musicology #413

Terry Callier #5

(Terry Callier – If I Could Make You Change Your Mind)

Later than intended but very important that the right message is communicated on this day and who better to ask for help than the poetic genius ‘Pegausus’ (Terry Callier). Right time, right place….

By the way the lines are far too intricate to read between regarding the message just know that this is quite possibly the most important cut themusicologist has ever laid down. To the recipient I MUST say that empathy is crushing my soul. Hold these lyrics in your heart.

Now we are only standing up in here,
To ease away the doubt and fear,
That might lead us back to love,
The story of our life unwinds,
We can read between the lines,
That might lead us back to love,
And if we,
Can agree,
What is real and what is fantasy,
Think how close,
We will be,
We can match the music with our harmony,
If I could make you change your mind,
Come walk with me through the bright sunshine,
What will it take to make you change your mind?,
We are searching for the rainbows end,
If we see the light my friend,
That might lead us back to love,
Sweet love,
I have just begun to realise,
Maybe if we compromise,
That might lead us back to love,
And if we,
Can agree,
What is real and what is fantasy,
Think how close,
We will be,
And we can match the music with our harmony,
If I can make you change your mind,
Come walk with me through the bright sunshine,
What will it take to make you change your mind?,

If I could make you change your mind,
Come walk with me through the bright sunshine babe,
What will it take to make you change your mind?,

Wanna make you change,
Change your mind,
I Wanna make you change,
Come on and change your mind girl hey,
Wanna make you change,
Honey change your mind,
Wanna make you change,
Wanna make you change,
Change Your mind,

He say hey, hey, hey baby change your mind alright,
I said hey, hey, hey baby change your mind woooahh,
He said hey, hey, hey baby change your mind
hey, hey, hey baby change your mind
I said hey, hey, hey baby change your mind woooahh,
Hey, hey, hey baby change your mind
Woooooooahhhhhhh
I got to make you change girl yeah.

musicology #407

Catharsis #5

(India Arie – Slow Down)

Working the Tees yesterday and couldnt find the time and space to throw down a slice of the Cathartic Pie. Listening to and learning from music ALL day though so was most definately In Training for themusicologist and today’s artist will always hold special memories for me due to her part in helping me navigate the roughest and rockiest road I have ever stumbled down. India Arie EPITOMIZES catharsis for me and is one of the most inspirational artists I have ever had the pleasure to connect with and to.

With that in mind hold this cut from one of the GREAT sets. For themusicologist rarely does a whole set hit the bullseye but this one, (Voyage to India), certainly does.

musicology #400

Sound&Fury #4

(Freddie Hubbard – Backlash)

Following on from the Ray Sharpe & King Curtis hold this ranking piece of 1966 Jazz Funk courtesy of legendary trumpeter Freddie Hubbard with a piece that swings so hard it could wake the dead.

Also featuring the collective talents of Ray Baretto on percusion, Bob Cunningham on bass, Ray Appleton on drums, James Spaulding on Sax and Albert Dailey smashing the ivories. This, the title track, is borrowed from his first in a series of sets for Atlantic and I noticed that ‘Pickett’ is credited with writing this one so I assume that it would be none other than the ‘Wicked’ Pickett (Wilson), himself? although whoever wrote it the credit here belongs to the players who are fluent in the universal language and communicate the message perfectly.

musicology #399

Sound&Fury #3

(Ray Sharpe & The King Curtis Orchestra – Help Me Get The Feeling Pts 1&2)

Fuck…not sure how you cats are feeling but for themusicologist it sure is a hard road fe travel at the moment. not complaining, moaning or, (worst of all), looking for sympathy just an observation and comment on this part of the journey.

I’m always up for the challenge but the constant pressure is taking it’s toll. So with that in mind I’m going to lay down this wicked piece of 60’s Soul. Keeping in mind that although it’s the ‘Sound&Fury’ signifying nothing music speaks and themusicologist can’t help but listen. Quality double sider of urban musicology that I had no choice but to edit the two seperate parts together.

1966 ‘Atlantic’ release originally released on the Atco Label courtesy of Ray Sharpe featuring one of the top bands of the period none other than The, (King), Curtis Orchestra.

musicology #398

Sound&Fury #2

(Terry Callier – Darker Than A Shadow)

Slowing down the tempo a piece with this the second cut on the sound&fury courtesy of a Cat who has been a constant feature on themusicologist’s playlists over the past few weeks..poetic lyricologist of the highest order, childhood friend of Curtis Mayfield and one time Cabrini Green resident, Terry Callier.

This majestic slice is borrowed from his 2002 set ‘Speak Your Peace’. Just like to add thas far as I am concerned Terry Callier is an artist who deserves our support. Buy his sets, go to his concerts and let him know that he has some ‘warriors’ by his side.

“Darker than a shadow,
Darker than a shadow,

I was asleep and having dreams,
Awakened by a silent scream,
A raging wind and clouds of steam,
It was..darker than a shadow,

Unprepared for scenes like these,
With heavy air and boiling seas,
Destruction of societies,
It was..darker than a shadow,

What type insanity is this,
Standing on a precipice,
That leads into a deep abyss,
And it is darker than a shadow,
Darker than a shadow,

There was a storm like this before,
Aftermath where angels walked,
Poisoned waters, wasted shores,
And it was..darker than a shadow,

Is this all we have learned my friends,
We’re doing now what they did then,
Repeating great mistakes again,
Darker than a shadow,

What type insanity is this,
We are walking in a scorching mist,
Leads down to a deep abyss,
And it is darker than a shadow,
Darker than a shadow,
Darker than a shadow,

And then from out the deepest void,
There came a flaming asteroid,
One third of this world was destroyed,
It was…darker than a shadow

Mankind was in a raging fit,
And thermo-neuclear fires were lit,
We never saw the end of it,
‘Cause it was…darker than a shadow,

What mad insanity is this,
Standing on a precipice,
That leads into a deep abyss,
It is darker than a shadow
What type insanity is this,
Standing on a precipice,
That leads into a deep abyss,
And it is darker than a shadow,
Darker than a shadow,
Darker than a shadow,
Darker than a shadow,
Darker than a shadow,
Darker than a shadow,
Darker than a shadow,
Darker than a shadow”

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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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’s vocals and the Solid Senders music always hit ‘the spot’.

p.s the sentiment in the cut does not reflect, (as is often the case), my own feelings on the subject.

musicology #274

newyearboogie #2

(Johnny Otis Orchestra – Happy New Year Baby)

what can I say about 2008?..pure ‘hill and gully ride’ for me. Learnt a LOT, more than I would have thought possible. Ended on a real high..New Years Eve up on a rooftop in Spain with my son under the stars listening to Sidney Bechet swing out the old year in finest style. I could go on and on about how much this holiday means to me but I’ll just say that last night, especially, was one of the great moments in my life so far, (and there have been a few I am happy to say), that’s TWO top ranking holidays in 2008 that I will cherish for ever, thanks to the Cyprus cats for the previous one and the Fam for this one.. Weather here is glorious, company is first class and the soundtrack has been led by a diet of cuts from the early part of the 20th century most notably from the master, Brother Louis Armstrong while reading a very informative and well written book on his early life in New Orleans.

Today’s cut is courtesy of bandleader Johnny Otis and his Orchestra. Can’t add any more info at the moment like singers, date, label etc so i’ll leave it at that other than to say:

HAPPY NEW YEAR BABY….

musicology #273

newyearboogie #1

(What Are You Doing New Year’s Eve)

themusicologist and full crew are off for a week’s break where ‘the rain falls mainly on the plain’ so I am hoping to continue the theme from there but of course it depends on the communication resources available….If I am unable to however then I would just like to take this opportunity to thank all you musicology cats out there for the love and support during 2008….what a year it has been, pure ‘hill and gully ride’ from beginning to end….

musicology #268

sleighbellsring #16

(Johnny Moore’s Blazers – Christmas Eve Baby)

Woke up this morning with the smell, sound and sight of Christmas in my nose, ears and eyes…what JOY. So with that in mind today I am going to post as many cuts as I can manage in between preparing for Santa’s visit tonight.

First up is a cut from Johnny Moore’s Blazers. Not sure of the exact year or even whether it’s Charles Brown on vocal duties what I am sure of however is it’s quality…..

musicology #261

sleighbellsring #9

(Lowell Fulson – Lonesome Christmas)

One more from the Christmas Blues canon and then I’m rolling out a selection of seasonal favourites. Hope you have enjoyed the sufferers interlude.

The 1950 slice on the Hollywood label is courtesy of West Coast Rhythm & Blues legend, bandleader, guitarist and songwriter Lowell Fulson with a cut that may include Brother Ray tinkling the ivories?…

musicology #258

sleighbellsring #6

(Joe Tuner and Pete Johnson – Christmas Date Boogie)

Today’s cut is courtesy of two legends. Boogie Woogie/Stride piano extrordinaire Pete Johnson with long time companion ‘Big’ Joe Turner who together were there to shape what became known as Rock & Roll. Johnson and Big Joe recorded ‘Roll ‘Em Pete’ after being scouted by John Hammond for his ‘Spirituals To Swing concert at Carniege Hall in 1938. Prolific recording artists they also recorded the seminal ‘Rocket 88 Boogie’ in the late 40’s which Ike Turner used as the basis for what is considered to be a watershed slice in the development of Rock & Roll…’Rocket #88′ as well as the original cut of Shake Rattle And Roll.

musicology #257

sleighbellsring #5

(Riff Ruffin – Xmas Baby)

Apologies for not posting up yesterday’s cut until this morning. Thought I had until one o’ youse  ‘tipped me the wink’.

Today’s 1956 cut is one from the Rhythm & Blues canon…ranking slice. A must for all the Christmas HEP cats out there around the globe.

musicology #246

birthdaybashsoul&funk #1

(The Meters – Love Slip Apoun Ya)

little run down of a selection of slices served up by themusicologist on saturday night at our joint birthdaybash down at the 3BlindMice. Played two sets one of which was the ‘rare groove’ which, musically, is anything from the late 60’s up to the closing of the seventies. The Rare Groove scene on the other hand sprung up in London sometime in 1985 when the ‘Boogie’ became mainstream and began to lose it’s edge.

Again, Soho was involved in the scene’s birth, (especially the ‘Wag’) but a bigger part was played by large scale ‘Blues’ parties. (unlicensed gatherings), organised in disused commercial properties, (especially in and around Camden and Kings Cross), where serious money could be, (and was), made charging ‘tenners’ on the door. Many a career was launched from the proceeds of such ‘warehouse parties’ as well as it being a hotbed of creativity style and flair. It went on to play a HUGE part in the development of fashion introducing ‘vintage’ as a lifestyle choice rather than ’second-hand’ as a matter of neccesity.

Anyone who was there knows it’s global legacy both in fashion and music and the next seven, (count ‘em), slices were ALL played, regularly, by anyone who was lucky enough to own them, (in the days before CD’s and EBay of course).

The band responsible for this majestic piece are none other than New Orleans musicologists the Legendary Meters, one of the premier funk outfits of all time. The original line up, (formed in 1965),  of Art Neville, Leo Noncentelli, Joseph Modeliste and George Porter Junior, (joined by Art’s brother Cyril in 1975), were responsible for delivering some of the cream of the genre and are second to none in the funk lexicon.

Taken from their album, Fire On The Bayou, produced by the musical genius Allen Toussaint and recorded at his, (and Marshall Seahorn’s), Sea Saint Studio. For me it doesn’t get funkier than this.

musicology #217

12AngryMen #12 (alternativesoundtrack #3)

(Screamin’ Jay Hawkins – Yellow Coat)

back in the 12 angry saddle after almost a month ‘lost’ to philosophical meanderings, holidays, heartbreak, earning a living and soul searching…what have I learnt?

That true friends are essential, that a life lived alone is almost not worth living, that money is valued far beyond it’s worth and has become too important in the scheme of things. I believe it was Ruskin that said

“the only wealth is health” (and he wasn’t only refering to the physical). mind fuck is almost unbearable. harder to overcome than an expanding ‘darby’, which if youre careful can be dealt with by exercise and nutrition. I don’t know about you but my ‘butterfly mind’ is in a constant whirl and no matter how much I try to tame it’s fluttering wings with discipline or ‘will’ it always eludes me. I’m not going to go any deeper right now because it’s got nothing to do with the soundtrack, (at least not consciously), I just wanted to offer a ‘reason’ for my abscence, not an excuse.

anyway…back to the soundtrack with this classic piece of dialogue. a painful piece of prejudiced bigotry the likes of which, unfortunately, can still be heard around the globe today. not sure whether you remember the scene but one by one the jurors turn their backs on him in a show of contempt. the musicology, from Rhythm & Blues legend Screamin’ Jay Hawkins, was released in, yep you’ve guessed it, 1957 on Chicago’s famed OKeh label.

musicology #210

12AngryMen #7 (alternativesoundtrack #3)

(Rosco Gordon – Cheese & Crackers)

So, the ‘battle’ is on…our man Henry has done enough to convince the ‘old man’ that there is a possibility of doubt and therefore further questions need to be asked and answered…

the music is a 1957 slice of the Sun Records catalogue performed by the legendary Rosco Gordon. member of the famed collective of hip cats known as ‘the Beale Streeters’ out of whose ranks rose Bobby Bland, Johnny Ace and B.B King.

musicology #204

12AngryMen #1 (alternativesoundtrack #3)

(Bo Diddley – Before You Accuse Me, (Take A Look At Yourself)

I have enjoyed laying down the alternativesoundtracks so much that it will be a regular feature on themusicologist. this third instalment is another one of my favourite films, the classic 1957 film 12 Angry Men, directed by Sidney Lumet. I first saw this one back in the early 80’s and have loved it ever since.

the opening slice of the musicology pie was released in the same year, (1957), as the film and is courtesy of the legendary Ellas Otha Bates, (McDaniel), better known as Bo Diddley, who passed away at the ripe old age of 80 on June 2nd of this year. I am proud to say that I had the honour of sharing a stage with the man about 25 years ago in deepest, darkest South East London where my cousin and I were invited on stage to ‘throw some shapes’. A treasured memory.

Bo…this ones yours…thanks for the music and the memories…priceless.

musicology #200

teachings of billionaire YenTzu #10

(The Swallows – I Only Have Eyes For You)

Holding The Carp, (cultivating your superconscious)

A traveller who had recently entered a foreign province was accosted suddenly by another traveller who told him in a frightened voice, ‘We have wasted our time in this direction, for behind those dark clouds is a vast mountain which will block our way.’

The first traveller felt strangely calm, a calmness that he had not fully experienced before. A while ago he would have acted with great concern, but this time he felt no artificial sense of impending doom. Surprised at the report, though, he thanked the frightened traveller and continued on his journey to see whether it was true or not.

He came apoun no mountain, but he did meet another stranger who reported gloomily,

‘It is hopeless to continue your journey. Just beyond that medow is a precipitous canyon that even the nimblest of goats are unable to cross.’

Once more experiencing a sense of inner calm, the traveller decided to see for himself and went on his way leaving the stranger dissaprovingly shaking his head. There was no canyon at all on the path he took, but he did run into a third stranger in a military uniform, who sternly commanded,

‘Stop! You are forbidden to go any further in this direction. This path leads straight into the camp of an army that will punish your attempts to contine.’

Not frightened by the threat the traveller walked past the fuming stranger. He met with no camp and there were no soldiers to block his path. Travelling on his way he encountered a fourth traveller. But this person seemed no stranger, indeed the man felt as if he was entering the prescence of a long lost friend. As he approached, the other traveller extended his arms in welcome, saying, ‘Because you decided to take no-one’s word for anything, but to test everything on yourself, my wait has been brief.’

‘But, tell me,’ asked the traveller, ‘who are you, although I feel sure I know you. Have we met before?’

‘Of course,’ came the answer, ‘I am your faithful guide for life. What you have risked confirmed your faith in me so I am able to become fully present. Come, let us continue, there is no insurmountable obstacle ahead and so much to share with you.‘

musicology #194

teachings of billionaire YenTzu #4

(Little Miss Cornshucks – Try A Little Tenderness)

Shooting The Monkey (freedom from the distracting ego)

‘Has your majesty never observed the bounding monkeys?’ answered Chang to the King of Wei. ‘If they can reach the tall cedars or camphor trees, they will swing and sway from their limbs, frolicking and lording it in their midst, so that even the famous archers Yi or P’eng Meng could not take accurate aim at them, But when they are attracted to what they suppose are delicacies and find themselves among the prickly mulberries, brambles, hawthorns, or spiny citrons, way below their loftier arena, they must move with caution, glancing from side to side, quivering and shaking with fear.

‘It is not that their bones and sinews have become suddenly stiff and lost their suppleness. It is simply that the monkeys find themselves in a difficult and disadvantageous position, one where they cannot exercise their abilities to the full. And so it is when Man becomes full of himself. His attraction to what is seemingly of benefit and greater security to him actually distracts him from expressing himself in his full light.’

‘I like that tale, ‘ said the King of Wei, ‘but knowing you as I do, I have no doubt that the monkey is merely a metaphor for Man’s own mischievous self. Our fall from our true identity causes us to improvise and clutch at a false identity with the same desperation as someone falling continuously into the abyss.’

‘Exactly so!’ said Chang gleefully. ‘In the absence of the true knowledge of who we really are, our adopted self must keep alive its fictional existence with convincing, albeit empty, chattering.’

‘Chattering which is taken to heart rather than ignored,’ said the King. ‘Incessant and sweet chattering thoughts that, while sometimes a nuisance, sweetly persuade, convince, cajole, even scare us into believing that if we want protection, security and peace of mind, there is no other self worth listening to.’

‘And if such a self was indeed a monkey, how would you, as a sagely king, deal with it?’ enquired Chang.

‘Why I would ensure that both Yi and P’eng Meng practised harder, until they were successful,’ his monarch replied with amusement.

‘And how so for your own self, is it also a case of shooting the monkey?’ asked Chang.

‘Again, I would employ and develop those decisive archer parts of my own being to unmask myself.’

‘Well said, my King, for only by such action will you rid yourself of a fictional power that ultimately renders you powerless.’

musicology #174

alternativesoundtrack2..Quadrophenia #6

(Big Jay McNeely – Without A Love)

it’s on top for Jimmy now and from here on in it’s just pure kicks in the nuts for the kid..

the come-down off the ‘blues’ wouldn’t be helping either but there’s no denying that he’s on the slippery slope downwards. one thing about slipping into darkness is, you never know when it’s going to end until the moment after you hit the floor. it could be moments or even years until you start the climb back up.

I know I have been there, (too many times), so I feel for the kid but life seems to be full of trials and tribulations, each to be conquered and vanquished and in the scheme of things ‘growing up’ isn’t that hard an ordeal. you just got to accept it and move on..

the dialogue says it all. his mum has nailed him for being involved in the troubles, found his stash and kicked his arse out onto the streets..the musical accompaniment is a 1962 cut of majesty, (as far as i’m concerned), by a legendary Rhythm & Blues performer, saxophonist supreme Big Jay McNeely, (and his band), which has a particularly fine a piece of organ work that I have been waiting for the opportunity to fling down..a 45 on the Swingin’ Label.

musicology #173

alternativesoundtrack2..Quadrophenia #5

(The 4 Casts – Stormy Weather)

day 5 and for Jimmy it’s all about to start going downhill. having made his way, (on convoy), down to Brighton and spent the day getting ready for some evening action he has been ejected from the ‘dance’ for jumping from the balcony in an attempt to impress Steph, (the things we males do to be noticed by the ladies !!), who has mugged him off to be with ‘The Face’.

having nowhere to go and no-one to go with he spends the night on the beach, (no doubt speeding off his ‘nut’), and in the morning makes his way to to meet up with the boys. this is followed by the big ‘tear-up’ on the beach and the demolishing of a cafe that some ‘greasers’ have holed up in. if you’ve seen it you know all about the ‘knee jerker’ in the alley with Steph and then him having his collar felt by the old bill, where he ends up in a black mariah with his ‘hero’ .

Cut to this scene, where the mod attitude and deference to authority is highlighted by ‘the Face’s’ dismissal of his financial punishment in style. but notice how the judge states that these are not the first wave of ‘hooligans’ to hit Brighton, in reference to the much more dangerous and violent racecourse wars of the 1920’s featuring the likes of ‘The Elephant Boys’, the Brummagen boys, the Sabini’s and cats such as Georgie Sewell and Billy Kimber…Brighton was always a hotbed of crime and violence right up until the most recent spate of re gentrification that has taken place over the preceding 10 years or so..and a trip ‘down the line’ was very common for London’s opportunists and villains of the past.

the tune that follows is a slice of the Atlantic pie from early 1964 by a vocal group I know nothing about so I can’t offer any information other than what’s on the label.

stormy weather is certainly up ahead for ‘young Jim’

musicology #172

alternativesoundtrack2..Quadrophenia #4

(Robert Parker – Watch Your Step)

today’s section is the scene about ’scoring the ‘Jack & Jills’ for Brighton, featuring Jimmy, Dave, (his so called best mate), and Chalky. ‘Flash’ Pete puts them on to some proper Villians from South Of The River and the story unfolds..

one thing I would like to add is that there is no way that what follows, (“lets do the bastards motor”), would or could have happened back in the day…it’s pure fantasy to suggest it. what definately did happen back then, is Villains were on the speed long before the ‘mods’ and it many cases would have been how the teenagers were introduced to them.

speed was in use throughout the 1950’s, (especially in and around Soho), and was known to have been used by some in preparation for crimes that sometimes required a ‘liitle helper’. used in World War II, ( British troops used 72 million amphetamine tablets in the second world war), it was freely available to soldiers to ‘help’ keep them alert, awake, and fearless. I recall a sentence from a fantastic work of art, (Information Panel), detailing the late 50’s, early 60’s period of crime in London and it mentions ‘teams of pilled up 16 stone villains striking terror into the hearts of most’…especially on the ‘armed blag’ so to suggest that young kids would have been so foolish to have dealt out such retribution over such a small thing as a ‘Cockle’s’ worth of pills is misguided.

the piece of music that follows the dialogue is a well known Mod/ernist slice of the Rhythm & Blues pie by artist Robert Parker that was issued in the UK on London DJ and musicologist Guy Steven’s Sue label a couple of years after this one, (the American original released on V-Tone in 1961).

I know it’s been all Rhythm & Blues so far but it was this music that defined Mods up to the year in question, (1964) and certainly not bands like The Who. Live music was performed at places like the Scene by bands such as The Who, The Animals and others but they were mostly to be found, (tradition that still holds), performing in local Pubs and live music venues.

musicology #171

alternativesoundtrack2..Quadrophenia #3

(Gino Parkes – Fire)

after the ‘reunion’ at the public baths with old ’spar’ Kevin, Jimmy has been to a party, been seen getting off with a girl, (purely for some ‘blues’), by the object of his affection and desire, (Steph), and has for the first time begun to question ‘what it’s all about’

this next, (key), section of dialogue finds Kevin, (the rocker), turning up at Jimmy’s family home on a social visit and offering to fix his ‘poxy hair-dryer’, (scooter), which leads to a great piece of acting and communication between the two childhood friends about ‘being different’. the reality is, (of course), that they are exactly the same and Kevin, (played majestically by Ray Winstone), nails this with the closing line…

What struck me about the film was the way it portrayed the disillusionment of the movement as well as it’s depiction of the ‘Mod’ attitude, (captured in fine style by Phil Daniels as ‘Jimmy’), and it’s in this exchange that it is laid bare.

the music is a 1962 cut from Detroit, courtesy of Soul singer Gino Parkes, (not forgetting the cats behind the Motown sound, the ‘Funk Brothers’), with a rare slice of the Motown pie. can’t say for sure whether it was played back then but if not, it should and probably would have been if known about.

musicology #170

alternativesoundtrack2..Quadrophenia #2

(Buster Brown – Fannie Mae)

day two of the selection and after setting the scene, (no pun intended), with one of the great Mod classics Jimmy finds himself having a clean up at the Public Baths…now there’s a blast from the past…young bloods these days can’t even begin to imagine how common it was right up until the 1970’s to have your weekly bath down at the local swimming pool, (nowdays known as ‘Leisure Centre’)

part of what I really enjoy about Quadrophenia is the way it depicts how life was for the working class. which really began to change, (for the worse), during Thatcher’s reign as we were sold into rising debt and subsequently wage slavery with the ‘carrot’ of becoming ‘better off’.

my belief is that today’s society is a backward step. Health, Education and Security are all in a spiraling decline as the businessmen and politicians wait like stinking vultures to carve up the ‘institutions’ that were meant for the people’s welfare. It won’t be long before business is in charge of all the areas mentioned above as whoever is in charge tries to remind us that it’s ‘for our own good’ .. believe me it won’t be. as always the Poor and Needy will be raped and pillaged by the Rich and Greedy.

so..back to the film.

‘Jimmy’ is having a relaxing soak in the bath when the opening lines to Gene Vincent’s ‘Be Bop A Lula’ come floating over the cubicle wall… being a ‘Mod’ he takes this as a personal affront and makes his feelings known. leading to a vocal altercation that is about to step up to a confrontation until the two parties make visual contact and realise they are, what sounds like, friends. as we now know the ‘mods vs rockers’ fighting pitched battles and being sworn enemies is a myth overcooked by the media to sell newspapers.

if the truth be known it was more likely to be mods fighting mods over age old territorial rights or who ‘owned’ a particular corner of a dancehall.

the tune that follows is an example of the music that was appreciated by both mods and rockers, (music is a great leveller), another stomping piece of Rhythm & Blues, (released in 1959), that was played in early mod venues in London by the likes of original DJ’s such as Sammy Samwell and Guy Stevens.

Tony Blue this one’s yours. hope it brings back fond memories of being young, free and disengaged.

musicology #169

alternativesoundtrack2..Quadrophenia #1

(Tommy Tucker – Hi Heel Sneakers)

having enjoyed laying down the alternativesoundtrack selection to one of themusicologist’s favourite films, (Good, Bad and Ugly),  so much I feel It’s time for another one…

this time it’s the turn of cult English film, Quadrophenia.

still the only cinematic portrayal of one of the most enduring and influential youth cults to emerge…’Mod’. which is amazing when we consider the impact that the movement had on music, fashion and society over the preceeding 45 years.

as a youngster growing up on the streets of South East London during the seventies, (born in 1968), themusicologist was part of the original mod/ernist legacy by having parents who were there at the birth of the movement, (1962), that had evolved out of a scattering of disparate individuals who began to congregate in pockets of London to become known, (mainly to themselves), as ’stylists’ or even ‘modernists’.

there are many reasons for this but the most important was the change in music from ‘Rock & Roll’ to ‘Rock & Soul’ that began to happen around 1959 but also the impact of globalisation and the ‘consumer society’ that emerged out of it.

I have seen and enjoyed the film many times but the thing that I always found dissapointing was the soundtrack. I know the film was about ‘Mods’and in many ways it was authentic but also a little bit one-sided in as much as, for me, it didn’t do musical justice to the more ‘underground’ aspect of the movement so this week it’s going to be about tunes that were BIG on, and in, the ‘Billy Bean’

day 1 finds ‘Jimmy’ turning up at a club and buying his supply of FFrench Blues, (amphetamines),  to complement the night’s action at a local club.

a tune well known and loved by mods, modernists and stylists, recorded in late 1963 and released in early 1964. (the year in which the film was set). released as a 45 on the ‘Checker’ label..a Rhythm & Blues dancer that had all the neccessary requirements for getting the ‘Cats’ off their arse and on the floor..

musicology #165

malevocals2 #3

(Ray Charles – Let The Good Times Roll)

Todays artist needs no introduction .. a first outing on themusicologist and definately not the last.
BIG down Winforton Street in the early 1960’s. a tune that epitomised ‘The Golden Age’ and one of my grandad’s favourites…

“hey everybody….let’s have some fun, you only live but once and when youre dead youre done”…

musicology #152

duets2 #1

(Isley Brothers – Busted)

trying to keep a low one about not posting two cuts yesterday..(hoping that the quality and not the quantity is enough to earn themusicologist a reprieve)

this week it’s duets …. SIX cuts, (one a day), from across the ages. starting with this one produced, written and arranged by R’n'B supremo R.Kelly. performed by Ron Isley and Kim Johnson of JS and released in 2003.

musicology #65

Ike Turner Tribute #5 (Rocket88 – Jackie Brenstons Delta Cats – Chess – 1951)

couldn’t lay down a tribute to Ike without including the classic Rocket88. hailed by many as the first ‘Rock&Roll’ record. Teenage DJ Isiah ‘Ike’ Turner orchestrates and smashes the piano on this his first recording. vocal by Clarksdale’s Jackie Brenston it also features a saxophone break by 17 year old Raymond Hill, (the father of Tina’s first child).

recorded in the spring of 1951 by Sam Phillips and sold to the brothers Chess. Phillips used the money to found Sun a year later and the rest is Rock & Roll history. ‘written’ by Ike the song is largely based on Jimmy Liggins 1947 cut ‘Cadillac Boogie’ as well as boogie woogie piano legend Pete Johnsons 1949 piece ‘Rocket88 boogie’ but it’s not the song itself that is ‘new’ .. more the elusive & mystical ‘vibes’ produced in complete harmony by these ‘hepcats’ that just goes to prove that pieces like this don’t grow on trees.

for themusicologist it’s always a treat and one that satisfies no matter how many times I’ve had the pleasure.

musicology #62

Ike Turner Tribute #2 (Lonnie ‘The Cat’ Cation – The Road I Have To Travel – 1954 – RPM)

next up a piece from the mans early days as band leader, guitar player, piano player and all round orchestrator.

not sure if you know but Ike started his musical journey carrying the great bluesman Robert Nighthawk’s amplifier as well as learning the intricacies of the piano from boogie woogie king Pinetop Perkins so it comes as no surprise that he knew his musical onions inside out.

let’s face it he certainly knew how to make a recording and for this reason alone he deserves respect. A lot of people are cussing him for his treatment of Tina and forgetting about the music he left us with but themusicologist isn’t here to be passing judgement on his personal life so don’t expect any critique on it.

this 1954 slice of musicology courtesy of The Bobby Hinds Band features Lonnie ‘The Cat’ on Vocals with Ike tinkling the ivory’s.

Ike’s session work between 1951 – 64 is amazing, check it here (right click on your mouse and open as new window/tab), and see for yourself. thanks and respect to Pete Hoppula for the knowledge site.(www.wangdangdula.com)

musicology #16

(The Toppers – If Money Grew On Trees)

slipping out of the 80’s boogie in to some, (1944), early vocal group action. a serving of social commentary from over half a century ago that still rings bells loud and clear.

“tell me more boy, tell me more”

p.s the Cats in question are actually ‘the 5 Red Caps’ moonlighting for the Savoy label.