musicology #359

AlternativeSoundtrack4 #26

(Irma Thomas – It’s Too Soon To Know)

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

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

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

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

musicology #358

AlternativeSoundtrack4 #25

(John Coltrane – India)

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

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

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

musicology #357

AlternativeSoundtrack4 #24

(The Twistin’ Kings – Congo Twist Pt1)

Martin Luther King was quoted to have said

“No Victory without Sacrifice”

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

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

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

musicology #356

AlternativeSoundtrack4 #23

(Bobby Bland – St James Infirmary)

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

musicology #355

AlternativeSoundtrack4 #22

(Dee Clark – Raindrops)

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

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

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

musicology #354

AlternativeSoundtrack4 #21

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

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

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

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

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

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

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

musicology #353

AlternativeSoundtrack4 #20

(John Lee Hooker – Boom Boom)

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

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

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

musicology #352

AlternativeSoundtrack4 #19

(Memphis Slim – Mother Earth)

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

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

musicology #351

AlternativeSoundtrack4 #18

(Lavern Baker – Shake A Hand)

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

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

musicology #350

AlternativeSoundtrack4 #17

(Betty James – I’m A Little Mixed Up)

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

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

musicology #349

AlternativeSoundtrack4 #16

(Jack McDuff – Brother Jack)

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

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

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

musicology #348

AlternativeSoundtrack4 #15

(Etta James & Harvey Fuqua – My Heart Cries)

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

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

musicology #347

AlternativeSoundtrack #14

(Buddy Guy – First Time I Met The Blues)

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

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

musicology #346

AlternativeSoundtrack4 #13

(Howlin’ Wolf – Down In The Bottom)

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

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

musicology #345

AlternativeSoundtrack4 #12

(Tito Puente – Dance Of The Headhunters)

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

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

musicology #344

AlternativeSoundtrack4 #11

(John Coltrane – Spiritual)

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

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

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

musicology #343

AlternativeSoundtrack4 #10

(Otis Spann – The Hard Way)

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

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

musicology #342

AlternativeSoundtrack4 #9

(The Coasters – Snake and The Bookworm)

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

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

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

musicology #341

AlternativeSoundtrack4 #8

(Shirelles – Will You Love Me Tomorrow)

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

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

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

musicology #340

AlternativeSoundtrack4 #7

(John Lee Hooker – I’ll Know Tonight)

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

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

musicology #339

AlternativeSoundtrack4 #6

(Sam Cooke – Cupid)

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

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

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

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

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

musicology #338

AlternativeSoundtrack #5

(Barrett Strong – Money)

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

“Fast Eddie……”

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

musicology #337

AlternativeSoundtrack4 #4

(Jimmy Smith Trio – Jimmy’s Blues)

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

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

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

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

musicology #336

AlternativeSoundtrack4 #3

(The Triumphs – Burnt Biscuits)

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

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

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

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

musicology #335

AlternativeSoundtrack4 #2

(Ray Charles – A Bit Of Soul)

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

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

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

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

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

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

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

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

musicology #334

AlternativeSoundtrack4 #1

(Jesse Hill – Ooh Poo Pah Doo Pt1)

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

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

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

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

musicology #220

12AngryMen #15 (alternativesoundtrack #3)

(The Marquees – Wyatt Earp)

end of the 12 angry road. the not guilty count is now 11-1. last man standing is Lee J Cobb whose personal vendetta against juveniles is obviously related to how he feels about his own son which, is not enough of a reason to send a teengaer to the ‘chair’ when all the evidence has been shot down in flames.

this last piece of the musicology pie is another from the OKeh label featuring a young drummer by the name of Marvin Pentz Gay whose recording career begun on this piece. signed to the label by Bo Diddley the record was a commercial failure so Bo introduced them to Rhythm& Blues legend Harvey Fuqua who incorporated them into his New Moonglows in 1957.

around 1958/9 Fuqua moved to Detroit, married Gwen Gordy, set up a couple of his own labels and when Berry Gordy convinced him to be an influential part of Motown introduced Marvin to the fold. and the rest, as they say, is history.

musicology #218

12AngryMen #13 (alternativesoundtrack #3)

(Donnie Elbert – What Can I Do)

so it’s almost over…not only for the 12angry but also for this chapter in the book of life. institutions are crashing and burning after almost a century of ‘rinsing’ it. no surprise that ‘man on the street’ is being asked to shoulder the load..it’s all in the game.

the dialogue features two of the three remaining ‘guiltys’ (with Lee J Cobb in commanding form in the supporting role). the music, I must confess, is a personal favourite and any chance to throw it down is good enough reason. but in true musicologist style when the right time come, up steps a tune to ‘express the inexpressible’ and this one is no exception. a piece, (no need to tell you from what year !!), that signals a shift away from Rhythm & Blues into a new style. one where the lead singer steps out of the vocal group shadow and into the spotlight. pioneered by cats like Donnie Elbert, Jackie Wilson, Sam Cooke this sound became known as Soul…

Listen Tune……

musicology #217

12AngryMen #12 (alternativesoundtrack #3)

(Screamin’ Jay Hawkins – Yellow Coat)

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

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

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

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

musicology #215

12AngryMen #11 (alternativesoundtrack #3)

(John Lee Hooker – Little Wheel)

not long to go now as the ‘guiltys’ fall like dominoes. each piece of evidence is being scutinized and eventually found to be unworthy.

the music is courtesy of  Bluesman supreme, the pioneering John Lee Hooker whose first recording, (Boogie Chillen’) was in 1948. This one, from 1957,  is one from his days spent at Vivian Carter and James Bracken’s Vee Jay Label.

musicology #214

12AngryMen #10 (alternativesoundtrack #3)

(Original Broadway Cast – Gee Officer Krupke)

second slice from the Original Broadway production of West Side Story and what else could it be other than this one. themusicologist only knows this song from watching the film as a youngblood growing up in the 70’s and 80’s but this cut is the only one that I can still see in my minds eye. an excellent piece of social commentary about what was a growing concern for America in the second half of the 50’s, Juvenile Delinquents.

The dilemma seems to have been a question of how to make money out of teenagers without too much cost to society. As first America, (and then the world), was manouvered away from a ‘needs’ and into into a ‘desires’ culture this proved impossible.

Emotions are a dangerous playground and a ‘got to have it at any cost’ mentality was never going to be conducive to a harmonious society. Some of the problems we now face are related to this move into desires in part because emotional responses are not rational so if one desires something they are more likely to be irrational in the pursuit of it. leading, in a ever increasing number of cases, to a ‘by any means necessary’ approach to the aquisition of such things.

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 #212

12AngryMen #8 (alternativesoundtrack #3)

(Sherman Booker & The Blue Notes – Cool Daddy’s Blues)

back to round 8 of the ‘alternative’ and brother Henry is on a roll. The Guilty’s are falling like dominoes as the ‘Socratic method’ employed by our man continues to work it’s magic.

Philosophy is such an important part of our lives that it’s shocking how little is taught in our schools. Unless we count the almost complete domination of the Greek School of thought which is taught ideologically to young children in an effort to set them up as ‘citizens of the future’ rather than introduced as a tool to help them aquire ‘knowledge’. For me Philosophy is all about asking, (and answering), questions and coming to your own conclusions which obviously doesn’t fit in with current politrickal ideas of mass control. With that in mind and before I get too far into the saddle of my high horse I’ll get back to the music.

today’s cut of the ‘57 pie is a piece of ‘blues’ from an almost unknown outfit, Sherman Booker & The Blue Notes, about whom I know absolutely nothing, other than they recorded this one in 1957 for L.A’s Combo Label.

musicology #210

12AngryMen #7 (alternativesoundtrack #3)

(Rosco Gordon – Cheese & Crackers)

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

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

musicology #209

12AngryMen #6 (alternativesoundtrack #3)

(Pete Seeger – John Henry)

day 6, the invisible votes have been cast…and here comes the verdict.

the music is a 1957 piece from an important and highly influential cat in the development of ‘popular’ music who is still performing at the ripe old age of 89. A man who walked it like he talked it, Seeger was, and still is, an Activist with a capital A, who shares themusicologist’s belief that music and song is a most powerful force for change.

Alone among the many witnesses after the 1950 conviction and imprisonment of the Hollywood Ten for contempt of court, Seeger refused to plead the Fifth Amendment (which asserted that his testimony might be self incriminating) and instead (as the Hollywood Ten had done) refused to name personal and political associations on the grounds that this would violate his First Ammendment rights:

“I am not going to answer any questions as to my association, my philosophical or religious beliefs or my political beliefs, or how I voted in any election, or any of these private affairs. I think these are very improper questions for any American to be asked, especially under such compulsion as this.”

The man’s refusal to testify led to a 1957 indictment for contempt of Congress and for years he had to keep the federal government apprised of where he was going any time he left the Southern District of New York.

Finally sentenced, (by Jury Trial), to a 10 Stretch in 1961, for whatever they could hang on him, this was overturned a year later in ‘62 for being ’seriously flawed’

Not trying to style it that I’m a long time fan of the man and his music..in fact that’s one of the things that themusicologist provides, an opportunity for me to explore genres and styles that I am unfamiliar with.

musicology #208

12AngryMen #5 (alternativesoundtrack #3)

(Original Broadway Cast – America)

Day 5 and the murder weapon is the first piece of incontrovertible evidence to be questioned by Fonda. Last time I’ll mention it but to edit the dialogue is almost a sin so there’s a lot that will be missed. Maybe, (as with regular commentor, the countess), you may find yourself securing a copy and laying it down one night. if you do, and you havent seen it already, you’re in for a treat.

the music is a classic from the 1957 Broadway production of West Side Story. The section where two of the girls debate the relative values of the two ‘island’s’, (Manhattan & Puerto Rico).

the propaganda is clear that Manhattan, (and America), wins hands down. I’m not passing any comment on this and I use the word propaganda to mean Media Promotion and Advertising of cultural ‘values’.

ROSALIA
Puerto Rico,
You lovely island . . .
Island of tropical breezes.
Always the pineapples growing,
Always the coffee blossoms blowing . . .

ANITA
Puerto Rico . . .
You ugly island . . .
Island of tropic diseases.
Always the hurricanes blowing,
Always the population growing . . .
And the money owing,
And the babies crying,
And the bullets flying.
I like the island Manhattan.
Smoke on your pipe and put that in!

musicology #207

12AngryMen #4 (alternativesoundtrack #3)

(Chuck Berry – Too Much Monkey Business)

today’s dialogue hears some of the jurors laying out the reasoning behind arriving at their guilty verdict and begins to give us an insight into them as people. One thing’s for sure, with the amount of top quality dialogue in this film it could turn into a long musical journey..not sure I have enough 1957 cuts in the vaults to cope so might have to throw a few from previous years.

the slice of musicology is from, some say, the King of Rock & Roll…none other than Charles Edward Anderson Berry. About whom John Lennon was quoted to have said

“If you tried to give rock and roll another name, you might call it ‘Chuck Berry’.”

Taken from his first LP ‘After School Sessions’, (a favourite down Circus Street), released in, yep you guessed it, 1957. The song has been covered by Elvis Presley, The Beatles, The Yardbirds and The Kinks such was Chuck’s stature among musicians. If you listen to Bob Dylan’s ‘Subterranean Homesick Blues’ it’s almost the same song but with different lyrics.

musicology #206

12AngryMen #3 (alternativesoundtrack #3)

(Sun Ra & His Arkestra – El Viktor)

what strikes me is how much quality dialogue is in this film and thinking about it that’s probably what drew me in when I first saw it. I enjoy language and words very much and crave dialogue and communication. themusicologist provides and delivers a great opportunity for me to connect using the universal language that speaks to us all, (if we listen), and is a manifestation of this desire to communicate.

back to the ‘12 Angry’ selection…the dialogue paints it’s own picture and introduces the Henry Fonda character in Socriatic style.

the music is courtesy of Maverick Pianist Sun Ra, (and Arkestra), a cosmic cat of the highest order whose life seems as rich a tapestry as could be woven. Born around 1914, he grew up with Jazz and played the piano/organ/keyboard consistently for his whole life, (recording over a thousand songs). His first recording in 1946 was as Pianist for Rhythm & Blues legend Wynonie Harris. I’m not going to lay out his life story as it’s well documented so I’ll just leave it to Ra and Arkestra to ’speak’.

musicology #205

12AngryMen #2 (alternativesoundtrack #3)

(Frankie Lymon & The Teenagers – I’m Not A Juvenile Delinquent)

day two of the 12 Angry Men selection and the ‘action’ begins. 12 jurors, 1 Room, Hottest day of the year…No Air-Con. The jockying has already started as Lee J. Cobb, (Juror #3), lets his feelings known on what he thinks the verdict should be.

themusicologist wasn’t even born in 1957 but from what I have read and heard the ‘Teenager’ had most definately arrived. Music, (Rock and Roll), being an example of this. The way I have understood it, before World War II music was made predominantly by and for ‘grown ups’.  Swing had begun to change that but by the time Rock and Roll emerged the writing was well and truly on the wall for who to target…Teenagers.

the slice of, (1956), musicology, (released in early ‘57), is courtesy of 13 year old !! Frankie Lymon and The Teenagers, (Herman Santiago, Joe Negroni, Jimmy Merchant, Sherman Garnes), who epitomised the change as well as anyone. Of note is that the majority of the group members were of Puerto Rican descent, as was the kid charged with murder in the film, and half of the subjects of the original 1957 Broadway production of West Side Story.

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 #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 #140

theGood,Bad&theUgly #7

(Ennio Morricone – The Good The Bad & The Ugly (main title)

finishing up this tribute to one of themusicologist’s all time favourite films with the final scene….guns drawn for the finale. don’t know how many of you remember the film in detail but this is shot in the centre of the graveyard. Il Buono has written the name on the stone and it’s waiting there for the victor to claim…as a piece of atmospheric cinema it ranks up there with the best of ‘em and even though I have seen it many times it always has the same sense of drama and anticipation. A large part of that is down to Ennio Moricone’s film score and I would like to pay tribute to the man, (who’s film scores are enough for me to watch any film), by including his work here on the last day.

I won’t lie to you it’s been hard work this week searching through the vaults for diverse tunes that try to capture the essence of the film but most definately worth the effort and something I will be looking at doing again. I have a few ideas for alternative soundtracks so look out for them filed under the ’soundtrack’ category.