucks, returns to the bus station, (without knowing exactly why), and after a while Sarah arrives. She looks at him and without speaking they head off, arms entwined to her apartment…

The cut is another Town Hall/Dancehall early mod classic but this time from original girl group The Shirelles. (Shirley Owens, Alston Reeves, Doris Coley Kenner Jackson, Addie Harris McPherson, and Beverly Lee). The song was written by Carol King and Gerry Goffin with Luther ‘Strings’ Dixon producing. Recorded and released on Florence Greenberg’s Scepter label in 1960 it was the first song by an all girl group that hit #1 ushering in a new musical era that came to be known as ‘Soul’.

musicology #340

AlternativeSoundtrack4 #7

(John Lee Hooker – I’ll Know Tonight)

Our man Eddie wakes up from his short sleep at the bus station, sticks his bag in a locker there and heads back into NYC trying to decide what to do next..he hits a local bar and there in a booth, alone in an empty bar is the girl whose magnetism drew him to her at the Station..He buys her a drink and finds out that ‘Sarah’ is a ‘boozer’. Something about this lady intrigues and ‘attracts’ him but he only knows the “fast and loose” hustle so that’s the way he plays it..she clocks his small town play and initially declines his offer but as we are to find out later, birds with broken wings are a perfect match especially if they can help each other to become whole again.

The musicology is a 1960 slice borrowed from the LP ‘Travellin’ on Calvin and Vivian Carter’s Vee Jay label from the Inimitable John Lee Hooker, (featuring Lefty Bates, Sylvester Hickman and Jimmy Turner),with his unique combination of Delta and City blues perfected whilst drifting up from his birthplace near Clarksdale Missisippi through Memphis and eventually settling in Detroit.

musicology #339

AlternativeSoundtrack4 #6

(Sam Cooke – Cupid)

The Kid has been rolled over by Fats who showed him that not only does he who laugh last laughs longest but also that action speaks louder than words. Talent alone can get you ‘there’ but is not enough to keep you there, that takes character which comes only with experience. I doubt Eddie had been chewed up and spat out like that before…collapsing in a heap on the floor that a few hours ago he was parading around on like a king. That’s a long way to fall from “I’m the best there is” to begging Fats to play him for his last ‘bottle’…

One of the many things I like about this film is how it deals with some of the raw sides of human nature. There Isn’t a ‘nice’ character anywhere to be found, they are all Corrupt, Twisted and Crippled in some way, (like we all are), and when I watched it recently it was a touch painful to be honest..as I said at the start of the theme as a youngblood growing up on London’s mean streets themusicologist identified with the Fast Eddie character and although I was only young, still I saw and was involved in enough ‘experiences’ to gain some of the ‘Character’ that the film deals with. I was always in disagreement with the ‘respect your elders just because they are older than you’ ideology and found it hard, (especially with authority), to accept. I was young and foolish, (and happy..doo doo doo do do do do !!), and was brought up to value actions over words. The man to watch is the one who says nothing not the one who is shouting and gesticulating about what is going to be done at some future date. I was taught that by both the males and the environment that influenced my early life and it has often provided insight during some of my less salubrious moments. Anyway I’m rambling a bit so I’ll get back on the track..where was I…

Oh yeah, Eddie has taken a beating from Fats and after a short sleep in a hotel room abandons his partner Charlie and heads for the Bus Station. From across the room he spots a lone female and makes a move…Hustler style? I don’t know..I have always believed that people are like magnets and some we are drawn to while others repel us. Made more sense when a few years back I read a lot about Frequency and how every living entity has one. Naturally harmony would draw us to those who are ‘playing our tune’ so that together we could make sweet music. What draws the bee to the pollen, the horse to water and the man to the woman..frequency, so with that in mind, (as far as I’m concerned at least), ‘our man’ Eddie is drawn to this woman and he ‘makes a play’.

Sarah, played by Piper Laurie, (real name Rosetta Jacobs), sees it coming and makes it plain that she’s not interested in his advances. She answers him but doesn’t leave him any room in which to manoeuvre so he gets his ‘nut’ down, (sleeps), for a while and when he wakes she’s gone.

Todays cut is one of the great songs sung by one of the greatest singers of all time…Sam Cooke and even though we all know the tune inside out it still kicks arse..tough tune that I could never tire of. Make no mistake this piece epitomises Soul, a genre that wouldn’t have been the same without ‘The Lion’ blazing trails. I have been listening ALL day to music from 1960 and 1961 waiting for the right slice and as soon as I reached this one, (six hours later !!), it struck the right note..so here it is. Eddie doesn’t know it yet but ‘The arrow’ has flown straight into his heart.

musicology #338

AlternativeSoundtrack #5

(Barrett Strong – Money)

Not sure how fresh in your memory the film is? but this next scene is the one where Eddie, who has been drinking JTS Brown, (Bourbon), straight out of the bottle for hours is beginning to look tired as the alcohol takes it’s toll. Minnesotta Fats on the other hand steps into the washroom, combs his hair, washes his hands, puts on his suit jacket and looking as fresh as a daisy, (he’s been drinking Whiskey too), delivers a killer line of dialogue and proceeds to ‘wet’ the kid up.

“Fast Eddie……”

The accompanying slice of musicology is a famous 1960 cut on the Tamla, (Motown), label from Barrett Strong the rip roaring cut that catapulted Motown into the spotlight, (where it stayed for more than 20 years). Strong went on to become one of Motown, (and Soul’s), premier songwriters who, in collaboration with partner Norman Whitfield, wrote many a classic for Cats such as Marvin Gaye  ‘I Heard It Through The Grapevine’, Edwin Starr ‘War’ and The Temptations ‘Papa Was A Rollin’ Stone’.

musicology #337

AlternativeSoundtrack4 #4

(Jimmy Smith Trio – Jimmy’s Blues)

Fats has taken up the challenge from the young pretender and the battle hots up..first Fats on top and then for a while Eddie hits a winning streak which sees him reach his inital target of “Ten grand in one night” but rather than call it a night the kid fancies that “this table is mine” and in his naivite he gives his opponent the opportunity to carry on playing “Until Minnesota Fats says it’s over”.

I say naivite but in my experience ‘etiquette’ can and does play it’s part in ‘the game’ and offering the loser the chance to win his money back is, (or was in the games I played), accepted as an unwritten rule. Unless of course the Hustle is your business and then there are no unwritten rules.

During the contest George C. Scott enters the fray as Minnesota’s backer and we hear him ‘pipe up’ for the first time after watching Eddie and Fats going toe to toe for  hours but as we, (and Eddie) are soon to find out “the Race is not for the swift but for who can endure it”

The music is yet another slice of the 1961 pie but today it’s courtesy of Hammond Organ supremo ‘The Incredible’ Jimmy Smith and Trio freaturing Quentin Warren on guitar and Donald Bailey on drums…borrowed from a Blue Note session called ‘Straight Life’, (recorded by Rudy Van Gelder).

musicology #336

AlternativeSoundtrack4 #3

(The Triumphs – Burnt Biscuits)

It’s time to introduce the ‘Fat Man’ aka Minnesota Fats depicted in swaggering, nonchelant and fine style by Jackie Gleason.

Eddie has been ’shooting stick’ in anticipation of Minnesota’s Arrival at 8 bells…Fat’s arrives and watches Eddie shoot, comments and ‘the game’ begins..

Just thought I would mention that Jackie Gleason shot pool regularly while growing up in New York and didnt need a stand-in so all his shots are his own…

The music is again from 1961, (trying as hard as I can to keep it tight), a Memphis Rhythm and Blues instrumental cut on the newly formed Volt label, a (subsidary of Stax), from a band called The Triumphs featuring Howard Grimes on drums, Marvell Thomas, (Rufus Thomas’s son), on the organ and piano, Lewis Steinberg on bass and the songs writer, original Stax engineer Chips Moman on guitar.

musicology #335

AlternativeSoundtrack4 #2

(Ray Charles – A Bit Of Soul)

So…after rinsing some ‘Joes’ for a few bucks it’s time for Fast Eddie Felson to step up to the plate..The Cathedral known as Ames’s Pool Room. But before the action starts allow me to fill you in with a little bit of information relating to the Film:

Directed by Robert Rossen, (who also co-wrote the screenplay), the story was adapted from a 1959 novel of the same name written by Walter Tevis. I always interperated it is as a tale of character and morality rather than a film about pool and hustling. All the, (major), players in the film are displayed in terms of their moral fibre so it was of interest when I discovered that the director Robert Rossen ‘betrayed’ people a few years after being blacklisted as a result of the scandalous HUAC Hollywood witch hunt of the late 40’s and early 50’s when Cold War, Anti Communist ideology was beginning to be strategically placed into society. Rossen was actually a member of the Communist party during his early years and a Socialist too, (which are far from being the same), but it was the ‘Politics Of Fear’ laced with ‘Game Theory’ rules played out by Government propoganda that was the real issue.

Anyway to have named names and ‘grassed’ Cats up because of not being able to work in the film industry must have been a bitter pill to swallow for an idealist, (Socialism being an ideal after all), who had grown up in New York’s tough lower East Side in the early part of the 20th Century. ‘Grassing’ for many years was considered as low as you could go, even lower than ‘dipping’ which is saying something. Rossen originally claimed the 5th ammendment and refused to co-operate but could’nt hold out and eventually in 1953 named over 50 as Communists. In his own words

“I don’t think, after two years of thinking, that any one individual can indulge himself in the luxury of personal morality or pit it against what I feel today very strongly is the security and safety of this nation.”

So there it is in his own words…’Morality’ one of the human essences we use to justify our actions. John F Kennedy was quoted to have said, (around the time in question),

“A man does what he must regardless of personal consequences and that is the essence of all human morality”

I’m making absolutely no judgement on Robert Rossen but I’m imagining he did on himself and I believe the Hustler was an attempt to make some sense out of questions of morality and character. It’s not a film about winning and losing for me it’s more about the price paid.

Today’s piece of musicology is courtesy of a Cat who needs no introduction…none other than the great Ray Charles Robinson with a 1961 instrumental slice on the Atlantic Label.

musicology #334

AlternativeSoundtrack4 #1

(Jesse Hill – Ooh Poo Pah Doo Pt1)

After a week’s sabbatical themusicologist is back with Round 4 of the alternative soundtracks..regular listeners will know that as far as I’m concerned it’s not just music that influences who we are it’s Culture, (with a capital C), Literature, Film, Philosophy or to put it another way…The Arts. All playing a part in shaping our experience.

So with that in mind this theme is in tribute to a fiilm that had an impact on the young musicologist stylistically, emotionally and practically.

First up is an introduction to the character played majestically by the Iconic Paul Newman, (hereafter known as ‘Fast Eddie’) with his and ‘Partner’ Charlie Burns’ (played by Myron McCormick), version of the Hustle.

The music is courtesy of New Orleans Hipster Jesse Hill who was, (among other things), also Professor Longhair’s percussionist..a Modernist stomper on the Minit label from 1960.

musicology #333

DownbeatTheRuler #13

(The Wailers – Do It Right)

Final cut of the Coxsone Tribute. Have to finish up with this 1965 piece of rip roaring Ska sung by the Wailers. Featuring not only Jamaica’s premier band the Skatalites but also no less than Sir Coxsone Dodd himself on ‘Beer Bottle Percussion’ Duties !! Just like to add that many a deserved artist didn’t get a spot on the Downbeat Tribute most notably The Heptones, Jackie Mittoo, Dennis Brown, Sugar Minott, Ken Parker, Cornell Campbell, The Clarendonians..(too long a list to name them all). Some of them have already featured on themusicologist and I imagine that all will eventually..

In addition, the Second in the Tribute Tee series is to communicate my appreciation, (in more ways than one), for the man who made it all possible. Clement Seymour ‘Sir Coxsone/Downbeat The Ruler’ Dodd whose musical legacy is, for themusicologist, second to none. For more information click on the images below

Gold & Black Sweatshirt

Gold & Black ‘45′ Tee

Gold & Blue ‘45′ Tee

Downbeat The Ruler

Red & White ‘33′ Tee

Red & White ‘45′ Tee

musicology #332

DownbeatTheRuler #12

(Delroy Wilson – I Want Justice)

Penultimate cut of the Downbeat Tribute selection. Just like to make clear that for themusicologist Sir Coxsone’s Studio 1 is the Number 1 sound which is obviously a reason for paying a two week tribute to the musical legacy he laid down. Of course without the musicians, singers, producers and engineers who contributed it wouldn’t be. So even though this is a tribute to Downbeat it’s just as much a tribute to all who participated in delivering some of greatest music ever made and I hope the last two weeks have been as enjoyable for you as it has been for me.

Tomorrow I will be releasing part two of ‘The Project’ that has occupied an ever growing part of my heart and mind for more than 20 years and as always would appreciate your feedback/critique/opinions on it.

Today though it’s time for a slice from Mr Delroy Wilson who begun his career with Coxsone at the tender age of 13. Born in 1948 Delroy first enjoyed ’success’ with his musical attacks on Dodd’s one time employee Prince Buster, ( ‘Joe Liges’), which I was going to lay down, but it was during the Rocksteady period, (and after), that his star truly shone with cuts like I’m Not A King, Dancing Mood, Riding For A Fall,  Keep On Trying etc, (all of which almost made it onto the tribute), At the tail end of the Sixties Delroy and Sir Coxsone parted ways and he drifted between various producers such as Bunny Lee, Gussie Clarke, Niney The Observer and the Hookim Brothers Channel 1 but as with many of Jamaica’s foundation artists the 80’s weren’t kind to him and his star begun it’s descent into almost obscurity by his untimely death in 1995.

So if you’re listening Delroy…this one’s for you….a top ranking slice of the Ska pie from 1965 originally released as a 45 on the Studio 1 label featuring, (unless my ears are deceiving me), what sounds like The Wailers on backup.

musicology #0331

DownbeatTheRuler #11

(Lone Ranger – Dance ‘A Fi Cork)

A rare treat for all ‘Downbeat’ Lovers…Lone Ranger in the dance waxing lyrical on the Larry Marshall Killer ‘Throw Me Corn’.

‘Late Night Blues’ connoisseurs selection  recorded live in the dance sometime in 1983?

Taken from the Studio 1 LP ‘Battle Of The DJ’s’

musicology #330

DownbeatTheRuler #10

(Wailing Souls – Don’t Fight)

Today’s cut, for me, epitomises the Studio 1 sound apoun which much of Reggae was built. Drum, Bass and Harmony..the trinity and who better to provide an example on the Downbeat tribute than the mighty ‘Wailing Souls’

Their story begins with Winston “Pipe” Matthews who as a youth living in Kingston in the early ’60s, learned to sing at the feet of singer supreme Joe Higgs, (already a veteran vocalist with a string of hits to his name, coaching up and coming talent in his tenement yard, his most famous protégés being the Wailers). Higgs’ training stood Matthews in equally good stead and by 1963, the aspiring singer and his vocal group the Schoolboys had come to the attention of Prince Buster. In 1965, the Schoolboys folded, but Matthews was soon back with a new group, the Renegades. This vocal trio comprised Matthews, Lloyd “Bread” McDonald, and George “Buddy” Haye, both of whom were also alumni of Higgs’ vocal classes. It was at this point that the trio came to the attention of Coxsonne Dodd and the Renegades embarked on a fruitful career at Studio One.

In 1968, Haye departed, in his place came two new singers, Oswald Downer and Norman Davis. Such a shift of lineup prompted the group to totally cut ties with the past, and they changed their moniker to the Wailing Souls. Studio One eventually released two seminal compilations of recordings from this period, The Wailing Souls and the LP from which today’s piece is taken Soul and Power.

Still going strong after more than 40 years the Wailing Souls continue to deliver soul stirring musicology that stands as a testament to both their quality and longevity. For more ‘Souls’ Knowledge visit their site from where the above information was unashamedly gleaned.

An early 70’s cut, with the bassline echoing the Larry Marshall classic ‘Throw Me Corn’.

musicology #329

DownbeatTheRuler #9

(Ken Boothe – Just A Little Bit Of You)

Short but sweet today as I’m out early morning back late afternoon and then out playing football in the evening. Today’s slice of the Downbeat pie is one of my absolute favourites from what, for themusicologist is Studio 1’s Golden age. Delivered by a Cat who has already featured on this theme but, in true musicology style, the axiom “as in music so in life” comes through loud and clear on this one…so this one it had to be.

I’m gambling that it’s Leroy Sibbles on Bass? with full Sound Dimension crew locked tightly in the groove….

Listen Tune..

musicology #328

DownbeatTheRuler #8

(Horace Andy – Found Somebody Of My Own)

Today on the Downbeat Tribute it’s the turn of Horace Hinds, (cousin of Justin) A.K.A Horace Andy renamed by Sir Coxsone in time for his seminal 1970 set ‘Skylarking’, (one of the first Studio 1 LP’s that themusicologist had the pleasure of owning). Introduced by the inimitable ‘Dread At The Controls’…Mikey Dread from a radio program showcasing Studio 1. Could have been one from any number of Horace’s recordings but didn’t want to pass up an opportunity to pay a second tribute on themusicologist to Mikey Dread who is no longer with us. Not only that but it’s one that is lesser known although, for me, just as good as many of his classics. Taken from one of the mighty Dread’s Rockers In The Morning sets.

Mikey and Horace…come in and let the people know what you’re talking about.

musicology #327

DownbeatTheRuler #7

(Charlie Organaire – Rude Boy Charlie)

Day 7 of the Downbeat selection is a roasting piece of Ska featuring Harmonica player, producer and original member of Bobby Aitken’s Rocksteady pioneers The Caribbeats, Charles Cameron. Anytime you hear a harmonica played on a slice of Jamaican music, (especially Ska and Rocksteady), more than likely it’s the ‘Organaire’ blowing on sessions for the likes of Coxsone, (of course), Prince Buster, Duke Reid and King Edwards as well as many others.

This cut is also likely to feature the musical talents of Lloyd Brevett on Bass, Lloyd Knibb on Drums, Jah Jerry Haynes, on Guitar and Jackie Mittoo on piano the musical backbone apoun which the Studio 1 sound and success was built.

musicology #326

DownbeatTheRuler #6

(Dave Barker – Johnny Dollar)

Today’s page of the Downbeat story is a 45 from an artist known by the name of Dave Barker, (a nom de plume courtesy of Lee Perry), who is probably best known for his part on the well known single ‘Double Barrel’. A singer and ‘DJ’ who was among the earliest proponents of the ‘chatting’ style made popular by such luminaries as U-Roy, Dennis Alcapone, I-Roy and Dillinger. There were earlier Cats who dropped ‘chat pon the mic’ but it wasn’t until Hugh Roy stepped up that the genre came of age and flew out of the dance and into the recording studio in 1970 on Arthur ‘Duke ‘ Reid’s definining rocksteady rhythms.

This one, a 1970 cut on the English Studio 1 subsidary label Ackee, is a cover of Garnett Mimm’s earlier majestic 1964 Soul recording ‘A Quiet Place’ and finds Mr Barker, who in my opinion was a much better singer than ‘DJ’, in fine voice expressing concerns about people intruding on his quiet time.

musicology #325

DownbeatTheRuler #5

(Burning Spear – Creation Rebel)

Today’s cut is from one of music’s greatest ambassadors; Winston Rodney better known as Burning Spear whose message of defiance and determination has always been as clear as crystal.

The Spear was born in March 1948 and raised in St Ann’s Bay Jamaica along with Bob Marley, (and before them Marcus Garvey), who introduced him to Coxsone in 1969. Over the next few years he recorded without much success or financial reward until hooking up with Jack Ruby who produced his seminal works Marcus Garvey and Man In The Hills. The rest as they say is History.

This one, recorded sometime in the early 70’s and backed by the ‘New Establishment’ (including the ‘dub’), holds a special place in themusicologist’s heart as it was one of the pieces that helped me through my darkest hours a few years back and as a result will always hold deep meaning.

For more information on the man and his music check his personal site..and take a listen to his personal message.

musicology #324

DownbeatTheRuler #4

(Ken Boothe – You’re No Good)

Today’s cut is from one of THE greatest Jamaican vocalists never known, (outside of the Reggae community)..one of music’s many mysteries to me is how Ken Boothe has never had the global recognition that his talent deserves. Time after time, year after year from the earliest days right up until the present this Cat has delivered. In truth his Studio 1 output alone could have easily filled this theme to overflowing. His ‘cup certainly runneth over’ as they say and todays slice should illustrate why.

I love Alton Ellis as well you know but I would have to say that in my humble opinion Ken Boothe is ‘Mr Soul Of Jamaica’.

Born and raised in Kingston Mr Boothe was a foundation stone in the Coxsone empire as important to the Label’s success as the Miracles were to Tamla Motown who stuck by Downbeat until parting company in the early Seventies. Without further delay hold this, The original Ska version of his later ‘hit’. Look out for A Ken Boothe special on themusicologist sometime in the future.

musicology #323

DownbeatTheRuler #3

(Alton & Hortense Ellis – Easy Squeeze)

Out all day yesterday working the tees so apologies for not dropping a next ‘Downbeat bomb’ through your speakers. Hopefully today’s slice of the Coxsone pie will make up for it.

A classic piece of Brentford Road Rock Steady that has trembled my marrow for many years. Could have thrown it down a few times on previous themes but for reason unbeknown to ‘mesang’ didn’t until today.

One of the most emotive, hard hitting, Rough & Tough cuts of the Rock Steady period in my humble opinion…lyrics, vocals, music all combining in soul searching harmony to communicate a message concerning  the quest for that most elusive of feelings, True Love.

Recorded and first released in 1966? for Dodd by the Godfather Of Rocksteady Alton Ellis alongside his younger Sister Hortense, both of whom are sadly no longer with us. What is however (and will be for as long as music like this is being loved and played), are their ‘works’ many of which sit comfortably at the very top of the musicology tree.

Hortense was Jamaica’s ‘first female vocalist’ cutting her teeth as early as 1959 on such legendary talent shows as Vere John’s Opportunity hour, (where many a ‘Jam Down’ legend begun their careers), but it wasn’t until a few years later in 1961 under the tutelage of Downbeat that she begun a recording career. For sure having Alton as a brother helped but anyone who has heard her sing would agree that merit was the foundation stone apoun which she built a career that stretched right up to her untimely death in 2000 AD. Recording for many of the greatest Jamaican producers such as Duke Reid, Bunny Lee, Harry Mudie and Gussie Clarke, (to name a few)

As regulars may be aware Alton has featured more than any other Jamaican artist on themusicologist over the preceeding two years so I won’t wax lyrical on the man and his music today other than to reiterate that it was he and the previous Artist, (Bob Andy), who first opened my ears and heart to Downbeat The Ruler’s output and for that I am eternally grateful..

So in Tribute to the memories of Alton, Hortense and Clement Seymour ‘Sir Coxsone / Downbeat The Ruler’ Dodd hold this…..

musicology #322

DownbeatTheRuler #2

(Bob Andy – I’m Going Home)

Sir Coxson was a music lover and man on the street but also a businessman and a successful one at that which, in my experience is often not appreciated by those who have been left behind to hustle and scratch for survival on the tough streets of places like Kingston, London, New York etc. The truth is that many would rather see you stumble and fall than lift yourself out of the mean streets especially when, as far as they are concerned, (and maybe rightly so), you have made it off the sweat of their brow. This seems to have been the case with Coxsone as the years rolled on but it’s not easy to keep such an enterprise going, (as many record label owners would attest to), when everyone wants a slice of the pie. Coxsone not only put Studio 1 together but also kept it going right up until his death.

Possibly inspired by Cats like Sam Cooke whose SAR label was, (along with Berry Gordy’s Tamla Motown), a pioneer in the record business, Dodd couldn’t afford to ‘take any prisoners’ so paid the Artist, Arranger, Producer and Musician per side, (or as employee), rather than cut them in on the Action. After all it was he who was taking all the risk so why share the rewards? Any business person would agree with his appraisal of the situation but the Artist wouldn’t. To further highlight the point the singer of today’s cut is quoted to say;

“Clement Dodd is a good mentor and he really provided the facilities for a group of youngsters who would never have had anywhere to go in those days, but he could have done more for them. I would say Jamaican music suffers from a Coxsone syndrome.”

I can see why. It was they who created the ‘product’ for Dodd to capitalise on so why should they not be ‘cut in’? Dodd may say that “if you want a piece of the pie you also have to take some of the risk” which hardly any of the Artists were in a position to do. Cats like Prince Buster, (a businessman and Artist), saw the light and parted company with Dodd as soon as possible to make a name, (and hopefully some ‘corn’), for himself but of the many hundreds in Jamaican music history VERY few have much to show, financially, for their achievements.

What they do have though is a place in musical history that will last long after they have been laid to rest and an army of fans that continue to spread their name. Personally I would rather be the Artist than the businessman.

Anyway enough chat and on with the Downbeat show….

This 1966 !! cut, (his first solo piece), is courtesy of former Paragons founding member and songwriter supreme Keith Anderson, (Bob Andy), apparently backed up by The Wailers but to my ears it sounds more like The Heptones? anyway whoever is harmonising it’s Bob Andy’s wailing lead that cuts through and is one of my personal favourites…featured on one of the greatest Studio 1 LP’s Bob Andy’s Songbook.

Bob Andy….Live on…

musicology #321

DownbeatTheRuler #1

(Jackie Opel – Eternal Love)

This week’s theme is a tribute to Sir Coxsone Dodd’s Jamaican musical powerhouse..Studio 1. Clement Seymour Dodd was a genuine music lover who set up his sound system ‘Downbeat The Ruler to play Rhythm & Blues after returning from a trip to America in 1954. It wasn’t until 1963 however that he setup the first Recording studio to be owned by a ‘Man on the street’ the legendary Studio 1.

Almost every Jamaican singer or musician of note has at one time passed through the Brentford Road studio and although many were unhappy with the financial arrangements I hope that none would argue that the man was a Giant in the progress of Jamaican musicology.

So without further delay hold this 1963 cut from the majestic and already featured on themusicologist, Jackie Opel with a piece from the earliest days of Studio 1 featuring The cream of Jamaica’s musicians The Skatalites.

musicology #320

SongsOf Protest&Freedom#6

(Otis Redding – A Change Is Gonna  Come)

final cut of the freedom&protest…and what better way to finish with one of the greatest songs sung by one of the greatest singers. Sam Cooke’s original has already featured on themusicologist but couldn’t pass up this opportunity to throw it down again.

Otis singing Sam Cooke…doesn’t get any better. Taken from the LP ‘Otis Blue’…With Issac Hayes on the Keyboards, (and production), as well as the full Stax/Volt family Donald Dunn, Steve Cropper, Al Jackson, Wayne Jackson, Andrew Love, Gene Miller and Fred Newman.

musicology #319

SongsOf Protest&Freedom#5

(Billy Bragg – Ideology)

Day 5 of the freedom selection is a cut from  Singer, Songwriter and performer; Stephen William Bragg featured a couple of times already on the musicologist with his critique on two subjects close to my heart ‘Big Pharma‘ and National Identity.

This one, (another of the subjects close to my heart),  is taken from his 1986 set ‘Talking With The Taxman About Poetry’.

“When one voice rules the nation,
Just because they’re top of the pile,
Doesn’t mean their vision is the clearest,

The voices of the people
Are falling on deaf ears,
Our politicians all become delirious,
They must declare their interests,
But not their company cars,
Is there more to a seat in Parliament,
Than sitting on your arse?
And the best of all this bad bunch,
Is shouting to be heard,
Above the sound of Ideologies clashing,

Outside the patient millions,
Who put them into power,
Expect a little more back for their taxes,
Like schoolbooks, beds in hospitals,
And peace in our bloody time,
All they get is old men grinding axes,

Who’ve built their private fortunes on the things they can rely,
The courts, the secret handshake, the stock exchange and the old school tie,
For God and Queen and Country,
All things they just defy,
Above the sound of Ideologies clashing,

God bless the civil service,
The nation’s saving grace,
While we expect democracy,
They’re laughing in our face,
And although our cries get louder,
The laugh gets louder still,
Above the sound of Ideologies clashing,
Above the sound of Ideologies,
Above the sound of Ideologies,
Above the sound of Ideologies clashing…..”

musicology #318

SongsOf Protest&Freedom#4

(Fela Kuti – Colonial Mentality)

Utilising the universal language to communicate protest is not as easy as it sounds as there are many forces at work that try to silence the minstrel from speaking the truth and for themusicologist no one signifies this more than musicologist and freedom fighter supreme..Fela Anikulapo Kuti who was a constant thorn in the Nigerian, (and other African ’state’), Government’s side.

Third time featured on themusicologist for a Cat who certainly walked it like he talked it. Fortunately someone out there has translated and transcribed the lyrics for this 1977, (borrowed from the LP Sorrow, Tears & Blood), cut otherwise It would be hard for many of us to follow, (although not to understand), and for that I am extremely grateful.

LISTEN TUNE…

musicology #317

SongsOf Protest&Freedom#3

(The Kinks – Got To Be Free)

Today’s slice of the Freedom pie is from a well known and highly respected  English group yet to feature on themusicologist…with a cut from their 1970 LP ‘Lola Versus Powerman And The Moneygoround’.

Ray and Dave’s career is reported to have began in a pub in North London in 1957 !! but it wasn’t until 1963 that the original line up formed and became known, (after a few name changes), as the Kinks.

The line up featured here however is minus original member Pete Quaife.

musicology #316

SongsOfProtest&Freedom#2

(Max Romeo – Blowing In The Wind)

Generally speaking protest&freedom springs from the well of first hand experience concerning the trials and tribulations in question. Although, I hasten to add, not always as there is also a concept known as empathy whereby others can feel/appreciate the anguish and frustrations? I’ll be honest with you up until a few months ago this was a concept that I couldn’t accept but then it was explained to me in language I understood and subsequently I felt it.

Today’s cut is, for me, an example of this. A tune that many people know, (or at least have heard), that concerns a human’s right to freedom. The human beings in question are still judged in many ways by the colour of their skin and not the love in their hearts. It might not be as blatant these days but as with all discrimination it is rife. The point I am making here is that Bob Dylan, (the songwriter and original singer of this cut), was empathising.

It wasn’t his personal experience but still he ‘felt’ it and wanted to do what he could to highlight and make comment on the situation. Sam Cooke loved it and was almost upset that it wasn’t written by him.Accordingly ‘The Lion’ was inspired though and wrote one of THE most passionate ’songs of freedom’ ‘A Change Is  Going To Come’ which, if it hadn’t already been thrown down on themusicologist would most certainly have been in this theme.

This 1969 version is by Jamaica’s own Max Romeo who unfortunately is perhaps best known, (outside of Reggae circles), for the forgettable but, at least in the UK, popular early ‘Skinhead’ cut ‘Wet Dream’. He is MUCH better than that as witnessed by his output over the years.

Listen Tune

musicology #315

SongsOfProtest&Freedom#1

(Woody Guthrie & Cisco Houston – Better World A Comin’)

this weeks selection is a collection of songs that speak the language of protest and freedom. bypassing the rhetoric of the chattering classes to deliver the message as directly as possible to those who have the power to make change….the people.

The ‘establishment’ know this so, as with all modes of communication, do their best to bury such knowledge and even wisdom beneath the mountains of information that are served up 24 – 7 – 365.

Who and what are the establishment?..I’m not saying there is a group whose ‘job’ it is to serve up such mis-information I don’t believe that’s not the nature of such things…ideology provides such a platform so no one person or even group is to blame, making it almost impossible to step outside of. Our times are not much different from previous ones although globalisation can and does, (for now), provide an opportunity to connect and communicate instantly which is relatively new. Obviously this is a two sided coin making it easier to spread the word of freedom as well as slavery but at least there is a choice as to what we spend our time doing, listening to, reading and watching.

only time will tell what opportunity is taken? education or entertainment.

With that in mind hold this cut from one of the fathers and greatest proponents of the protest/freedom song, Woodrow Wilson Guthrie, (named after the former president of the USA), whose relatively short life was FULL of experience and incident…

Mr Authenticity as far as I’m concerned whose musicology has touched my heart and mind from first hearing it a couple of years ago.Since introduction themusicologist is often to be found rocking and a rolling to this Cat.. This cut taken from the 1940’s ‘Asch’ Recording dates features his friend the singer and one time actor, Cisco Houston who along with Jim Longhi persuaded Woody to join the Merchant Marines during W.W II. Being political Woody was against supporting what was considered by some a Capitalist Fraud but rather than be drafted he settled for washing dishes and entertaining the troops.

Anyway….enough of the words and on with the music.

musicology #314

Live&Direct #10

(Curtis Mayfield – Stone Junkie Live)

Penultimate cut of the current theme and then something new on Monday…not sure what it might be but as always I’ll let the music be the shepherd.

Today’s slice of the Live&Direct pie is courtesy of the man whose musicology ‘begat’ themusicologist with my earliest musical memories; brother Curtis Mayfield with a piece from the, what is today well known, set ‘Curtis Live’. Not sure how popular it was in 1971? with it’s militant message and hard hitting social commentary but as is always the case with Authenticity it spoke to me. I was no more than a babe in arms at the time but thanks especially to my Dad who was, (and still is), a BIG Curtis fan, the music and message of Curtis burned into my consciousness and has stayed there ever since. I have read somewhere that the experiences and messages learnt from the so called formative years are the ones that exert the most powerful influence on our character. If so then Curtis was, for me, one of my most valued ‘teachers’ (along with certain members of my family), and for that I am eternally greatful. So without further delay hold this, the second cut from his ‘Live’ set to have featured on themusicologist.

Recorded at New York’s ‘Bitter End’ in 1971 and featuring the combined talents of Craig McMullen, Joseph “Lucky” Scott, ‘Master’ Henry Gibson, Tyrone McCullen and of course Curtis Mayfield.

Don’t know about Elvis but for me ‘Curtis Lives’ and always will.

“Here’s something that I know everybody knows about,
I ain’t gonna point no fingers, I don’t want nobody to point no fingers,
But I, right on yeah…I think it’ll break it down…

Stone junkie, stone, stone junkie,
Stone junkie, stone, stone junkie,
Stone junkie, stone, stone junkie,
Stone junkie, stone, stone junkie,

Times have now arrived in this nation,
There’s now a people with a different relation,
Black and white, yellow, red and blue,
All in the same bag we know it’s true,

They just,
Stone junkies, stone, stone junkies,
Stone junkies, stone, stone junkies,

Don’t let your mind become offended miss Lady,
‘Cause you ain’t no better than our typical Sadie,
You just got money, you can spend out at will,
But when comes aches and pains, you still use the pill,

I don’t mean nothin’,
Stone junkie, stone, stone junkie now,
Stone junkie, stone, stone junkie one mo’,
Stone junkie, stone, stone junkie now,
Stone junkie, stone, stone junkie,

Stone junkie, stone, stone junkie,
Stone junkie, stone, stone junkie yall,
Stone junkie, stone, stone junkie now,
Stone junkie, stone, stone junkie,

I know everybody whose heart is still thumping, (he died)
I know everybody whose heart is still thumping,
Is drinking, shooting, snorting, smoking on something,

I feel like I fell in a hole, you know that hit home everywhere,

Now that might sound funky so I don’t mean to mislead,
So you can retract the thought of you on drugs or on weed
That ain’t my business you know what you do
I’m just singing for the majority of you

Should I say mister,
Stone junkie, stone, stone junkie,
Stone junkie, stone, stone junkie,
Stone junkie, stone, stone junkie,
Stone junkie, stone, stone junkie,

Please give my fellas a great big round of applause…”

musicology #313

Live&Direct #9

(The Jam – Going Underground/Dreams Of Children/That’s Entertainment Live)

themusicologist regulars will know that along with Curtis Mayfield this Cat, Paul Weller, has exerted major influence on my thoughts, from first exposure in 1977 as a fresh faced nine year old right up to the present day. ‘Words’ have meaning as far as I’m concerned and his rank up there with the best I have ever had the pleasure of listening to and learning from.

Today’s cut is from his Jam days. A three cut selection recorded live at the Glasgow Apollo in 1982. Taken from the LP ‘Dig The New Breed’.

Watch the ride……

musicology #312

Live&Direct #8

(Prince Buster – Move Over ‘Live’)

Time for a slice of the Rocksteady pie from legendary Jamaican musicologist Cecil Bustamente Campbell a.ka Prince Buster a nickname gained from his days alongside Lee Perry, (among others), as Coxsone’s ‘Security’ in the early days of the fierce rivalries between the various Sound Systems . ‘Prince’ Buster was known in and around Kingston for his boxing skills and fearlessness when confronted with opposing promoters ‘Dance Crashers’ whose sole purpose was to disrupt and close down the dance but it was with the ground breaking 1960 recording ‘Oh Carolina’ featuring Count Ossie and the Mystic Revelation that his music career began to take shape.

Recorded live in London at either the Marquee or Brixton’s Ram Jam in 1967. Taken from the ‘Live On Tour’ Set..

musicology #311

Live&Direct #7

(Ian Dury & The Blockheads – Blockheads)

Was intending on Slowing the tempo down for the next few cuts but then I came across this one from one of London’s favourite son’s Ian Dury featuring, of course, The Blockheads. So Influential were this group of Cats in themusicologist’s early life that I can’t overstate it. Not only that but in their earlier incarnation as Kilburn & the High Roads it was they, along with Doctor Feelgood and, for me, Steve Marriott that changed the trend, (at least on London’s scene) from listening to overhyped, overpaid and overrated so called supergroups of which I’ll mention no names to authentic, local, talent out of which sprung the attitude that became known as Punk. ‘The High Roads’ were vanguards and deserve recognition.

So without delay hold this, one of their classic cuts which brings memories flooding back..especially of my Uncle Phil who I can almost picture screaming the words…”BLOCK’EADS OI OI”…recorded live in 1990 showing that they had lost none of the energy and quality which saw them through from performing on the thriving ‘pub scene’, of the 70’s (which has now almost dissapeared), up to concert hall venues both here and ‘up and down a foreign’.

p.s after listening to this one at least four times ‘on the spin’ and rocking all round me ‘gates’ HAD to lay the lyrics down for yah…

“You must have seen parties of Blockheads,
With blotched and lagered skin,
Blockheads with food particles in their teeth,
What a horrible state they’re in,

They’ve got womanly breasts, pale mauve vests,
Shoes like dead pigs’ noses,
Cornflake packet jacket, catalogue trousers,
A mouth what never closes,

You must have seen Blockheads in raucous teams,
Dressed up after work,
Who screw their poor old Eileens,
Get sloshed and go berserk,

Rotary accessory watches,
Hire-purchase signet rings,
A beauty to the bully boys,
No lonely vestige clings,

Imagine one puffing and blowing in your ear’ole,
Thoughtful and kind with a well-stocked mind,
Blockheads can’t think very far,

Who wants tonight’s star prize?
Tonight’s star prize,
Is a solid gold Rolex watch,
It’s tonight’s star prize…..

Bigger brained Blockheads often acquire,
Black and orange cars,
Premature ejaculation drivers,
Soft-top’s got roll-bars,

‘Fill her up, they say the Blockheads,
Stick it where it fuckin’ well hurts,
Shapeless haircuts don’t enhance,
Their ghastly patterned shirts,

Why bother at all about Blockheads?
(Superior as you) are,
thoughtful and kind,
(with a), well stock, (mind),

Who want’s tonight’s star prize?
Imagine finding one in your laundrey basket,
banging nails in your big black dog,

Who wants tonight’s star prize?
Tonight’s, why bother at all about Blockheads?
Why should you care what they do
‘Cause after all is said and done,
You’re all blockheads too…ain’t cha,

Who wants tonight’s star prize?
A Rolex, original Rolex from Brixton market,
You can’t get any batteries,

Blockheads
Blockheads
Blockheads
Blockheads
Blockheads
Blockheads, who wants it?
Blockheads, who wants it?
Blockheads
Blockheads (oi oi)
Blockheads (oi oi)
Blockheads (oi oi)
Blockheads (oi oi)
Blockheads (oi oi)
Blockheads (oi oi)
(oi oi)
Blockheads
Blockheads
Blockheads
Blockheads
Blockheads
Blockheads”

Taken from the Live! Warts ‘n’ Audience Set…What a performance…..

musicology #310

Live&Direct #6

(Jimi Hendrix Experience – Like A Rolling Stone Live)

Today’s cut features one of the best known and most talked about Cats in recorded musical history…Johnny Allen, (Jimi), Hendrix about whom much has been written and said. No need for themusicologist to bore you with facts and details about his life and times so I’m just going to lay his version of Bob Dylan’s famous song, (about Edie Sedgwick i do believe?), on you. Recorded live at Monterey in 1967. In a word…magic.

“Once upon a time you dressed so fine,
Threw the bums a dime in your prime, didnt you?,
People call, say, beware doll, youre bound to fall,
You thought they all were kiddin you,
You used to haha laugh about,
Everybody that was hangin out,
Look atcha, but now you dont talk so loud,
Now you dont seem so proud,
‘Bout having to be scrounging yeah your last meal,

How does it feel,
Oh how does it feel baby,
To be on your own,
??????????????????
Look atcha a complete unknown,
Like a rolling stone?,

Gone to the finest school all right, hahah miss lonely,
But you know you only used to get juiced in it,
Nobody here to taught you how to live out the streets,
And now you just gonna have to get used to it,
You say you never you never compromise,
With the mystery tramp, but now you got to realize,
He’s not selling any alibis,
As you stare into the vacuum of his eyes,
And he says hey baby would you like ta to make a deal?

How does it feel baby,
How does it feel,
To be on your own,
No direction home,
A complete unknown,
Look atcha like a rolling stone,

Princess on the steeple and all the pretty people,
They all laugh and drinkin, thinkin that they huh got it made yeah
Exchanging all precious gifts and things but ah,
But you’d better take your diamond ring, I think you’d better,
you better pawn it babe,
Yes I know I missed a verse, don’t worry,

You used to be so amused,
At napoleon in rags and the sweet talk that he used,
Go to him now, he calls you, you cant refuse,
When you aint got nothing, you got nothing to lose,
Youre invisible now, you got no secrets to conceal,

How does it feel,
Oh how does it feel baby,
To be on your own,
With no direction home,
A complete unknown,
Look at ya like a rolling stone”.

musicology #309

Live&Direct #6

(James Brown – There Was A Time Live)

One from the self penned ‘Godfather’..James Brown featuring the band known collectively, (among other names), as the James Brown Band who were to leave Brown’s service a few years later following a pay dispute. Cats like Maceo Parker, Fred Wesley and St Clair Pinckney all left to pursue their own fortunes rejoining in the 70’s after mutaul agreement.

This cut has always been one of my faves by JB but live it shows how great a unit they were. Recorded at the Apollo in 1967. Funk at it’s finest.

p.s it stops abruptly due to it going straight into the next cut ‘I Feel Allright’ which I couldn’t include due to uploading restrictions based on filesize. A shame but ‘them’s the breaks’ I’m afraid. Hope it doesn’t spoil your enjoyment.

musicology #308

Live&Direct #5

(Lou Rawls – Goin’ To Chicago Blues)

Today’s cut features yet another of the great vocalists…Louis Allen Rawls. Life long friend of ‘Mr Soul’ Who was equally at home singing Gospel, Soul or Jazz whose impassioned response to Sam Cooke on the immortal 1962 cut ‘Bring It On Home To Me’ deserves special mention. A singer of the highest order about whom Frank Sinatra was quoted to have said “he has the classiest singing and silkiest chops in the singing game”…

This cut, first performed, (and written), by Jimmy Rushing and the Count Basie band was recorded for Capitol in 1966 featuring musicians James Bond, Earl Palmer, Tommy Strode, Herb Ellis..produced by David Axelrod.

musicology #307

Live&Direct #4

(Etta James – Something’s Got A Hold On Me)

Fourth slice of the Live & Direct….and one you may not have heard before? A rousing performance overflowing with Soul, Blues, Rhythm and emotion from a Songstress who certainly tore the house down from beginning to end at the New Era Club in Nashville Tennesee over two performances during September 1963. Taken from the album ‘Rocks The House’….nuff said.

musicology #306

Live&Direct #3

(Humble Pie – I Don’t Need No Doctor)

Excited to say that I have some real gems lined up for this theme…

Today it’s the turn of English Rock and Roll supergroup Humble Pie featuring one of the best vocalists to come out of these ‘green and pleasant lands’, original Mod icon, Stephen Peter Marriott…(a Cat who featured last year on the SixSixSix hall of fame).

Recorded at New Yorks famed Filmore East in 1971it was to prove the end of the road for Peter Frampton’s involvement in the band after becoming dissilusioned with Steve’s dominance, (the band was originally put together as a front for Frampton), so this is the band in all their glory covering a Ray Charles song penned by Nick Ashford, Valerie Simpson and Jo Armstead.

musicology #305

Live&Direct#2

(Fela Kuti – Mistake – Live)

Day two of the theme has an element of synchronicity for me as the performance was recorded in Berlin…what has that got to do with anything I hear you say? well not only does one of my most valued ‘brethren’ live there but the woman in my life is there today working on/at the film festival. Couldn’t resist or pass up this ‘oppo’ to throw down a second piece on themusicologist by the legend that is, Fela Kuti.

Recorded in 1978 a year after his Kalakuta Republic had been destroyed by a thousand soldiers during which horror his elderly mother had been thrown out of a window suffering fatal injuries with Fela almost being beaten to death for his non-stop scathing critique of Nigerian politics. Word has it that after the tour most of the band left him as he intended to use all the proceeds to fund his election campaign.

Perhaps THE most political musician of all time Fela was his own project and an ‘Existentialist’ in the truest sense. NEVER allowing anyone to deny him the freedom to say and do what he thought right. The hugely influential philosopher Martin Heidegger spoke about Authenticity in relation to one’s life and for themusicologist Fela lived life in a way that, (among others), Heidegger would have been proud of.

musicology #304

Live&Direct #1

(Sam Cooke – Somebody Have Mercy – Live)

New theme on themusicologist starting today concerning Live performances. Not that a recording can truly do them justice but other than being there, and in the case of the majority of artists featured during this theme who are no longer with us, it’s the best I can offer. All powerful performances…starting with the Lion…Mr Soul who has already been a major player on themusicologist over the preceeding two years, this being the second cut featured here from the infamous ‘Live at the Harlem Square’ session recorded in 1963. All I can add is that Words don’t do it justice.

musicology #303

JamaicanVocalGroupAction #14

(The Paragons – The Tide Is High)

The end of the road for this theme. hard to pick a favourite but I’m going for the Wailers – Cry To Me. Tunes like that certainly don’t grow on trees and it resides in my top twenty of all time.

Today’s final slice of the ‘action’ is perhaps better known to many for the Blondie Version from the early 80’s. Or even the most recent version by Kardinal Offishal..My daughter reminds me that, (among others), there was also a poor pop version by The Atomic Kittens but thankfully I don’t know it. Blondie’s version was ok but not a scratch on this, the original from another one of the great J.A Vocal Groups led by John Holt, (who also wrote it)

The group also featured such luminaries as Bob Andy, Tyrone Evans, (who formed the group), and Junior Menz who, following Pat Kellys departure, sung lead for the Techniques most notably on Queen Majesty, (musicology #293), completing the trio on this cut was Howard Barret. A Duke Reid ‘Treasure Isle’ classic from 1967.

musicology #302

JamaicanVocalGroupAction #13

(The Voiceroys – Love & Unity)

Today’s slice of the J.A vocal group pie is yet another from the ‘Golden Age’ of the Vocal Group, the 1960’s. In fact, thinking about it, by the mid 1980’s the group sound had almost disapeared to be replaced by the single artist and ‘DJ’. Not sure exactly why? but it would probably have something to do with economics..the least people involved, the less money would have to be paid out. Producers are generally the people who earn the lions share of the ‘reddies’ leaving the artist, (especially in Jamaica), with very little. It’s a sad state of affairs that hopefully we are seeing change as the internet could and should reverse such injustice…let’s hope so.

This one is a Coxsone Dodd, (Studio 1), production from 1967 led by Wesley Tinglin, backed up, (probably) by Linval Williams and/or Daniel Bernard..

Listen Tune..

musicology #301

JamaicanVocalGroupAction #12

(The Uniques – Hooray, (One Fine Day)

Seeing this theme through until the end of the week and then I’ll be rolling out something fresh on Monday. Just like to thank all you Cats for the visits and comments on the Wailers cut, (and tee), most apprecited. Following a marrow trembler like that is nigh on impossible..one of them cuts that has left me ‘chewing canvas’ to use an old boxing colloquilism…you know the score, hanging on to the opponent for dear life hoping that the bell tolls for the end of the round..so without further delay hold this cut from one of Jamaica’s finest vocal groups The Uniques featuring one of the greatest vocalists to ever grace the M.I.C…Keith ‘Slim’ Smith, alongside Jimmy Riley and Lloyd ‘Charmers’ Tyrel with a first outing on themusicologist. A 1967 Bunny ‘Striker’ Lee production that sounds like it was recorded at the Dukes ‘Treasure Isle’ studio…the home of Rocksteady.

musicology #300

JamaicanVocalGroupAction #11

(The Wailers -Cry To Me)

So…the day has finally arrived when ‘The Project’ is revealed. (Imgs Below)

Allow me to elucidate..Ever since I first clapped eyes and ‘pulled up’ for my first ’statement Tee’, (shirt), back on a stall in Greenwich market as a sixteen year old, (1984), I have harboured a dream to design and produce screen prints that communicate a message. The one that spoke to me was the classic, (UK), Red and White Studio One Label, blown up and screen printed onto a plain white t-shirt. Nowdays it is not uncommon to see ‘Label Tees’ for all different genres but back then, (at least in London), it was fresh and new.

That Tee went everywhere with me and I always wore it with pride, connecting myself with the music and message of Ska, Rocksteady and Reggae. I still own and cherish that same Tee even though it has almost disintegrated and can’t be worn. So last year I decided to take the plunge and learn the art of screen printing. Essentially I am an ‘ideas man’ and my head and heart are full of tributes to Artists, Producers, Genres and even Songs, (among others), so the actual process of printing was neceesary to learn as I wanted to design, produce and provide authentic Tee Shirts that encapsulated the passion I have for Culture without dilution from external economic influences.

After 8 months I feel ready to share these ‘Tribute Tees’ with you and what better place to start than with the legendary Wailing Wailers who have had a major impact on themusicologist from my earliest days…

Available to order in Four ‘cuts’ and, (for now), Three Sizes, (Small / Medium / Large)

The 45, (Plain WhiteTee),  33, (Long Sleeve), Dubplate, (Bamboo&Organic Cotton), and The Sweat Shirt.

At the moment I am working on the most effective way to provide them online but for now the only way to make the transaction will be via my ebay account. It is more of a passion than a business but as we all know a man needs to make a living !! and this is the way I aim to do it by sharing a genuine passion for music, originality, style and culture wrapped up in the humble Tee or Sweatshirt…Feedback and Critique is most welcome, appreciated and valued.

The cut featured today is a song probably better known for the version on Marley’s Rastaman Vibration. But for themusicologist there is no comparison with this 1964? cut featuring the Wailers at their most effective and original. No doubt that as great as Bob Marley was he in no way overshadowed his two partners Bunny and Peter. This cut bears witness to that. Listening to this Trinity of cats harmonizing brings not only tears to my eyes but also joy to my ears and heart. The only downside is that it finishes….but at least it can be enjoyed for free and the message be spread far and wide.

Click on Images To See them in all their glory…

‘45′ Tee

‘33′ Tee

Sweatshirt

‘45′ Tee

musicology #299

JamaicanVocalGroupAction #10

(Mighty Diamonds – Have A Little Mercy)

Penultimate cut of the Jamaican Vocal Group selection…listening back over the proceedings I can’t help noticing that it has been heavily weighted in favour of the 60’s and with hindsight perhaps I should have called it ‘Sixties Jamaican Vocal Group Action’…still, hindsight is not all it’s cracked up to be as “too much thought spoils the action” in my opinion so even though there’s only two cuts from outside of the ’60’s, (make that 3 with todays), I hope this hasn’t dulled your enjoyment over the last couple of weeks.

Today’s outing on themusicologist is one from the Channel One stable which ruled the dancehalls, turntables and airwaves back in the mid 70’s after Coxsone lost the crown following major departures such as Jackie Mittoo, Leroy Sibbles and most of his big selling artists in search of a fairer deal. Channel One was set up by the Hookim Brothers and had the premier ‘Lab’ on the Island as well as the hottest young engineers and musicians such as Leroy ‘Horsemouth’ Wallace, Sly Dunbar, Robbie Shakespere and Don D Junior as well as stalwarts such as ‘Marquis’, Sticky and Tommy Mc Cook.

This cut features the vocal abilities of Donald ‘Tabby’ Shaw, Fitzroy ‘Bunny’ Simpson and Lloyd ‘Judge’ Ferguson known collectivley as ‘The Mighty Diamonds’ making a heartfelt plea to the establishment to ‘Have A Little Mercy’

LISTEN TUNE

musicology #298

JamaicanVocalGroupAction #9

(Justin Hinds & The Dominoes – Save A Bread)

TOP RANKING 1967 slice of the Rock Steady pie for all the Financial Crisis sufferers out there. Recorded and released at and for Duke Reid’s Treasure Isle label, (backed by Tommy Mc Cook and the Supersonics)

Not that, (if you live in good old ‘Blighty’), savings are going to get you out of the egg ‘n’ bubble as the Interest rates tumbling to 0% doesn’t make it an attractive proposition at the moment, resulting in all of us taking the proverbial ‘kick in the bollocks’ while the value of everything crash and burn…I think it’s called ‘The PolitRicKs Of Fear‘…

Looks to me like the new age is apoun us and the strategy is “if you can’t swim then you’re going to sink”. Employment as we have known it is in it’s death throes and now a larger percentage of people have something to lose, (property for example), an updated form of, (wage), slavery is rearing it’s ugly head. I have no answers other than to let the music, (and your community), be your guide…so in the words of foundation Jamaican musicologist Justin Hinds

“Today can be gladness mister, (you don’t know),
tomorrow can be sadness sister, (you don’t know),
what makes the world go around, (round and round),
you’ll never know, (you don’t know),
so save a bread mister, (save it for the future),
save a bread sister, (’cause things will be better),
you know not the minute nor the hour, (man shall come),
you know not the minute nor the hour, (for the time is now),

what you know you know, (what you don’t know you don’t know),
greatest thing is to know, (what you don’t know you don’t know),
anywhere you go, (what you don’t know you don’t know),

Today can be gladness mister, (you don’t know),
tomorrow can be sadness sister, (you don’t know),
what makes the world go around, (round and round),
you’ll never know, (you don’t know),
so save a bread mister, (save it for the future),
save a bread sister, (’cause things will be better),
you know not the minute nor the hour, (man shall come),
you know not the minute nor the hour, (for the time is now),

what you know you know, (what you don’t know you don’t know),
greatest thing is to know, (what you don’t know you don’t know),
anywhere you go, (what you don’t know you don’t know),

musicology #297

JamaicanVocalGroupAction #8

(The Meditations – Stranger In Love)

Moving into a wicked slice of late 70’s ‘Lovers’ from the Wambesi Stable. Produced by Roy Cousins.

musicology #296

JamaicanVocalGroupAction #7

(The Melodians – Swing & Dine)

Apologies for not posting yesterday’s Three Tops cut on the Audio Widget until this morning !! … Been grafting like a dog, especially over the last few weeks, in preparation for phase two of ‘the project’ which is almost ready for exposure. As a result themusicologist had to take a back seat. From my point of view the quality hasn’t suffered, (and never will),but the quantity is a piece erratic so hopefully youse Cats will continue to cut me some slack whilst I adjust.

Today’s piece of Vocal Group Action is a solid gold late Rock Steady, Early Reggae classic from one of the Island’s most loved trios….The Melodians, featuring the sublime talents of Tony Brevett, Brent Dowe, Trevor McNaughton? and Renford Cogle. A group known globally for their influential ‘Rivers Of Babylon’,  tune which certainly helped the music of Jamaica to gain more exposure and then acceptance outside of the few places that knew and raved about it. This slice is well known to the reggae community but maybe not so well outside of it. A 1968 Sonia Pottinger production for her Gayfeet label that, at least as far as I’m concerned, climbs and reaches the highest heights.

Listen tune……

musicology #295

JamaicanVocalGroupAction #6

(Dion Cameron & The Three Tops – Get Ready)

Today’s 1966 cut is one from themusicologist’s Ska box courtesy of the almost unknown Dion Cameron & The Three Tops who are perhaps better known for the few slices released on Duke Reid’s Treasure Isle label, This one is An ‘Olive Branch’? production released in the UK on the Rio label. Can’t tell you much more about it other than it was one of my earliest purchases back in the early 80’s.. Ranking Saxaphone break on this one.

musicology #294

JamaicanVocalGroupAction #5

(The Bassies – River Jordan)

Continuing this week with the JA selection. Originally it was only going to be a one week special but over the last few weeks I have been working like a Trojan to bring ‘the project’ into the next phase resulting in my not being able to dedicate as much time to themusicologist as I would have liked….(All will be revealed by the end of the week !!), Not only that but while perusing my Jamaica musical vaults it was obvious that 1 week would be nowhere near enough space for such a rich theme so it has to be extended.

On with the music…today’s slice of the Jamaican vocalist pie is one more from Coxsone Dodd’s mighty Studio 1 stable courtesy of a group known as The Bassies, featuring a young cat by the name of Fred Locks Rocking Steady as the sound was making the transition into what became known and loved the world over as Reggae.

musicology #293

JamaicanVocalGroupAction #4

(The Techniques – Queen Majesty)

Fourth slice of the vocalgroup and the second outing, (link below), on themusicologist for a group of Cats known collectively as The Techniques with their unique rendition of the Curtis Mayfield / Impressions 1961 cut ‘Minstrel & Queen’. Recorded for the Trojan’s, (Duke Reid), outstanding set up, Treasure Isle.

If you don’t know it and you like your music sweet and soulful then as far as I’m concerned you’re in for a treat. Lead on this one is sung by Junior Menz, (previously of the Ambassadors), with backing by Winston Riley but not Pat Kelly, (who sung lead on ‘You Don’t Care’), as he had returned to America to continue with his education…

“Queen majesty, may I speak with thee,
So much I’ve longed , I’ve longed to speak to you alone,
True I agree, I’m not of your society,
I’m not a king just a minstrel,
With my song to you I sing,
Though just a minstrel in life we’re so far apart,
But royal queen I see love in your heart, your heart
I love you too, your majesty…….hmmmmm,

Isn’t this really true,
These things I ask of you…hmmmm,
Oh,oh majesty would you really care for me,
As long as you love me,
And it wont be so hard,
As long as I see love in your heart, (your heart),
I love you too, (honest I do),
Hmmmm..(your majesty), hmmmm..(your majesty)
Ohh I love you too, (your majesty)
Hmmmm queen majesty…”

musicology #292

JamaicanVocalGroupAction #3

(Kingstonians – Singer Man)

Going back to what I wrote on day one of the theme about the sweet sounds of Jamaica being inspirational and lifting my sometimes troubled Soul. This cut produced by one of my favourite producers and foundation Jamaican musicologists Derrick ‘One Stop’ Harriott ranks high for themusicologist. Quality piece of late Sixties Reggae that many a young suedehead of all colours and flavours has and does skank to.

musicology #291

JamaicanVocalGroupAction #2

(The Heptones – One Love)

Today’s cut is from the mighty Heptones, (Leroy Sibbles, Barry Llewelyn and Earl Morgan). One of the top ranking Jamaican vocal groups throughout the sixties and seventies. Not only that but Leroy Sibbles, (as mentioned previously on themusicologist), was an important part of Coxsone Dodd’s Studio One production team as Bass player, Musical director and all round musicologist during it’s ‘Golden Age’  until his departure for Canada in 1973. With Jackie Mittoo and Leroy gone Studio 1 began to lose it’s edge until younger Cats like Sugar Minott took up the baton a few years later. This, (1971?), piece is a slice from them glorious, Golden days off the album Freedom Line

musicology #290

JamaicanVocalGroupAction #1

(Johnny & The Attractions – Young Wings Can Fly)

New theme on themusicologist featuring some of the cream of the Island’s musicologists. The music of Jamaica has been a feature of my musical education from my earliest days thanks, especially to two of my uncles, Dell and ‘Johnny One Stop’. Like many a youngblood growing up on the streets of London through the Seventies and Eighties Jamaican music loomed large. Starting in the early Seventies with groups like the Wailers and the Heptones, (both will be featured), and evolving backwards with the inner sanctum of Rocksteady and Roots as the Seventies moved into the Eighties Reggae has always been close to my heart. I learnt a lot about life through the sounds of the Groups, Artists and Producers whose music touched my soul with their authentic cries of ‘the struggle’ for survival and freedom.

Many’s the time I have turned to and found solace in the sounds of Jamaica, from Independence Ska all the way through to ‘Computerised’. So this week is a tribute to a small selection of the Cats who have shaped my life with their ‘weeping and a wailing’

First up is one from the second half of the sixties, released in the UK on Doctor Bird during 1968. Produced by Sonia Pottingers Gayfeet team delivered in a Rock Steady style by a group called Johnny & The Attractions….doesn’t get much better than this as far as I’m concerned.

musicology #289

twolegendsclash #12

(Louis Armstrong & His Orchestra – Basin Street Blues)

Final cut of the ‘legends’ and it’s down to ‘Gate’ to close the show. Just like to say that such is the quality, (and quantity), from the twolegends that this selection could last a year !! The Cats featured over the last two weeks are an inspiration and deserve all the accolades that have been written and spoken about them over the last 100 years…

Today’s cut is the first of his many recordings of the legendary ‘Basin Street Blues’ recorded in Chicago 1928 on a special day for themusicologist, (December 4th), one of my favourite Satchelmouth cuts.. featuring two other legendary musicologists Earl Hines and Zutty Singleton.

musicology #288

twolegendsclash #11

(Sidney Bechet & His New Orleans Feetwarmers – Preachin’ Blues)

“What  a weeping and a waling, when the two legends clash….”

Final cut from Sidney Bechet and what a treat…Recorded in New York during January or Febuary 1940. A precursor to the Rhythm & Blues that was to follow and in turn be reclassified as Rock & Roll. All the hallmarks are there, small line-up, Electric Guitar, Boogie Woogie Piano, honking Sax…

Before signing Bechet off, according to a piece of information on Wikipedia;

“In the 1940s, (Louis), Jordan released dozens of hit songs, including the swinging ‘Saturday Night Fish Fry’ (one of the earliest and most powerful contenders for the title of First rock and roll record),”

I’m a BIG fan of Louis Jordan and his music certainly deserves all the accolades and he was certainly at the forefront in the development of Rhythm & Blues but  the above mentioned cut was released in 1949. Whereas this one from Bechet is almost a decade earlier !!…which, as far as I can hear is as close to ‘Rock & Roll’ as it gets, Especially Brother Bechet’s playing.

As it’s the end of the Bechet road it just leaves me to thank the inspirational Cat for leaving us a recorded legacy of the HIGHEST quality…I’m sure he’s up there standing at the gate cutting the angel Gabriel to ribbons.

Blow Bechet…Blow.

musicology #287

twolegendsclash #10

(Louis Armstrong And His Orchestra – Lawd You Made The Night Too Long)

Penultimate cut from ‘Gate’. (Better late than never)…Recorded in Chi for OKeh at the end of his contract in 1932.

musicology #286

twolegendsclash #9

(Sidney Bechet & His New Orleans Feetwarmers – What Is This Thing Called Love)

Today’s 1941 cut, (recorded in New York), is dedicated to themusicologist junior#2 who is now eleven years of age. Happy birthday kid..I love you more than words can say and thank my lucky stars every day that you, (and your sister), are part of my life. Bechet, (and Shavers). come in and blow one for the yoots them..

musicology #285

twolegendsclash #8

(Louis Armstrong & His Hot 5 – Hotter Than That)

Last of the uptempo and fittingly it’s one from Father Armstrong’s final recording session with the original, groundbreaking super group known as the Hot 5. Featuring not only the talents of Armstrong but also Kid Ory on the trombone, Johnny Dodds playing clarinet, Lil Hardin on the piano, Johnny St Cyr plucking the banjo and Blues guitarist Lonnie Johnson. Might not sound ‘Avant Garde’ now but at the time it was. This group came with the ‘new style’ that was to influence much of the music that followed…

musicology #284

twolegendsclash #7

(The Haitian Orchestra – Meringue D’Amour)

Day seven of the twolegends…two more uptempo cuts and then it’s downtempo until Saturday. Today’s cut features Sidney Bechet blowing Soprano, (the instrument he single handedly introduced to modern music), as well as piano legend Willie ‘ The Lion ‘ Smith keeping time, Olin Alderhold plucking bass, Leo Warney on the drums and Kenneth Roane on the trumpet. Recorded in New York on November 22nd 1939. Maybe not as technical or improvisational as many of the other Bechet recordings but, for me, one of the most infectious…I can’t get enough of this one. BIG tune down themusicologist way.

musicology #283

twolegendsclash #6

(Louis Armstrong And His New Sebastian Cotton Club Orchestra – You’re Drivin’ Me Crazy)

Judging by this weeks viewer statistics It would be far more effective for themusicologist to roll with some funk/boogie/reggae/etc, boosting the figures, (and the ego), and patting myself on the back for my musical taste and how well it is received around the world but, for me, the unviversal language has a will of it’s own and compells me to follow rather than lead. themusicologist has no destination in mind or even a reason for being other than to share and spread the word.

It’s harder to be and stay positive when under seige from the media and society at large but through thick and thin music is always there to inspire thought and action on the journey and for themusicologist the selection chooses itself…

Armstrong and Bechet, (to name but two), learned, spoke, evolved and taught the language of the underdog, the oppressed and the disenfranchised to millions around the world in a style and formula that needed no translation or formal education. Listening to these Cats blow delivers musical riches beyond my wildest dreams and makes the spirit soar in tandem with the notes that emerge from their weapons.

Doesn’t matter who you are, where you come from, what you believe in or what colour skin you have, (which it most certainly did back then), the universal language speaks to us all and as always this page is a tribute to the artists on parade.

Today’s cut, featuring Father Armstrong, recorded on December 23rd 1930 in Los Angeles showcases his dexterity as trumpet player, vocalist and authentic man of the people. The way he mixes and blends, weaving in and out is a hallmark of his uniqueness. How many trumpet players are there, (or have ever been), that swing so effortlessy from playing to singing?

The band supporting consist of:

Armstrong, Louis (Trumpet, Vocal)
Hite, Les (Conductor, Alto Saxophone, Bass Saxophone)
Orendorff, George (Trumpet)
Scott, Harold (Trumpet)
Graven, Luther (Trombone)
Johnson, Marvin (Alto Saxophone)
Jones, Charlie (Tenor Saxophone, Clarinet)
Prince, Henry (Piano)
Perkins, Bill (Banjo, Steel Guitar)
Bailey, Joe (Tuba, Bass)
Hampton, Lionel (Drums, Vibraphone)

musicology #282

twolegendsclash #5

(Bechet-Spannier Big4 – Sweet Sue Just You)

Yet another top ranking slice featuring original Hell raiser Sidney Bechet this time in tandem with cornet player Muggsy Spanier, (who always sounds to me like he should have run with Al Capone !!), bassman Wellman Braud and guitarist Carmen Mastren. Recorded in New York in April 1940.

musicology #281

twolegendsclash #4

(Louis Armstrong – Weather Bird)

After deliberating ALL day on what piece of the Satchelmouth pie to serve, (and still not really coming up with a firm favourite), I’m just going to bite the bullet and lay this one down. A 1928 !!! cut featuring not only the improviser supreme but also one of the greatest players to ever tinkle the Ivories…Earl Hines.

Amazing duet that, to me, sounds almost like a whole orchestra such is the ‘fullness’ of the sound produced. One of his own compositions recorded for OKeh on December 5th 1928 in Chicago and the first to bear just his name, (all previous cuts were either featuring him or with an orchestra), What is impossible for us to comprehend is the impact that these 20’s cuts of his had. Granted there are probably players who came after him that could match his technique and as previously mentioned there were also those from before recording whose names shine bright but NONE of them had the same impact on 20th Century music. Louis blazed the trail for everyone who followed and not just in the field of instrumentals.

Ride on Mr Armstrong and let the Cats here know exactly what your’e talking about…

musicology #280

twolegendsclash #3

(Sidney Bechet -Jungle Drums)

Majestic 1938? cut from Brother Bechet whose life experience was about as ‘rich’ as it gets.  A true restless spirit who never stayed in one place too long. Left New Orleans in 1915 to tour with Clarence Williams, then headed for Chicago in 1917 with Joe ‘King’ Oliver and Freddie Keppard. First left America for London in 1919 where he became the first modernist to master the Soprano Sax which he plays on this cut that also features drum legend Zutty Singleton, Ernie Cacares on Baritone, Dave Bowman tinkling the Ivories, Leonard Ware on ELECTRIC guitar and Henry Turner on Bass…

“Bechet to me was the very epitome of jazz… everything he played in his whole life was completely original. I honestly think he was the most unique man to ever be in this music” – Duke Ellington

’nuff said.

musicology #279

twolegendsclash #2

(Louis Armstrong & His Orchestra  – Them There Eyes)

Ladies and Gentlemen, Boys, Girls, Cats, (and Dogs), please join me in welcoming into ‘the ring’, coming out of New Orleans Mr Louis, Satchelmouth, Pops, Armstrong undisputed King of the Horn. A Cat who is known the world over for spreading joy to millions and whose legacy and name is written across almost every page in the book of 20th Century music.

Before soaking up some top ranking swing a brief historical outline for those of us who know the name and even some of his more popular cuts but are maybe not as aware of his true genius and the life he lived as a young ragamuffin on the streets of one of America’s most dangerous Cities. That he climbed every mountain put in front of him is testament to his human as well as his musical qualities. A man who almost never let his bitterness at the injustice of the world he lived in get the better of him instead he chose to sing, dance, blow, laugh and smile his way through to the end of his days. Born August the 4th 1901in Uptown New Orleans to young parents, (his mother was 15), Little Louis, (and I use that term with the greatest respect), studied hard, eventually graduating with honours at the infamous University Of Life, spending almost all his youth on the streets listening, learning, hustling, ducking and diving to not only survive but to set his own agenda. So much has been written about the Cat that I’m not about to rewrite what is already known, (or available elsewhere on the information highway), so I’ll just start his contribution to the twolegendsclash with a quote from the great man:

“One Sunday our Pastor whom we all loved happened to take a Sunday off and sent in another preacher who wasn’t near as good. The whole Congregation frowned on him except one Sister. She seemed to enjoy the other Pastor same as she did our Pastor. This aroused the Congregation’s curiousity so much until when Church service was over they all rushed over to this one Sister and asked her why did she enjoy the substitute preacher the same as our regular one?, she said, “Well, when our pastor preach I can look right through him and see Jesus and when I hear a preacher who’s not as good as ours I just look over his shoulder and see Jesus just the same.” That applies to me all through my life in music ever since I left New Orleans. Iv’e been just like that Sister in our Church. I have played with quite a few musicians who weren’t so good. But as long as they could hold their instruments correct, and display their willingness to play as best they could, I would look over their shoulders and see Joe Oliver and several other great masters from my home town”

Recorded April 1931 in ‘Chi’ for the OKeh label

musicology #278

twolegendsclash #1

(Noble Sissle Orchestra (feat Sidney Bechet) – Dear Old Southland)

As promised a new theme starts today, a ‘Soundclash’ between two of the greatest soloists, innovators, and players of instrument ever recorded. I say recorded because there were others who didn’t record, (Buddy Bolden for instance), or who like Louis Armstrong’s mentor Joe ‘King’ Oliver had health problems that affected the quality of their recorded legacy. Others like Frank Dusen refused to record on the basis that others would be able to hear and imitate their ‘licks’ claiming them as their own. Imitation and competition was fierce as ragtime evolved into ‘Jazz’ and many of the original cats were left behind as the age of recording began to take shape. Not only that but, (as hard as it is for us to imagine today), recording was nothing, (financially), compared to live performance and maybe those players thought that this new fangled technology would never account to much. Youngbloods like Armstrong and Bechet on the other hand were in the right place at the right time and were ‘modernists’ to the core.

First up is Clarinet and Saxophone virtuoso Sidney Bechet, who along with Armstrong took improvisation to a new level. That’s not to say that there weren’t others who were as innovative and talented, Johnny Dodds or ‘Big Eye’ Louis Nelson for example, (who Bechet had lessons with).

Born in 1897 Bechet grew up in New Orlean’s Seventh Ward graduating as a fourteen year old from his brother Leonard’s Silver Leaf band into Bunk Johnson/ Frankie Dusen’s famed rough house ‘Eagle band’ which had previously featured the Legendary Buddy Bolden and later Joe ‘King’ Oliver. This is where the young Bechet’s talent really began to shine and take shape. Obviously no recordings exist from them days so I can’t lay one on you so this 1937 cut featuring brother Bechet on Soprano Sax, (recorded with the Noble Sissle Orchestra in New York), will have to do.

musicology #277

newyearboogie #5

(Mel & Tim – Starting All Over Again)

New Month, New Year…New day dawns.

Listen Tune…

p.s flying home tonight so back in the saddle tomorrow with a new theme. A ‘clash’ between two of the greatest soloists ever recorded who together refined the language of improvisation and lifted it to new heights. I’ll leave it to your imagination as to who it could be. One thing’s for sure though it will swing so hard that by the end of it you’ll find your dancing shoes worn so thin you could use them to wrap a ‘zut’ !!

musicology #276

newyearboogie #4

(Roy Milton’s Solid Senders – New Years Resolution Blues)

Today’s cut is courtesy of pioneering combo The Solid Senders, led by singer, drummer and band leader Roy Milton who together with Joe Liggins and Johnny Otis helped shape, (in the late 40’s), the emerging sound that became known as Rhythm & Blues. A much smaller sound than the precceding style made popular by the likes of Count Basie, Louis Jordan and Joe Turner. The contribution of female pianist Camille Howard is worthy of special mention as it was, (along with Milton’s drums), the driving force behind Milton’s hits. For themusicologist Roy Milton