musicology #425

noExcuses #2

(You Got My Mind Messed Up – James Carr)

too many cuts to choose from and my butterfly mind certainly needs direction while my heart weeps.
today’s slice is courtesy of the majestic James Carr a cat who had the misfortune of suffering from a condition known medically as Bi-Polar Dis-order. What that means, (like many mental conditions), is debatable but it is especially poignant for themusicologist as a much loved and cherished companion is also going through a period of transition that is in danger of being labelled. Recorded and released in 1966 on the Goldwax label.

musicology #424

noExcuses #1

(Paul Weller – Cold Moments)

Tried countless times over the last few weeks to get back in themusicologist saddle and every time something changes, (such is life), so what is themusicologist going to DO about it. Stop thinking and start throwing em down, day to day without thought or reflection..cuts that are rocking my soul. musicology style, without pages of the incessant internal dialogue that flows in, out and through this current fucked up mess of the life that I take FULL responsibility…..and with authenticity offer NO EXCUSES for

First up it’s a cut from one my long time trusted guides Paul Weller, who has been there for themusicologist since the late 70’s around the time I entered what is sometimes referred to as the ninth year transition. Borrowed from his No 1 album from last year 22 Dreams..also featuring among others the all round talents of Steve Craddock and the drumming expertise of Steve White.

Listen keenly to the RIDE and if you refuse, (for whatever reason), then step the fuck off this musicology train and perhaps get back on board somewhere down the line. I have no intentions other than to share the way I feel which is always in flux and has no meaning other than in the here and now.

musicology #411

Terry Callier #3

(Terry Callier – Look At Me Now)

Mr Callier’s first recording. Released as a 45 in 1963 !!

Now my people think that I just fake it,
I know I do things they don’t understand,
So I’ve got to show ‘em I can take it yeah,
I’ve got to show ‘em I can be a man,
Still there’s somethings that never have appealed to me,
Like standing out in front of a crowd,
Well people just you wait and see,
I’m gonna give you reason to be proud,

I’m gonna make it some day,
I’m gonna make it somehow,
Then I’ll be able to say hey,
Take a look at me know,
Yeah look at me know,

Well now my woman thinks I’m just a dreamer,
And she’s right about me I suppose,
But I could never, never, never be a schemer,
I don’t know the things a schemer knows,
But I do know there’s a better day coming up soon,
And baby just you wait and see,
I’ll find us a light in this darkness,
If you just have faith in me,

I’m gonna make it some day yeah,
Gonna make it somehow,
I’ll be able to say yeah, yeah, yeah
Baby look at me know,
Look at me know,
Look at me know,
Look at me know

musicology #406

Catharsis #4

(Otis Redding – Old Man Trouble)

Apologies for yesterday. Today I’ll make sure the cut is laid down with the post !!

Catharsis..
1: A purification or purgation of the emotions primarily through art.
2: A purification or purgation that brings about spiritual renewal or release from tension.
3: elimination of a complex by bringing it to consciousness and affording it expression.

For me themusicologist delivers all of the above and for that I am more than greatful. In fact over the past few days the raging inner storm is calming and the ‘weight’ is lifting.

I’m assuming that most, if not all, of us are feeling some kind of pressure as the curtain finally closes on the Modern World and opens on what in Philosophical terms is defined as the Post Modern world of, (among other things), decentralization, insecurity, globalization, unpaid work, marketocracy, crowdsourcing and so on and on and on. Many Modern projects that have informed us since the Enlightenment such as freedom, democracy, education and the family are being dismantled and replaced by degrees of economic slavery. It’s always a changing world but sometimes the speed of change is surprising.

So as much as I take responsibility for my actions I also know that there are external forces at work that have a great impact on the herd who tend to be oblivious to the control tactics of the masters. Therefore I will continue on the road of authenticity with my head held high and my eyes, ears and nose wide open and dismiss the one sided Apollonian ideology that reduces art to no more than “amusement governed by empty concepts” and firmly deny Plato’s view that “Art is a secondary imitation of reality and a counterfeit substitute for life itself”

Today’s cut is a fine piece of Art courtesy of the ‘Big O’. Borrowed from the great 1965 ‘Otis Blue’ set….Plato…this one’s all yours.

musicology #405

Catharsis #3

(David Ruffin – Pieces Of A Man)

Day three..no time to waste…no time to juggle so I’ll just leave it to one of the great singers Davis Eli Ruffin to tell it like it is with this 1969 cut from his debut solo LP for Tamla Motown. Produced by Soul heavyweights and longtime musicologists Harvey Fuqua, Ivory Joe Hunter and Johnny Bristol.

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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #255

sleighbellsring #3

(Otis Redding – White Christmas)

Day late but definately not a dollar short for a special musicologist tribute in memory of Mr Otis Redding who died on December the 10th 41 years ago, (1967), at the tender age of 26. I won’t lie and say it’s a date that’s in my diary which for me makes it all the more special and even transcendental that he has risen in the unconscious to let us know ‘what time it is’…one of them performances that could wake the dead. As good as ‘White Christmas’ gets.

musicology #239

inmodwetrust #6

(The Marvelettes – Someday, Someway)

Bit late with this final instalment of the mod selection. big night Friday night…the Cyprus cats were back in town to celebrate which, although having nothing to do with ‘mods’ certainly deserves a mention. As the regulars know themusicologist is, for me, a musical diary, a soundtrack connecting my feelings to the sweet sound of music, the benefits of which are many. had a great night made even better by making new connections which was a pleasure.

Music wise today’s cut is another from the Berry Gordy and Motown selection by a girl group whose name burned brightly on the emerging Mod/ernist scene especially in the lead up to Soul establishing itself as a mainstream musical force. B-side to their classic Beechwood 45789. Quality double sider that was definately played in and around London back in the day.

Tamla 45 from the pivotal year concerning mods and soul, (1962), whose paths were inextricably linked on the ‘road to freedom’ as oppressed people discriminated by the colour of their skin or, (as was/is the case on these fair shores), the way they spoke, began to break down, (and through), the walls of class and colour boundries to have more opportunities to fulfil their dreams and aspirations.

musicology #238

inmodwetrust #5

(Tony Clarke – The Entertainer)

Focus and discipline are certainly two attributes hard to come by for themusicologist in these turbulent times. Lucky for me I have music as guide, companion, and trusted friend. Might sound strange but often feels like a dialogue between me and the sounds…anyway, enough of the butterfly mind and back to the theme.

This cut was recorded the year that ‘mod’ had well and truly arrived, (some would even say finished), ‘tickets’ were everywhere and leading up to, (and certainly beyond), the bank holiday tear ups the ‘originals’ were moving on. Elsewhere kids up and down the country were ‘aving it large’, (for the first time), as ‘mod’ was spoonfed to the nation and beyond. Modernists on the other hand turned their back and looked for something else to direct their trend setting and creative energies into. Which is not to say that some of the vanguards didn’t stick with it and join in the ‘fun’. Maybe for them it wasn’t neccesarily about ‘being first’ it was also about ‘being there’, as perpetrators of ‘the new breed’ to take advantage of the opportunities that had arisen out of them revolutionary ‘times’. I think it was the philosopher Hegel who wrote/said that Ideas are the prime movers of history and not social or economic forces and for themusicologist, ‘Mod’ was and to some extent still is an idea.

The musicology is courtesy of a cat named Tony Clarke who recorded this Mod classic for one of the other Big mod labels, Chess. Unfortunately I have been having problems hooking up my Turntable to the computer so It will have to be the CD remaster until I can replace it with the 45. hope you understand.

musicology #237

inmodwetrust #4

(The Valentinos – Lookin’ For A Love)

today’s slice of the mod/ernist pie, (written by J.W Alexander and Zelda Samuels), features one of themusicologist’s all time favourite, inspirational and also influential artists…Robert Dwayne, (Bobby), Womack who played a BIG part in my musical upbringing back in the early 70’s (continuing up to today). The cat’s career stretches back into the 50’s when as a member of family Gospel group the Womack Brothers he was spotted by none other than the Lion, (Sam Cooke), who was so impressed he remembered them when setting up his ground breaking Sar label and brought them in to record, as well as hiring Bobby as a guitarist and important member of the Sam Cooke ‘family’ both on tour and in the studio. This one is their third recording on the label but their first as the Valentinos.

musicology #236

inmodwetrust #3

(The Miracles – Mickey’s Monkey)

another slice from the 1963 selection, the year that ‘Mod’ grew out of various shadows to establish it as more than a handful of ‘dressers’/stylists/modernists into a movement. Same year that the (New) Scene opened it’s doors in Ham Yard, (Soho), to become the premier London club and forum for all things ‘mod’ and hip in the capital.

The cut is delivered in fine style by legendary Detroit vocal group The Miracles with William ‘Smokey’ Robinson on lead supported by Bobby Rogers, Marv Tarplin, childhood friend and, (along with Smokey), former 5 Chimes member Ronald White and female vocalist Claudette Rogers. The Miracles paved the way for Motown’s success in the early sixties with cuts like ‘Shop Around’, ‘You Really Got A Hold On Me’ and this one apoun which the Berry Gordy empire was built.

musicology #235

inmodwetrust #2

(Joe Hinton – You Know It Ain’t Right)

Round two of the mod/ernist musical merry go round and this time it’s courtesy of a relatively obscure vocalist by the name of Joe Hinton who up until 1958 had been a gospel singer but, it was with this one, (recorded for Don Robey’s Backbeat label in 1963), that he broke through. Going on to have a minor ‘hit’ with his version of Willie Nelson’s ‘Funny How Time Slips Away’ the following year. Unfortunately his career was cut short in 1968 after losing a battle with Skin Cancer but for themusicologist he is, (almost), immortalised by this slice of the Mod/ernist pie.

musicology #234

inmodwetrust #1

(Walter Jackson – That’s What Mama Say)

new theme on themusicologist and one that is very much a part of my musical education due to the fact that both my mum and dad were first generation mod/ernists, (1962-1966). the cuts laid down this week were all played in and around London during the above period.

first up is a piece from one of the premier ‘mod’ labels, operating out of ‘Chi’, OKeh. A label that was one of the first to focus on ‘immigrant’ music in the 1920’s recording many of the early Jazz pioneers such as Louis Armstrong, King Oliver, Sidney Bechet and Mamie Smith. After some time spent lost in the musical wilderness the company’s fortunes were reignited by employing Carl Davis in 1962 as head of A&R who had the vision to employ Curtis Mayfield as associate producer in 1963 as well as three of the best arrangers Johnny Pate, Riley Hampton and Gerald Sims who is quoted to have said

“the Chicago sound came from basically one source…Curtis Mayfield”

This one from 1963 is sung by one of themusicologist’s favourite singers, Walter Jackson. Produced by the aforementioned Carl Davis, arranged by Riley Hampton and songwriten by none other than Curtis Mayfield with, (possibly), the Impressions harmonising.

musicology #231

communication #9

(Jimmy Ruffin – What Becomes Of The Brokenhearted)

A song that we, (should), all know delivered with pathos by one of the great Soul singers about a subject that is plainly close to my heart. Older brother of the Temptation’s member David, Jimmy hasn’t received the acclaim he deserves. This version, (the original), has the spoken intro which was removed for the final mix that made it onto the 45, (can’t understand why?)

Lyrics by James Dean, music composed by William Weatherspoon and Paul Riser, music played by the Funk Brothers, background vocals by The Originals, (Freddie Gorman, Walter Gaines, Hank Dixon, Joe Stubbs), and the Adantes, (Jackie Hicks, Marlene Barrow, Louvain Demps), song produced by Weatherspoon and William Stevenson.

musicology #229

communication #7

(Otis Redding – These Arms Of Mine)

time for a slice of Otis…unquestionably one of the finest singers of the Soul genre, (or any other come to that), loved and respected by all the musicians and producers who had the good fortune to work with the man. this one is taken from his first album, (although this cut was recorded and released initially as a Volt 45 in 1962), Pain In My Heart.

Recorded at ‘Soulsville U.S.A’, lyrics by the man himself, produced and probably engineered by Label owner Jim Stewart, (maybe even Steve Cropper?). players of instruments the magnificent Booker T & the MG’s: Steve Cropper, Booker T. Jones, Al Jackson and Lewie Steinberg.

musicology #213

12AngryMen #9 (alternativesoundtrack #3)

(Jimmy Smith & Lou Donaldson – Summertime)

so the count is now 9 to 3 in favour of the guilty’s. The evidence is being torn to shreds piece by piece and what started as an open and shut case is turning into a battle of subjectivite opinion vs objective facts.

the two performances that, for me, are outstanding are Henry Fonda and Lee J Cobb. The others are good but these two are special. both are featured on this piece of dialogue.

the song which comes courtesy of organist supreme Jimmy Smith and Blue Note stable mate, Saxophone legend Lou Donaldson is a haunting 1957 rendition of the George Gershwin classic Summertime, (penned for the Opera Porgy & Bess). A song that has been covered more times than I’ve had hot dinners, rumour has it that Gershwin adapted it from a Ukranian lullaby ‘Oy Khodyt Son Kolo Vikon’, (A Dream Passes By The Windows), which he heard in 1926.

musicology #199

teachings of billionaire YenTzu #9

(Bobby Bland – Share Your Love With Me)

Seeing The Snake (raising awareness and concentration)

After twenty years in the service of a provincial overlord, a loyal soldier was rewarded. With enough money now to buy some acres of land, he was excited at being able to realise his dream of building his own home. For three whole months the soldier totally absorbed himself in preparing the land, clearing it of boulders and levelling the ground. He made sure that any wild bushes and neglected growth removed were replaced with trees and flowers. The work was long and hard but the soldier felt richly rewarded by thinking how pleasent his home would be.

While engrossed in what he was doing, a man came up to him and introduced himself as the land agent in the service of the local registrar.

‘What so,’ said the soldier taking the opportunity to rest, ‘How can I be of service to you. All is well I trust?’

‘I’m not sure,’ said the man looking puzzled. ‘Might I please enquire as to who has employed you on such obvious land improvement?’

‘I am now in the service of my own,’ replied the soldier proudly. ‘I am the owner of this land and I am preparing it for building.’

‘There seems to have been some mistake,’ said the land agent holding out some papers with some consternation. ‘This is not your land, i’m afraid. Your land comprises the acres actually adjoining this.’

‘Ah,’ sighed the soldier. ‘So despite my endeavours I have not done a single thing to improve my own property.’ And with that he immediately set to gathering his tools. The soldier took the mistake in good spirits and after making sure that he was on his own land, he once more earnestly set about making his dream come true.

musicology #198

teachings of billionaire YenTzu #8

(Otis Redding – I’ve Been Loving You Too Long To Stop Now)

Fighting The Rat, (harnessing conscience power)

‘Yao Kou, you promised last week that you would be here on time.’ Tan Lee said to his partner. ‘Yet, you let me down again.’

‘How so?’ the astonished partner replied. ‘Me, late? Well, I may not always be punctual, but I am never late! Anyway, it is not my fault. I had every intention of getting up earlier this morning but, upon awaking, I noticed it was raining so I decided to wait awhile before leaving, as the market road would probably be awash. As it turned out it wasn’t, so I am able to be here now as I said I would be, though I can’t remember promising.’

‘It is said that if you find it difficult to be sincere with yourself,’ Tan Lee returned, ‘it is not possible to be sincere with others.’

‘Your trouble is that you always speak in riddles,’ replied Yao Kou. ‘What has sincerity got to do with it? It is simply that sometimes I find that the ‘I’ that declares that it will rise early in the morning is different from the ‘I’ that exists in the morning, who refuses to co-operate. Having so many different parts of him must be why a man, for instance, finds it so hard to keep something secret. First one ‘I’ makes a promise, believing that he wants to keep the secret. Then, tomorrow another ‘I’ in him prompts him to tell his friend over a bottle of rice wine. With a different ‘I’ in command, a clever person may question a man in such a way that he himself is unaware of what he is saying.’

‘You’re not trying to say that you have revealed what we discussed together last week are you?’ enquired Tan Lee. ‘We agreed that would remain between ourselves only for the moment.’

‘I met with the trader Fu’li, we drank and I couldnt help it. But I can’t say I’m sorry because it has been worth it. Fu’li raised doubts which I believe we should seriously consider. Anyway, it’s hardly my fault. You should have made it clearer or at least given me all the facts.’

‘I could not have made it clearer,’ said Tan Lee. ‘Yet, listening to you reminds me of the teachings of that great sage who visited us from the west:

“If one of thine ‘I’s’ offends thee, pluck it out.” For without unity in your thinking you will continue to justify your own actions through blaming other people or things. It is clear that my “I” met with your wrong “I” last week, so, all of me tells me I must depart…Goodbye’

musicology #193

teachings of billionaire YenTzu #3

(James Carr – Life Turned Her That Way)

Stalking The Heron, (infinite patience, immediate results)

‘So his obsession for not leting go of anything finally caught up with him,’ commented Yan Kan to himself, on hearing news that the Emperor had met with an untimely end.

It had been several years now since Yan Kan had fortuitously escaped the Emperor’s wrath. It had been his experience of stalking the heron that had led him to see things in a different light. When water accumulates, it breeds predatory fish. And when rites and duties become decorations, they breed artificial and hypocritical people. The title that the Emperor had quickly invented and thrown to him that day, and which he had so obsequiously caught, were now empty and meaningless to him.

He had decided at that moment to apply his new found virtue of patience to more meaningful pursuits and departed the Court.

He would no more attach such importance to such false things. And he would no more suggest solutions that sought reward by pandering to the whims of another in authority. Any leader who demanded, needed or revelled in such bolstering was an insecure leader. How strange it is that when rulers have obsessions, thier subjects do a lot of posturing; when a ruler is crafty, their subjects are devious; and when a ruler is demanding, their subjects are contentious. Any ruler who blamed ill luck for the state of his kingdom and sought to determine outcomes by using his strength to hold on to something weaker, was bound to fall sooner or later.

Yan Kan felt no surprise that the Emperor had lost his life through his rigid attachment to his policy for growth and recognition. His wise friend Cai Tok had ben right: ‘When political leaders ruin their countries and wreck their lands, themselves to die at others hands, it is always because of their impatient desires.’

Since becoming a merchant, Yan Kan had determined to himself that he would follow the sage-like philosophy he now knew to be true: ‘To be able to use the power of other people, it is necessary to win people’s hearts. To be able to win people’s hearts, it is necessary to have self mastery. To be capable of self mastery, it is necessary to have patience.’

Yan Kan resolved to apply patience in everything, particularly when he encountered the obstacles which he had discovered were as much a part of business as they were of life.

‘The ancients were certainly wise in creating writing symbols that contained the meanings of both crisis and opportunity. I will see every obstacle as a further reminder to be infinitely patient and unattached to any particular schedule. For in such flexibility lies the power to cultivate the hidden pearl of opportunity from the grit of adversity.’

musicology #180

soulsearching #2

(Major Lance – Sweet Music)

day two finds us sliding out of the downbeat, (Yin), and countering with one from the upbeat, (Yang), selection. a fine piece of 1964 Soul from, as far as I’m concerned, the premier record label of the period, OKeh. big shout I know but one I’m sticking with.

part of my reasoning behind that shout is that OKeh was the label where the combined talents of Curtis Mayfield, Carl Davis, Johnny Pate and Gerald Sims came together to deliver a musical style that became the benchmark for a lot of the Soul that followed. of course there was Tamla, Chess and Atlantic, (as well as many smaller labels), and there are many fine cuts on these but of them, it can be debated, that only Tamla – Motown exerted as much influence as OKeh on the direction Soul was to take.

listen tune…

musicology #178

alternativesoundtrack2..Quadrophenia #10

(The Who – I’ve Had Enough)

final cut of the Quadrophenia selection and i’m finishing up with the piece of music that closes the film. pucker tune and one that definately had an impact on my mindset growing up.

Jimmy’s gone back to Brighton and had the final igmony of seeing ‘the face’ in his dayjob as nothing but a ‘bell boy’. it’s the final straw for him and reminds me of a saying that I once heard and took to heart…something like

“never try to reach out and touch a ‘golden idol’ as the gilding might come off in your hands..”

I always took it to mean, never idolise anyone as they chances are one day they will dissapoint you. it’s unfair to put such a weight of responsibility on someone elses shoulders because we are all human and full of contridictions.

for the record, even though I was introduced to ‘Mod Revival’ through the Jam’s first album ‘In The City’ a few years earlier than seeing the film the actual soundtrack was, for me, always a bit of a dissapointment. that said I rate Pete Townsend, (and the Who’s), original album from which the film was crafted. Townsend’s lyrics were a guide for themusicologist and will always hold fond memories.

“you were under the impression, that when you were walking forwards,
that you’d end up further onwards, but things ain’t quite that simple,

you got altered information, you were told to not take chances,
you missed out on new dances now your’e losing all your dimples,

my jacket’s gonna be cut slim and checked,
maybe a touch of seersucker with an open neck,
I ride a GS scooter with my hair cut neat,
I wear my war time coat in the wind and sleet,

love reign o’er me, love reign o’er me…..

I’ve had enough of living, I’ve had enough of dying,
I’ve had enough of smiling, I’ve had enough of crying,
I’ve taken all the high roads, I’ve squandered and I’ve saved,
I’ve had enough of childhood I’ve had enough of graves,

love reign o’er me, reign o’er me,
love reign o’er me…looooooooooooooooooooooooooooooooooooooove

I’ve had enough of dancehalls, I’ve had enough of pills,
I’ve had enough of street fights, I’ve seen my share of kills,
I’m finished with the fashions and acting like I’m tough,
I’m bored of hate and passion, Iv’e had enough of trying to looooooooooooooooooooooooooooove

you stop dancing”

musicology #177

alternativesoundtrack2..Quadrophenia #9

(Marvin Gaye – Baby Don’t You Do It)

the film is nearing it’s conclusion and after the ‘tear up’ outside the cafe in the previous scene this penultimate one finds Jimmy trying to make it up with Steph, (or at least make some sense of it all)

the musicology is courtesy of mod favourite and Soul legend brother Marvin Gaye with one of the mod classics..it was actually featured in the film so it’s not alternative but it fits the bill so well that it couldn’t be ignored. BIG tune on the scene….the Small Faces often played it on the curcuit and also recorded it in the early days, (1965?), in tribute to their authenticity, (the only real mod band in my humble opinion), but nothing could touch the Marvin and themusicologist never tires of hearing the man sing, (the Marvelettes are singing back up on this one)

musicology #176

alternativesoundtrack2..Quadrophenia #8

(The Tams – Take Away)

strange how themusicologist seems to be drawn to art that reinforces one’s own predicament…maybe we all are?. not going into the details but lets just say I know how Jimmy feels.

this is the section after he has packed his job in and turns up at the Cafe to find all his ‘friends’. his so called best mate, (Dave), really takes the piss and the less said about young ‘tart’ Steph the better.

still, people are funny that way you trust them with your heart and 999 times out of a 1000 they’ll let you down but as Alan Watts said at the start of musicology #10

“that risk still has to be taken”

the musical accompaniment is a Mod screamer courtesy of Soul vocal group The Tams. I know for sure this was big on, (and in), the Scene that year and I must confess to taking a little bit of artistic license as it may have been released after the brief period in which the film was set. Couldn’t resist it though as it’s not only perfect for the alternative soundtrack it is perfect for me too.

p.s that ‘Glasgow kiss’ that he gives Dave after the ‘alleyway’ comment is quality and well deserved.

musicology #175

alternativesoundtrack2..Quadrophenia #7

(The Blenders – Everybody’s Got A Right)

day seven and just to make things worse Jimmy has been dragged in to be patronised by his boss on how he should ‘count his lucky stars’ for having such an illustrious job, (especially considering his working class status !!)

this was, (and in many ways still is), how the establishment expects us to behave, that we should be happy with the ‘crumbs off the top table’. Elitism is very much alive today as is ‘class’, even though successive governments, whatever their persuasion, have tried over the past 30 years to convince us of the opposite.

money isn’t the issue. it’s all about ‘mind-set’ and this piece of dialogue has always been one of my favourites in the film. great piece of acting by Phil Daniels…full of emotion and pathos, (you tell him Jim)

the music is courtesy of foundation Soul vocal group The Blenders with what might not sound like a revolutionary piece of social commentary but when you consider the year (1963), is.

a 45 on the Witch label.

Listen tune

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 #162

vocalgroupaction2 #7

(The C.O.D’s – Michael)

I’m almost at the end of my tether with the f*****g BOXNET audio widget and Ive been looking at alternatives so in the VERY NEAR future expect that there will be changes made ….

in the meantime hold this 1965 Mod classic from Chicago vocalgroup The C.O.D’s. who were overheard singing under a streetlamp by two cats who were so impressed with their talent that they decided to setup a label, (Kellmac), just to record them. unfortunately this was their only ‘hit’ so the label only lasted less than two years and a handful of releases, (3 of which are by the group)

the lineup consisted of lead singer Robert Lewis, Carl Washington and (songwriter), Larry Brownlee who alone went on to have fame as a member of the Lost Generation. Sadly Brownlee was murdered on Chi’s tough streets in 1978. the other two members disappeared without musical trace…

one that themusicologist remembers well from ‘back in the day’ thanks to ‘Uncle Johnny’ who was a major influence in the formative years of my musical journey.

the tune is based on a local Chi’ cat who was obviously a hit with the ladies.

starting tomorrow it’s male vocal week

musicology #160

vocalgroupaction2 #5

(The Emotions – Blind Alley)

first outing on themusicologist for this female vocal group with a tune that never fails to lift my spirits which, today need lifting….not for any specific reason, just one of them days when ‘the pressure drop’

better known for their part in Earth, Wind & Fire’s ‘Boogie Wonderland’ this piece is from their earlier days, (1972), at Stax and has formed the foundation for many a ‘version’ since from Big Daddy Kane and Pharcyde to Mariah Carey, (one listen should explain why)

musicology #147

ladiesweek2 #1

(Marie Knight – Cry Me A River)

kicking off ladiesweek with a songbird whose recording career started in 1946 as a gospel singer, teaming up with cats like the Sunset Four and the Sam Price Trio, but it was in the summer of 1947 when Marie begun her association with Sister Rosetta Tharpe that her star began to shine bright, (a year later they cut the majestic ‘Up Above My Head, I Hear Music In The Air’)

Marie first hit the ’secular groove’ in 1953, moved to Mercury, stayed there for a few years and then began the transition from Rhythm and Blues into ‘Soul’ with a few choice pieces on various labels that include Baton, OKeh and Diamond.

this classic song, (arranged by Bert Keyes and produced by Stan Kahan), is from her final days at Musicor and should have provided her the commercial success that she richly deserved but it wasn’t to be and so she spent the next few years working for a telephone company !! (not returning to recording until the late 70’s)

for themusicologist this is the pick of a bunch of 1965 recordings that epitomise the ‘Uptown’ Soul sound of the period. an amazing reworking of a song sung by such luminaries as Sam Cooke and Dinah Washington but of all of them this is the ‘best’. !! more than likely it’s the Cookies singing backup but Marie’s voice soars above the clouds and hits the highest heights.

musicology #141

SpectrumOfLove #1

(The Radiants – I’m In Love)

this weeks theme is dedicated to the quest for the ‘holy grail’ .. LOVE

some ‘thing’ that we all need, and if we’re lucky .. give and receive.

the love theme stretches across the full musical spectrum and I can’t think of a genre where it isn’t included in the repertoire and it’s of particular interest to themusicologist for the simple fact that I struggle to under/overstand and therefore express it.

to be honest I think it’s partly why I listen to and appreciate the musical arts to such a degree as it seems to capture the essence of this emotion like no other form of external expression, (in my humble opinion of course), and these next six, (maybe seven), pieces are examples of that.

first up is a slice of prime 1963 Soul from vocal group The Radiants whose track ‘Voice Your Choice’ was a BIG Mod/ernist tune in London’s clubs and dancehalls on release in 1964. The production has the Billy Davis ’stamp’ written all over it, (even though there’s no mention of the cat on the label), a man whose contribution to developing Soul, as well as Coca Cola, (he wrote the famous advertising jingles), is always worthy of a mention…maybe even his own category.

musicology #114

jamboree #1

(Bobby Bland – Ain’t Nothing You Can Do)

themusicologist is a place to share, communicate and connect and one of the things I have learnt over this past year is that the message is in the music but it’s not always the one were looking for.

the universal language speaks to us all but not necessarily about the same topic…I’m laying down this selection as a ‘theme of no theme’..a complete ‘Jamboree Bag’ where anythings possible… a tune a day to help keep the wolves at bay.

almost every day while listening to music a tune will come on and I’ll think to myself… “I’ll have to lay that piece down one day”.. but often find themusicologist in the middle of a ’session’. so for the next few weeks it’s random..just good old BOSS sounds of all flavours and vintages.

starting with the majestic, late night, 1964 sound of Bobby ‘Blue’ Bland who, as a member of the Beale Streeters along with Johnny Ace, BB King, Junior Parker and Rosco Gordan, was there at the birth of Rhythm and Soul in the early 1950’s. A big Mod/ernist favourite who carried the swing for many years and possessed the special ability, (that the greats share), to make each recording his own. From 1950-1970 Bobby Bland was a powerful force in the development of the vocal style known now as Soul.

listen the ride……..

musicology #107

sixartist, sixtune, sixweekspecial #30

(Paul Weller – Above the Clouds)

this final cut from the Paul Weller selection is taken from a concert recorded at Sheperd’s Bush Empire, June 2nd 2002, at which I had the greatest musical experience of my life.

the memory is so fresh I can touch it….my eldest child, (and she was only six), had been in hospital with a life threatening condition since late December and it was killing me.

By chance a friend I hold very dear had been providing Paul Weller, (and Steve White), with some of the best threads around at that time and asked us, (me and the suc mo massive), if we fancied going to see them in concert at the Empire..as distressed as I was, and not having played much Weller over the preceeding couple of years, we had it and words can’t do it justice.

as the evening unfolded grown men were standing, as if at a cup final, belting out the words to all of the songs, tears in eyes..it was very moving and it was during this performance that the metaphorical sun began to break through the dark clouds of my despair.

music does that..no question and the lyrics to this one burnt into my soul, I’m not ashamed to say that it rocked me and I wouldn’t trade it, even for a seat at the Harlem Square when Mr Soul threw down in 1963, (and that’s saying something),

the verse that did it for me

“as my anger shouts, at my own self doubt, so a sadness creeps into my dreams

when you’re scared of living, but afraid to die,

I get scared of giving, and I must find the faith to beat it..yeah”

of course I have to lay the full lyrics on you and tell you that 3 days after this concert at the age of 33, I ‘found the faith’ and my daughter had the all clear..at the third ‘attempt’.

just leaves me to say thank you to Paul Weller for ‘delivering’ for 30 years

“Autumn blew its leaves at me,
Threatening winter as I walked,
Summer always goes so quick, Barely stopping like my thoughts,
Which dip and spin and change so fast,
I have to wonder, Will I last.

Through the windows of the train,
I caught reflections of a paper cup,
Hanging small in a pale blue sky,
Never knowing which way’s up.

Above the clouds, what’s to be found,
I have to wonder, Will I be around.
As my anger shouts, At my own self doubt,
So a sadness creeps, Into my dreams
When you’re scared of living, But afraid to die
I get scared of giving, And I must find the faith to beat it

I must be me that’s rushing by,
Time just lingers on the wind,
Bristlin’ through my open fears,
I wonder what it’s going to bring.

Above the clouds, what’s to be found,
I have to wonder, Will I be around.

Run and hide, run and hide
I catch the sail at evening’s tide”

musicology #106

sixartist, sixtune, sixweekspecial #29

(The Style Council – With Everything To Lose)

penultimate slice from the Paul Weller tribute selection and the second of two from his time spent in the Style Council, (the Humble Pie years), along with Mick Talbot formaly of, (relatively unknown), UKPressure band the Merton Parkas and ‘keeping time’ the young Steve White, (didnt the Pie have an unknown young drummer?),

not suggesting that this was the way he planned it..just another example of synchronicity I suppose.

this cut taken from the album..Our Favourite Shop, (not only a great album but, for me, one of the best LP covers of all time !!), reminds me of having just left school and going on holiday in what was then called Yugoslavia. this album was the soundtrack for that holiday and the few months that surrounded it, (memories are made of this), there are at least six pieces on the album that could have been the final choice and there’s nothing between them so I just picked this one mainly for the lyrical content..

Paul Weller at his poetic best..telling it like it was, (and is still)

“From the playground to the wasteground, Hope ends at 17
Sweeping floors and filling shelves, Forced into government schemes
11 years spent to dig out ditches, Forget your schoolday dreams
Guarantees and lie-filled speeches, But nothings what it seems
Qualified and patronised and with everything to lose

No choice or chance for the future, The rich enjoy less tax
Dress the girls in pretty pink, The shit goes to the blacks
A generation’s heart torn out, And covered up the facts
The only thing they’ll understand Is a wall against their backs
The only hope now left for those, with everything to lose
with everything to lose, with everything to lose

In desperation empty eyes, Signed up and thrown away
There’s drugs replacing dignity, The short sharp shock repaid
There’ll be no money if you dare to question Working the Tory way
The truth is up there carved in stone, Where 21 dead now lay
A family’s loss for a few pounds saved, With everything to lose

With everything to lose, with everything to lose
With everything to lose, everything to lose…

lyrics Don Weller….lyrics.

message received, (in ‘85), and understood.

musicology #105

sixartist, sixtune, sixweekspecial #28

(The Jam – Start)

If themusicologist could slow time down and make a week last a month it might be enough to do the six/six/six artists justice…as already mentioned it’s a challenge to select such a small number of tunes from such great catalogues of work.

Take the Jam as an example, for me, there’s at least 20 cuts that deserve an outing on themusicologist and to whittle those down to 2 … well, lets just say that it’s as tough as old boots.

on this album, (Sound Affects), there’s five cuts here that I would like to, (and probably will over the years), throw down on themusicologist as well as another five albums, (+ singles), to ‘choose’ from so what strategy am I going to employ? … none. just going to throw ‘em as I feel ‘em.

this 1980 selection I remember from me days as a young blade, at the start of the teenage years when I was spending a lot of time knocking about the West End, (especially Soho and Covent Garden), as a second generation Mod.

I say ’second generation’ because both my parents were first generation London Mod/ernists, so we, (‘the fox’ and I), grew up steeped in the culture, music and attitude of Englands first, (and most important), Youth movement as a birthright.

There were other influences of course such as Skin/Suedehead, ‘Hippie’ and, (later), Punk exposure through Aunts, Uncles and Cousins, (you know who you are), but Mod/ernist was and is the one where my heart resides.

So before I get too romantic and spend too much of me precious ‘time’ strolling down memory lane hold this one which, for some reason, always reminds me of Greek Street, (in Soho), the Thatcher years, and running battles with other groups of Youths at a time of great social unrest.

older and wiser, I now see that them days were just another stage of the ‘divide and conquer/rule’ strategy that poli-tricks always employs…you know what I mean…black against white, christian against muslim, rich against poor…the list is as long as yer arm…(brother Weller certainly knew and has always sung and wrote about it) so with that in mind..

“It’s not important for you to know my name,
Nor I to know yours,
If we communicate for two minutes only,
It will be enough,

For knowing that someone in this world,
Feels as desperate as me,
And what you give is what you get,

It doesn’t matter if we never meet again,
What we have said will always remain,
If we get through for two minutes only,
It will be a start,

For knowing that someone in this life,
Loves with a passion called hate,
And what you give is what you get,

If I never ever see you, (If I never ever see you),
If I never ever see you, (If I never ever see you),
If I never ever see you again,

If I never ever see you, (see you, see you),
If I never ever see you, (see you, see you),
If I never ever see you again,

And what you give is what you get,
And what you give is what you get,
And what you give is what you get,
And what you give is what you get,
And what you give is what you get,
And what you give is what you get.”

just like to say that we, (me and Mr Weller), did and do communicate through his music for many minutes, over many years and it has always been a real pleasure…

musicology #104

sixartist, sixtune, sixweekspecial #27

(Paul Weller – The Strange Museum)

part three of the Paul Weller tribute and one from the man as solo artist. as with all the six/six/six artists it’s nigh on impossible to choose six cuts from many. such is the quality of their musicology.

but six it is so it’s two from Paul Wellers time spent in the Jam, two from the Style Council selection and two from the man as solo artist and as such is a challenge and no mistake..I was ‘chewing some fat’ the other day about the Sam Cooke tribute and the ones that I had left out…to be honest what I’m trying not to do is play their most well known slices..in the hope that cats explore/reconvene a musical relationship with the artists featured for themselves…

this next one is taken from his 1992 work entitled Paul Weller with strong support from Steve White whose groove is tighter than the space between a rock and a hard place.

Steve White always deserves a lot of credit, (and full respect), for kicking it as possibly the best drummer to have graced theses shores. ..with Paul Weller from the age of sixteen I do believe?

I have been fortunate to share the pleasure of Steves, (and the man himselfs on another occasion), company a few years back at ‘Moda’s’ where he kindly treated us to a few licks on the bongos while Mick set him up with some threads..

little mention goes out to mr Moda, originally of Bermodsey but later better placed in Blackheath Village, whose eye for style is as good as it gets. never received the acclaim deserved but Moda was a legend for soul stylists ‘down south’ and was responsible for introducing many a style from the 80’s right through to the 00’s…anyone who remembers the Moda 3 tee, (for starters), knows what I’m talking about..

listen tune…

“come on in..admissions free
I won’t refuse those who wanna see,
bring your loved ones, those you hold dear,
bring them all, there’s no restrictions here
but don’t look for blame, as an easy escape
there’s notthing on show, that isn’t your shame
so come on in, it’s a small price to pay
and I won’t refuse, those who’ve lost their way”

song written by Paul Weller & Mick Talbot

musicology #103

sixartist, sixtune, sixweekspecial #26

(The Style Council – My Ever Changing Moods)

strange how Paul Weller and Curtis Mayfield are back to back on the six/six/six..

I know Paul Weller is a Curtis, (and Stevie Marriott), fan..maybe thats part of the reason why I feel such a connection to his music? (that and his obvious qualities as as a songwriter, singer, performer and all round musicologist).

I was only a very young child when Weller first came into my life but the message got through loud and clear and helped me with the confidence to believe in myself and follow my own path. the only two message carriers in my life have been music and my dear grandad..both of which always had/have my undivided attention. when either spoke I was always listening.

that wasn’t a conscious decision, it was just something that, (fortunately for me), happened and I am deeply greatful to them both, (Farve….you’re always in my thoughts and feelings)

anyway, back to the music..sliding in to this one from his days in The Style Council, (and my days as a Soul Boy), taken from the 1984 album ‘Cafe Bleu’. It’s got to be this one, (even though there are at least another three srceamers on there), which hit me hard when I first heard it whilst making the transition from schoolboy to youngblood.

Daylight turns to moonlight and I’m at my best yeah
Praising the way it all works and gazing upon the rest yeah
The cool before the warm
The calm after the storm
Oh the cool before the warm
The calm after the storm
I wish to stay forever letting this be my food
But I’m caught up in a whirlwind and my ever changing moods

Bitter turns to sugar some call a passive tune
But the day things turn sweet for me won’t be too soon, no
The hush before the silence
The winds after the blast
Oh the hush before the silence
The winds after the blast
I wish we’d move together this time the bosses sued
But we’re caught up in the wilderness and our ever changing moods

Teardrops turn to children who’ve never had the time
To commit the sins they pay for through another’s evil mind
The love after the hate
The love we leave too late
Oh the love after the hate
The love we leave too late
I wish we’d wake up one day and everyone feel moved
But we’re caught up in the dailies and an ever changing mood

Evil turns to statues and masses form a line
But I know which way I’d run to if the choice was mine
The past is our knowledge the present our mistake
And the future we always leave too late
I wish we’d come to our senses and see there is no truth
Ohhh In those who promote the confusion for this ever changing mood

musicology #102

sixartist, sixtune, sixweekspecial #25

(The Jam – I Got By In Time)

this week on themusicologist it’s the turn of the second most influential artists to have crossed my heart and mind.. Paul Weller who, along with Curtis ranks as the artist whose musicology has had the most impact on my life especially during my formative years.

as already mentioned, In The City by the Jam was the first serious piece of music I owned, (Christmas 1977, thanks to me mum and dad), and from that day to this the cat has always held a special place in my life. From the energy of the early Jam days, through to the social poetry of the later Jam works..on to his time with the Style Council and beyond his songs were always there for me as a guide and shoulder to lean on for support when it seemed like no one understood me trials and tribulations..

very similar in essence to Steve Marriott for obvious reasons, Paul Weller has never stood still and has been a musical, (and for me social), force for 30 years !!, (most of my life in fact), making him second only to Curtis in longevity.

Well do I remember in 1982 buying the Town Called Malice 12″ as he called time on the Jam which, to the Mod revivalists at the time was incomprehensible and didnt earn him much support. I saw it differently because to me he was doing exactly what should have been done by a true Mod/ernist and respond to the new music and fashion that was on the streets of London..I’m talking about ‘Casual/Soul Boy’.

that was what was happening back then, (along with the emergence of Electro and ‘Sleng Teng Dancehall), and Weller knew that that was where it was at and that the Jam weren’t capable of making the transition.

Mod has always had two aspects..

1:the vintage led cats who were ‘nostalgic’

2:the ’son of mod’ of the early 80’s who had grown up with and were inspired by the Mod/ernist attitude, razor sharp style, love of contempory music and attention to detail. These were the cats who took up the modernist flag and carried it forward. themusicologist was there and trust me…that’s how it happened.

anyway..back to the music..this one from said album, (In The City 1977), still does it for me 30 years later…imagine how that sounded to a 9 year old !!

musicology #101

sixartist, sixtune, sixweekspecial #24

(Impressions – Never Too Much Love)

you know what…I’m angry. angry with the mountain of useless information that is burying wisdom. why? allow me to break it down…today I ran a search for Curtis Mayfield lyrics. first stop lyrics.com. can you believe Curtis wasn’t even listed !!! let me say that again…..not even listed…

my conclusion..waste of time unless youre looking for the words to popular, (commercial), songs.

only way to do it then is for me to transcribe them myself…there are a few sites with some lyrics on them but I won’t waste your time linking them so in future I won’t be promoting any ‘lyrics’ sites on themusicologist

if anything it has strengthened my resolve to fly the flag for artists like Curtis and keep them in the public domain…back to the music with this uncomplicated plea for unity from 1963. if you think about it who else was writing and performing songs as deep as this at that time?

“after silence that which comes closest to expressing the inexpressible is music.”
-aldous huxley-

.. listen them lyrics

too much love, too much love,
never in this world will there be too much love

never too much love, too much love,
never in this world will there be too much love

an old story told now passed from me to you
in simple little words to get my meaning through

young and old I feel will understand
take heed everybody to a wonderful plan
we all know how, get together right now
clap your hands, sing and shout

never too much love, too much love,
never in this world will there be too much love

never too much love, too much love,
never in this world will there be too much love

maybe you don’t know how to sing or express words the way you like to say
but everybody I know can clap their hands and make a new friend everyday

never too much love, too much love,
never in this world will there be too much love

never too much love, too much love,
never in this world will there be too much love

Curtis Mayfield, Rest In Peace secure in the knowledge that your legacy and inspiration lives on.

musicology #100

sixartist, sixtune, sixweekspecial #23

(Impressions – Young Mod’s Forgotten Story)

landmark day today .. 100 posts on themusicologist. especially synchronistic that it’s fallen on Curtis Mayfield’s ‘watch’.

Iv’e banged on enough times during the time we have shared together on themusicologist about how much the man’s music and lyrics have meant to me as babe in arms, young boy, adolescent, teenager, young man, and now as man, (a title you can’t claim before 33 according to the ancients !!), so I’m not going to wax too lyrical today as Curtis says it all with this cut about the end of an era….

“Shall I tell it like it is, aint none of your business…YES IT IS..”

lyrics DON Curtis…lyrics

arranged by Curtis, legendary musicologist Johnnie Pate and rising soul star Donnie Hathaway…

musicology #98

sixartist, sixtune, sixweekspecial #21

(Jerry Butler&Curtis Mayfield – Find Yourself Another Girl)

round 3 of the Curtis Mayfield selection.as well as hard hitting lyricist and social commentator Curtis’s love songs are beyond compare. a genuine poet whose ability to tap into affairs of the heart deserves mention.

singing lead on this is original Impressions lead singer Jerry ‘The Ice Man’ Butler whose nickname is reported to have come from a performance where the p.a cut out and rather than stop Jerry continued to sing, (that and the way in which he performed emotion drenched soul scorchers without breaking sweat)

it was Jerry that insisted on Curtis replacing Phil Upchurch when he left Jerry’s touring band in 1961 to chase fame on the back of his Mod/R&B classic ‘You Can’t Sit Down’

Curtis was only sixteen at the time which is amazing considering the songs he went on to write over the following two years. this is one of those foundation soul cuts from that year..Curtis not only co-wrote it but it’s also him harmonizing and playing guitar.

musicology at it’s finest from two of Soul’s vanguards in perfect harmony

musicology #89

sixartist, sixtune, sixweekspecial #12

(Humble Pie Feat Steve Marriott – I Need A Star In My Life)

final cut from brother Steve Marriott…difficult choice to make. luckily the man was prolific so there’s enough to choose from but still…tough.

I’m going for a cut taken from the posthumously released and highly recommended ‘Scrubbers Sessions’ released by Tim Hinkley in tribute to Steve. signing off this weeks six/six/six with with a quote from Tim..

“I came back from Steve’s funeral with Bobby Tench, I told him I had this album in my tape storage room..we put it on and it sounded great, it was then that I realised this album really should come out…this record was very special to Steve and if nothing else, it stands as a tribute to his enormous talent”.

lyrics Don Stevie … lyrics …

musicology #88

sixartist, sixtune, sixweekspecial #11

(Humble Pie Feat Steve Marriott – Strange Days)

penultimate piece of musicology magic from Mr Marriott and friends…can’t believe it’s gone so quick.

one of the many things I ‘love’ about the geezahh is his obvious dedication and commitment to communicating using the ‘universal language’. Not only as a vocalist or musician, (could, and did, play most of them), but also as a performer.

most people can sing, (some can play instruments), but what seperates the legends from the rest of us is how they deliver…Steve Marriott delivers as good as anyone and deserves to be ranked in the uppermost branches of the musical tree so that the sun can shine on him from morning to night..

hold this piece of 1971 Rock, Rhythm&Blues from one of the great English bands..Humble Pie .. telling it like it is…quality piece of musicology. a Glyn Jones/Humble Pie production..lyrics courtesy of Steve Marriott.

musicology #87

sixartist, sixtune, sixweekspecial #10

(Small Faces – All Or Nothing)

couldnt throw down a Steve Marriott tribute without laying down the piece that kick started my appreciation of the brothers vocal and soulful qualities.

while not prolific in their collaborative output there’s no denying the Small Faces impact on contempory music and this one gets into the tribute for two reasons

1:Mod anthem

2: brings back memories of being 11/12 and 13 years old as a second generation Mod .. ahhhhhh .. music brings back so many memories..

so without further words hold this piece from the Mod band with the Mod classic, pinpointing the evolution and metamorphosis in the autumn of 1966 from American Rhythm & Blues to English Rock & Blues…

strangely, (or probobly not), one that my kids enjoy and sing along to just as another Mod revival begins to take shape in 2008

musicology #86

sixartist, sixtune, sixweekspecial #9

(Steve Marriott – Help Me Through The Day)

What / Who Is Mod? … for themusicologist there are only a handful of cats who can lay claim to the title. one of them is Steve Marriott …

Why? because he lived life to the full, often at the extremes, always on the vanguard and didn’t compromise his personal values. Selfish? .. probably, Obsessed…almost definately, Dedicated….100%

Not suggesting that these qualities are the only, (or even most important), Mod credentials but if you dig deep enough they are, in themusicologist’s opinion ones that are ever present….another vital ingredient would be the love of Soul, Blues, Rhythm & Blues…without this you can’t be Mod !!

the aim is still to let the music do the talking and believe me I’m trying but the six/six/six is inspiring themusicologist to ‘nail me colours to the mast‘ ..

hold this cut from his solo album, simply titled Steve Marriott, (not his choice of title I hasten to add), recorded in 1975…pucker

musicology #85

sixartist,sixtune,sixweekspecial #8

(Humble Pie feat Steve Marriott – Desperation)

Round two of the Stevie Marriott selection finds the man dissilusioned with fame and looking for some ‘greener grass’, (in my experience a very common Mod trait), first and foremost the young man craved, and deserved, respect as a musician/performer/vocalist which was not possible, in his opinion, with the Small Faces as they were viewed as a bit of a pop/novelty band at the time.

His passion for music far outweighed his desire for fame, although as a street rat on a paltry ‘bobby moore’ a week with a healthy appetite borne out of the only authentic 60’s revolution, (the consumer one), he needed some ‘reddies in the bin‘

This cut, (a Steppenwolf cover written by John Kay), is taken from the 1969 album As Safe As Yesterday Is, the first recorded outing with the band he put together for Peter Frampton…Humble Pie. consisting of Jerry Shirley on Drums, Greg Ridley on Bass and Steve on, (second lead), guitar..as well as vocal duties of course….

musicology #84

sixartist,sixtune,sixweekspecial #7

(Small Faces feat Steve Marriott – Afterglow)

this week it’s all about the legend known as Steve Marriott. Small Faces/Humble Pie/Packet Of Three/Official Receivers front man who’s musical, vocal and performing talents were ten times larger than his physical stature. Following in the footsteps of original London Boy Joe Brown it was ‘little Stevie’, (together with the rest of the Small Faces), that put an authentic London sound on the musical map.

This cut, (one of Steves personal favourites), is taken from the ground breaking LP Ogdens ‘ Nut Gone‘ Flake named in deference to the rolling tobacco, (Ogdens Flake) favoured by the band for wrapping spliffs that after smoking guaranteed your ‘nut’ was gone. Who else but the Small Faces used the London Vernacular?…pure Mod. Proud of their culture and Cockney heritage

As with the previous ‘tribute’ themusicologist aims to let the music talk so hold this piece of London musicology from one of the great English bands…. of personal significence is that it comes from 1968..the year of themusicologist’s birth.

Special request to all the London boys who ‘live up a foreign’…you know who you are. hope this one reminds you of the auld country.

musicology #82

sixartist,sixtune,sixweekspecial #5

(Sam Cooke – Bring It On Home To Me)

if anyone needed reminding or convincing why the Lion is called Mr Soul hold this one from 1963 taken from what is possibly the best live album of all time. bold shout I know and I’m sure many could offer alternatives but whatever your subjective feelings about it…if you don’t own it..and you want one piece of Sam Cooke musicology ‘wrapped round yer vaults’…buy it…and even though the recording couldn’t possibly do the performance real justice for those of us that weren’t there its the best there is.

a quote from the Sam Cooke book by Peter Guralnick about the show

“Upstairs there was a balcony with tables for the patrons and a small office in which the recording engineers, Bob Simpson and Tony Salvatore, set up their equipment. They monitored the sound at a fairly desultory teenage matinee, then adjusted the microphone placement for the first evening show, starting at 10pm.

Sam gave them a cheery greeting before going on, and then the place erupted in a manner that Salvatore, like his partner a neophyte in the world of Rhythm & Blues, was simply not prepared for.

‘There weren’t any brawls or anything like that, but I’ll tell you, it was like a scene out of a movie, the whole building was rocking, and I remarked to Bob, I said, ‘Oh Jesus, I hope this place don’t fall down’ “

King Curtis and full crew, (The Kingpins), playing the instruments….

musicology #78

sixartist,sixtune,sixweekspecial Sam Cooke Bonus #1

(Sam Cooke – If I Had A Hammer)

so..back in the Sam Cooke saddle after some techno issues regarding the Streaming Audio, (boxnet)

threw a small spanner in themusicologist works but rather than dwell on it I’ll take it as a sign that more Sam Cooke is required. Three bonus slices is how it is going to be dealt with, (mon/tue/wed), and then it’s back onto the original sixtune program for #’s 4/5/6, (thurs/fri/sat)

thinking about it…it’s fitting that Mr Soul gets 3 extra tunes as everything in the sixartist selection that follows shares a connection … his legacy. what was/is it about the man that is so special?

not just his voice which, let’s face it, is second to none..it was his capacity to move people of all colours and creeds communicating a message that crosses all boundries. as an example hold this one from a 1964 performance at the Copa in front of a full supper club audience. for themusicologist a killer performance…the way he drops it into a deeper meaning in the middle is breathtaking.

the way he delivers the message to this audience and then gets them involved is nothing short of a miracle, he also laid Bob Dylan’s freedom anthem Blowing In The Wind on them . Consider that for a moment..Sam Cooke singing Blowing In The Wind to a Copa audience…obviously the call and response to a soul/gospel audience was part of the performance and to be expected but at the Copa, to a tune like this, full of undercurrents is almost beyond belief but Mr Soul rinses it like NOBODY else could have done….

I’m in danger of waxing lyrical…Sam step up brother and let us know what it’s all about.……..

LOUD is how this one should be heard ..

“where?…..where?, (all over this land), that’s the place…huh”

I do believe that’s Bobby Womack, (along with Cliff White), pluckin’ strings

musicology #76

sixartist,sixtune,sixweekspecial #2

(Sam Cooke – Let The Good Times Roll)

talk about synchronicity…themusicologist was reminded that today is Sam Cooke’s 77th birthday, (thanks erik), so it’s got to be this one from 1963.

yet another imperious, inspiring slice of over proof musicology from Mr Soul….overflowing with feeling. reminding us to ‘let the good times roll’ no matter what your current predicament which, bearing in mind the circumstances that surround his life at this time, makes it even more inspiring. recorded in December after the 25th take I do believe…such was the desire to ‘get in the groove’.

Mr Cooke …. your message is coming over loud and clear.

is that Bobby Womack harmonising?? Bob if you’re out there let us know..

musicology #72

newyearboogie #4 (Impressions – Keep On Pushing – 1964)

the ULTIMATE message tune..words aren’t enough, so im just movin’ on aside..

“now look a look a look a yonder, what’s that I see….”

only one thing dissapointing about this tune…it ends.

musicology #70

newyearboogie #2 (I Can Make It If I Try -The Royal Premiers)

“no matter how dreary the situation is and how difficult it may be .. you got to walk tall, walk tall, walk tall” ..

sticking with that sentiment this next one is from a little known vocal group from out of the ‘big city of dreams’, New York I do believe, (or at least thats’s where the tune was cut.) I can’t find any information on these cats anywhere other than a small mention in ‘the bible’, (R&B Indies), so if any of the soul and vocal group aficionados out there can ‘tip me the wink’ it would be most appreciated.

One from themusicologists top drawer, perfectly capturing the message of 60’s Soul, one of hope, a new day dawning and ‘nothing can stop me’ enthusiasm..

musicology #63

Ike Turner Tribute #3 (Ike&Tina Turner – The Argument – 1962 – Sue)

so theres been Ike as piano player, Ike as producer and now this piece of musicology from the golden year of 1962 finds Ike, (& Tina), on vocals, in tension..you can hear it not only in the lyrics but more importantly in the atmosphere. penned by Ike there’s menace in there.

like I said, I’m not going to speculate or pass judgment on the personal nature of the relationship especially as this piece says it all so I’ll just let the music tell the story.

musicology #45

vocalgroupaction..day4 (Elephant Walk – Donald & The Delighters)

I first heard this about 6 / 7 years ago. I fell in love with it there and then at it has since become one of my favourite pieces of vocal group action..having enjoyed it many times it never ceases to amaze me how innovative it is. which, considering Donald Jenkins is on the session, (singing lead), is no surprise as, for themusicologist, his contribution, (especially), to the vocal development of Soul deserves a mention. check that use of echo and the mad jungle sounds .. wonder if Lee Perry knew the tune? one from the witch/cortland stable out of Chi’ from the summer of 1963

musicology #41

doublebubble..#7

(Wornell Jones – It Must Have Been Love)

finishing off the 3 round theme with the icing on the cake. a barely known 80’s Boogie, marrow trembler from this musicologist/songwriter/singer/bass player. what more can be said about it other than

“it must have been love”

one thing themusicologist would like to add to the diary is a few words on how music is so often the catalyst for change. this week I undertook a new journey .. therapy… relationship therapy to be precise. for an ‘alley-cat’ this is almost unheard of for many reasons but, (almost), anything and everything is worth investigating and as communication breakdown is all too common in this age there is obviously value in wise counsel. this musical diary is my therapy, best friend, shoulder to cry on and this week here we are without planning, scheming or manipulating listening to duets, two people in harmony… bliss and strangely almost confessional.

the point to make here is that no matter how hard one ‘knocks’, (and themusicologist is an example of this pursuit), if the door to the heart is closed and nobodys home the time will come when the person outside packs the emotional bags and hits the road. Darryl Banks knew this back in ‘66 and laid down an anthem, (musicology #11), to guide us but if you don’t ‘listen’ you can’t hear. so this piece of musicology goes out to all those who aren’t listening as well as those who are.

musicology #39

doublebubble .. day 5

(Chuck Jackson & Maxine Brown – Don’t Go)

sticking with the 1965 selection this one brings together two of Souls shining lights that, (as is all too often the case), didn’t receive the accolades due for their musical efforts. Maxine Brown and Chuck Jackson were there recording in the ‘new style’ as Soul emerged from the shadows of Doo Wop and Rhythm & Blues in the early 60’s to become the force it is today. the second tune this week to flow from the pen of the majestic songwriting duet Ashford&Simpson.

just so you know, for themusicologist the term Soul covers any song about affairs of the heart sung with genuine feeling … regardless of race, creed or colour.

musicology #38

doublebubble .. day 4

(Tarheel Slim & Little Ann – I Submit To You)

day late but not a dollar short with this piece from 1965. better known for their 1959 hit, (it’s too late), which made the doublebubble playlist but, for me, doesn’t reach the heights of this one.

the male half of this husband and wife pairing was a foundation soul singer who first recorded gospel from 1946 as a member of The Southern Harmonaires, Selah Jubilee Singers and The Jubilators. Next stop, (1950) was early Vocal Group The Larks followed by some Blues cuts accompanied by the legendary Sonny Terry & Brownie McGhee before moving to Bobby Robinson’s legendary label Red Robin ..

musicology #34

mansweek day 7

(Aaron Neville – Tell It Like It Is)

BIG MAN tune. (almost left it out, too much choice), sure everybody out there knows it but themusicologist is NOT about rare, obscure tunes that nobody has heard .. appropriate tunes is what the I deal with and for mansweek there is no tune more so. one of them tunes that always leaves me wanting more than the 2mins:40.

“if you want something to play with, go and find yourself a toy, baby my time is too expensive..and I’m not a little boy”

chaps, hope you’re singing this one loud and clear. ladies..hope you’re listening.

musicology #32

mans week day 5

(Major Lance – Um, Um, Um, Um, Um, Um)

“Iiiiiiiiii just couldnt help myself, guess I was born with a curious mind,
Iasked this man just what did he mean when he moaned if he’d be so kind .. and he just go” …

the article mans tune. um, um, um, um, um, um .. I can only imagine what it would have been like to hear this one on the streets of London Town back in early1964, (Released in US, December 1963), maybe somewhere like The Scene for instance, (the first club of it’s type in London) or even The Disc’ .. 150% MOD tune .

must have heard it at least a 100 times over the years but NEVER fails to tremble me marrow. no surprise though as, again, it has father Curtis at the helm. Lyrics, choice of singer, arrangement. probably even played on the session such was his genius. not forgetting the contributions of Gerald Sims and of course Carl Davis who together with Curtis were most responsible for reviving OKeh’s fortune as well as leading the direction Soul took from 1962.

musicology #31

mansweek #4

(Paul Weller  – Down In The Seine – Live in Dublin 2001)

this artist/poet/legend has been a guide since 1977 when, as a 9 year old, themusicologist was presented with ‘In The City’. as far as im concerned this cat is second to none.

the amount of times his words, music and actions have been an inspiration are beyond counting and for that I would like to give thanks. as large as Curtis, Marvin, Bobby and Sam.

musicology #30

day 3 . . mans week

(Curtis Mayfield – Move On Up)

for themusicologist there are two artists that have been the biggest influence on the direction life has taken. both will be featured this week. First up, this artist and this tune are at the forefront of my musical memories.

exposed to this Goliath of soul at the tender age of TWO by the legendary Tony Blue, (respect is always due), the foundation source of themusicologists education. All I can say about this cat is, whenever times are hard father Curtis never fails to turn the grey skies blue and always sends the spirit soaring.

(would have posted the full 9mins but edited it down to just the vocal half)

musicology #24

day4…ladiesweek

(Barbara Lewis – Think A Little Sugar) 

moving out of the Rhythm & Blues of the 50’s into, yes you’ve guessed it .. the Soul of the 60’s.
original mod dancer recorded in May 1963, (just in time for the opening of The Scene),
with backing vocals by The Dells…a tune that never fails to hit the right note for themusicologist.

lyrics, (penned by the artist herself), vocals, production … the trinity.

musicology #20

Barbara George – I Know 

staring down the barrel of a 3 week musicology theme, themusicologist is slipping in this request from theagingmod, (comment on #19), recorded in 1961 for the a.f.o label in New Orleans just as the tide was turning from the traditions of R&B into the sweet sound of Soul.

also ties in musicologically with the next 3 weeks selection,

week1. hereby known as ‘ladies week’ (a tune a day sung by and for the ladies)

week2. hereby known as ‘fellas week’

week3.hereby known as ‘double bubble week’ (duets)

starting Mondays, ending Sundays…keep it locked.

agingmod…this ones for you.

musicology #19

(Delilah – Major Lance)

themusicologist is as much about the sharing of knowledge as the music itself. this fling is a fine example of what musicology means to me.

we were at a dear friends daughters second birthday bash, (happy birthday Nova), on Sunday and one of the guests was a beautiful baby girl whose name is this songs title.

of course as themusicologist there was only one thing to do and I enquired as to whether the child and parent were aware of the TOP tune I am about to throw down…as the answer was no I proposed to attach it to an email, (I would consider changing my name to be associated with such a slice of musicology), but this way it gives themusicologist a chance to indulge his passion for this singer, this particular tune and even more importantly the song writer/producer/musical genius whose message has been a constant inspiration throughout my whole life so without further ado .. this ones for you D*****H … from themusicologist.

musicology #15

(Maze – When I’m Alone)

back to the one tune with one of my favourite pieces of 80’s boogie.

Sunday afternoon ‘Soul spectrum’ selection … in training for the soul weekender next month.

musicology #11

(Darryl Banks – Open The Door To Your Heart)

taking a detour from the 80’s boogie and providing themusicologists first
service of product. requested by the agingmod, this piece needs no introduction.

two minutes 20 seconds of pure bliss that every time it’s heard warms the cockles of ones heart.

according to a foundation musicologist…this was a BIG tune at ‘the apples’ in deepest, darkest SouthEast London back in ‘66 and a genuine Mod classic.

what is Mod? in essence a London born street style from 1962-1966 which has since gone on to be not only internationally known, but also extremely influential both in fashion and attitude. Mod was and continues to be a working class kick up the establishment arse….

musicology #10

day3

(Kleeer – Open Your Mind)

I did say no philosophy but, things change…

still sticking with the pucker boogie..and letting music do the talking. but had to mix in a bit of spoken word……y’know !!

It’s the full 12″.. thought about editing out the sax solo out but it wouldnt be the same without it so it stays..feeling it strong and it’s all good.

musicology #9

moving and juggling…

“when the world is down on you……love’s somewhere around…and I want you to know that….(sing along with me children)…joy and pain are like sunshine and rain.“

a jazz funk anthem that still sounds just as good as when first heard more than 20 years ago..respect is most certainly due to Maze and Mr Frankie Beverley

if life is rough and your relationship is suffering and you don’t know how to breakthrough … send your companion a link to this one tell them the musicologist would like a word, and if this doesnt communicate the message then nothing will and it may be time to make a move

musicology #8

Womack&Womack – Baby I’m Scared Of You

the musicologist can see a clearer path and has made resolutions.

for the next few weeks i’ll be throwing down 1 piece at a time,
(a.k.a the one tune technique), the reason:

a soundtrack for metamorphosis/change that I would love to share using the
universal language.

the time has come to make a move and I can only hope the music does the talking.

feeling it…… then lets trip back to the early 80’s and the days of Lois Jumbo’s, Diadora, Adidas, Fila , Pringle and Aquascutum sported with authentic mod panache whilst line dancing at the ‘Ly, Cinderellas, Samanthas, Gullivers and Flicks.

First up…one for the ladies out there…but don’t play man for cheap…and bear in mind that he need a little mo’ too…..

musicology #1

Having worked out how to stream the universal language this is where themusicologist journey begins. To the right is a boxnet widget, It’s the portal for communicating the message. To make navigation more effective I am naming them all musicology with an appropriate # so discourse on these subjects should use this framework.

I decided to go with 3, 6, 9 in a row for many reasons, (the trinity, soundclash, magic number), but as this isnt the place to discuss philosophy or personal beliefs i decline to reason about it unless related to musicology.

Hold this 6 shot combo from 1962. A very important year especially for Mods, music and society as it was the year Soul made the transition from niche to genre.

All you Lyceum, Tottenham Royal, Greenwich Town Hall and Streatham Locarno cats feel free to throw some shapes… say yeah, yeah, yeah….say yeah, yeah, yeah.