musicology#0732

Nubag #1 (a year in the life)

My Mama Told Me – Justin Hinds and the Dominos

monkey-year

So much to say but, words, for me, don’t do thoughts/feelings justice. That said, I will do my best with the vocabulary I ‘have’ in an effort to communicate my thoughts/feelings on the what, why, how, when of the nubag (new bag) that I feel like working out of for the new year.

Interestingly and without my knowledge (but not without my understanding), the time has come and the nu beat is being played and the dance begins TODAY.

Not ONLY is it the dawn of spring it is also the dawn of the final phase (for me) and rebirth is coming as we ‘sail into the mystic’…

My aim is to post a tune every day between Feb 8th (new years day) and Jan 27th (year end), a marathon for sure but I will give it my best ‘shot’. The music will be diverse.

First up a top ranking piece of, (late), Ska from a king of Jamaican music, Justin Hinds (and the Dominos), one of the pioneers of the vocal group style at his/their very best. Recorded for the mighty Duke, the Trojan, Reid and released on his Treasure Isle Label. Echoes of and certainly inspired by Curtis Mayfield and Jerry Butler’s early Soul killer .. I’m a Telling You. One more example of Curtis Mayfield’s contribution to the development of Jamaican music.

 

musicology #0667

aSongforCon #6

Curtis Mayfield – The Makings of YOU

“almost impossible to do…reciting the makings of YOU”

one from the King for my princess. x

musicology #0656

Tribute to Don Pedro #6

the Sensations – Right On Time

Out of the Rhythm & Blues and into the Rocksteady with this majestic cover of the Impressions cut. Rarely does a cover do justice to the original for me but this one is an exception to the rule..

Written by Master Curtis Mayfield and originally recorded by the Impressions for the 1966 Ridin’ High LP the Sensations recorded this version in 1967. Released in the UK on Graeme Goodall’s Doctor Bird label this is a BiG piece from the Sensations, a group originally formed by Jimmy Riley and Cornel Campbell that featured, (along the way), Buster Riley, Aaron ‘Bobby’ Davis, Johnny Osbourne and Jackie Parris, who the lead is on todays fine piece im not sure but i’m guessing its Jackie Parris rather than Jimmy who had moved onto one of Jamaica’s greatest vocal groups the Uniques by 1967 but it could even be Cornel Campbell?

one thing IS for SURE…the tune is a top ranking, nailed on marrow trembler and one that I’m sure Don Pedro will appreciate as the surf hits the shore on another day in paradise and he watches the sun sink over the pacific as the Don is world renowned for ALWAYS being ‘Right On Time’.

BIG up yourself Don Pedro….

musicology #586

Flow #5

(Terry Callier – What About Me (What You Gonna Do About Me)

So…Terry Callier last night at the Pigalle..what words can I use to try and explain? none do it justice…one of the highlights of my year so far. To see someone perform in such intimate surroundings….it was truly a night to remember. It put me in mind of Curtis, (Mayfied), Live at the Bitter End. Unfortunately I wasn’t there in 1971 but I know the LP inside out having listened to, (and learned from), it for almost 40 years. Scandalously last nights promotion was a joke so as a result there were no more than 50? people there but that didn’t deter Don Callier and full crew, (Bosco De Oliveira, Chris Kibble, Dave Barnard, Gary Plumley, Jim Mullen, Nic France), from delivering almost two hours of pure joy.

I don’t know who was meant to be promoting it but they FAILED miserably. Hopefully the North, (Edinburgh/ Kendal/ Manchester), will be out in full force to give them the support they DESERVE.

Today’s cut was one they well and truly rinsed last night..Listen to the lyrics and understand WHY, for me, Terry Callier is a prophet, (even though he disagrees), 1994 release borrowed from his ‘Looking Out’ set.

musicology #568

Down The Road A Piece #4

(Leroy Hutson – Love The Feeling)

Saturday night at Vintage was B.I.G. The Soul Casino was rocking..Andy Weatherall threw down at the ‘Warehouse’ and the company kept was SUPERB. I wasn’t sure whether I would be able to make it through to see Leroy Hutson on Sunday night? but it was one of the main reasons for attending so I thought that if I stumbled around the festival into the early evening then I had a chance…

Why is Leroy such a legend?, (other than his musical genius), for those of us who had the pleasure to be ‘on the, (Rare Groove), scene’ back in the day (85-87), Leroy Hutson was one of the primary artists. His ‘Hutson II’ LP was IN DEMAND to say the least. If you were there you know what I’m talking about and to hear him perform today’s slice of the musicology pie Live and Direct was an experience never to be forgotten.

The legend wasn’t due on until 9pm so it was touch and go but I managed it, (due in part to Craig Charles who was on fire for the two and a half hours leading up to Leroy coming on). As soon as he walked on though I was buzzing and immediately found my second wind. The man proceeded to tear it up and wove his magic leaving the crowd screaming for more especially when he enticed a call and response session on today’s slice the Rare Groove classic ‘Love The Feeling’ getting the Kittens to sing “Love I Love I Love” and the Cats to sing “The way you make me feel” was as good as it gets and anyone who was there knows what I’m talking about. For me it will always be a cherished memory..Recorded for and released on Curtis Mayfield’s Curtom label in 1976.

musicology #509

CoversWeek2 #6

(Donny Hathaway – Jealous Guy)

Somewhat of a dilemma over today’s slice..1 artist 2 majestic covers..what one to lay down? Donny’s version of Ray Charles’s ‘I Believe To My Soul’ or John Lennon’s ‘Jealous Guy’ ?? hmmm I think it’s going to be ‘Jealous Guy’. Nothing to choose between them as I said…both top of the ‘covers tree’ but something about this one that resonates stronger with me than ‘I Believe’. Am I a ‘Jealous Guy’…not neccesarily but I know I have been. Is it jealous or insecure? it’s a thin line indeed. Insecure…for sure so in true dialogue style hold this one from Donny’s Live set. Before I finish I just want to add how much I feel the man’s authenticity come through in his music…genuine dialogue between a man and his inner being I believe.

Others of note are Marvin Gaye, of course master John Coltrane, Gil Scott Heron, Terry Callier, Curtis Mayfield, Paul Weller, Dinah washington, Sam Cooke, Billie Holiday…there are others I could add but those are the ones who come immediately to mind without thinking long and hard. Recorded live, (1972), at the Bitter End and featuring Cornell Dupree, Mike Howard, Willie Weeks, Fred White and Earl DeRouen

musicology #507

CoversWeek2 #4

(Cornell Campbell – Ten To One)

Slipping back into the sweet sounds of Jamaica for today’s cut with a piece by one of the islands great artists the MAJESTIC and pioneering Cornell Campbell . A Cat who begun his recording career at the tender age of 11 in the mid 1950’s for Coxsone, moved on to record with King Edwards in the mid 60’s, harmonised within ‘The Sensations’ for Duke Reid’s Treasure Isle, returned triumphantly to Studio 1 with ‘The Eternals’ and then begun a long solo career that continues HALF A CENTURY later to this day.

Here heard cutting his teeth on a Curtis Mayfield and The Impressions soul classic. As far as I’m concerned an absolute marrow trembler from start to finish and yet another musical diamond mined from the Studio1 archives. One listen should leave us in no doubt as to the influence both Curtis Mayfield and Coxsone Dodd had on Jamaican musicology….LISTEN TUNE.

musicology #499

SoulBoy #18

(Bobby Womack – Tried and Convicted)

Final week of the Soul theme and who better as far as themusicologist is concerned to bring us down the final furlong than one of my most cherished artists Bobby Womack. As I have mentioned before, along with Curtis Mayfield it was Bobby Womack who had the most influence on a young child running wild on the streets of South London in the 1970’s. Cuts like I Can Understand It, If You Want My Love, O.V Wright’s That’s The Way I Feel About Cha, Stop On By, A Woman’s Got To Have It, Communication, (to name a few)…are all integral parts of the soundtrack to my existence. In fact often when I hear, (early 70’s), Bobby, Curtis, Bill Withers, Stevie and Marvin I can view the world through the eyes of a child once more. Music does that for me like nothing else can. I don’t think of what I was doing or wearing to identify the stepping stones in my life it’s ALWAYS what I was listening to and no doubt always will be. So without further delay, (and before I get all misty eyed),  hold this late 60’s slice of the Bobby Womack pie recorded for and released on the, (New Orleans powerhouse), Minit Label. Produced by Chips Moman

musicology #485

SoulBoy#4

(Keni Burke – Risin’ To The Top)

Like I mentioned yesterday…time ain’t on my side for the next couple of days so can’t wax lyrical about today’s artist. Multi talented singer, songwriter, bass player, (today’s cut being a prime example), who wrote his first ‘hit’ at the tender age of 13 for Curtis Mayfield’s Windy C label.

Hip Hop fans, (as well as ‘Soul Boys’), will instantly recognise the BassLine which has been sampled by artists such as Doug E Fresh, Big Daddy Kane, LL Cool J, Pete Rock & CL Smooth, Mary J. Blige, and OC as well as providing the inspiration for legions of producers. The Jones Girls 1983 cut ‘All Night Long’ was 80’s Soul at it’s finest and of course it was this piece that preceeded it…would Love to share more of the Cats ‘medals’ with you but I HAVE to be out the door in ten minutes so without further delay hold this majestic slice of the 80’s Soul and Boogie pie…

musicology #482

SoulBoy #1

(The Miracles – I’ll Try Something New)

Waiting for the inspiration for a new theme it suddenly arrived yesterday out of nowhere… Soul. Why? well…above all musical genres Soul is in my flesh, blood and bones. Deeply ingrained from before I was born. allow me to outline my historicity

My mum and dad were both Original London Mod/ernists from 1962 and anyone who knows will agree that the authentic soundtrack to Mod/ernist is Soul…Rhythm & Blues too of course but whereas Rhythm&Blues had been around for many years Soul was ‘modern’ (albeit a fusion between Doo Wop and Gospel).

Between 1958 and 1960 the seeds of Soul were sown as the cultural boundaries began to be crossed in earnest and as is often the case it was music that blew the trumpet for change loud and clear. No more would the universal language be categorised strictly by ‘Race’ (my belief is that it’s the only language that speaks to all regardless of colour, nationality or creed). Artists such as Sam Cooke, Jackie Wilson, James Brown, Smokey Robinson, Jerry Butler, Curtis Mayfield, Gene Chandler, Dee Clark, Otis Redding, Solomon Burke, Wilson Pickett, Marvin Gaye, (along with a whole host of lesser known but just as illuminating singers, songwriters and musicologists), began to flex their musical muscles and craft the ‘new lick’ without the backing of Corporate thieves and vultures.

In December 1968 themusicologist was born with the soundtrack of Soul ringing in my heart and soul and from that day to this it has been ever present. Beginning with the ‘classics’ I have matured throughout the 70’s 80’s 90’s and into the 21st Century with the heartbeart of such priceless musicology as the soundtrack to my existence. There have been and are many other genres that have had a profound impact on the I but Soul still is (and always will be), my first musical love.

Kicking off with one of my favourite early Soul cuts courtesy of the pioneering  ‘Miracles’ who first recorded in 1958 for Chess, but it wasn’t until hooking up to Berry Gordy’s fledgling Motown Label that the musical sparks began to truly fly. Just like to add that without doubt The Miracles were a foundation stone on which the Berry Gordy empire was built…

musicology #461

TheManWithTheBag #11

(Jackie Wilson – O Come All Ye Faithful)

Just got back to the ‘Big Smoke’ after  a few days spent in natural paradise with two angels. The landscape up there, (North West England), never fails to inspire me and I always come back with a bit more of a ‘Tigger Bounce’ in my step. Knocking on the Christmas door now as we come down the home straight. Tree’s up, presents beneath it, kids excited. Just have a few more things to do and then it’s kick back time from tomorrow.

A question for you all out there..has the quality of song writing, (and singing come to that), gone downhill over the last few years or am I just not being exposed to the ‘right’ material? don’t know if you noticed but I listen to a LOT of music from as far back as the early 20’s all the way through to today and if the term ‘popular’ has any meaning/value as far as making judgement is concerned then the quality of pop today is, (generally), to my ears..poor. By NO means am I suggesting that quality music isn’t still being made as I don’t need to listen any further than Master Terry Callier, (for instance), to know that marrow trembling cuts are still being made but as I listen to the ‘charts’, (not out of choice but due to having two children over the age of ten), I can’t help but be disappointed. Where are the Dinahs, Arethas, Maxine Browns, Etta James’s? the Sam Cookes, Otis Reddings, Jackie Wilsons, Clyde McPhatters, Ben E Kings, Smokey Robinsons, Marvin Gayes, Curtis Mayfields, Bobby Womacks. The Gregory Issacs, Pat Kellys, Slim Smiths, Ken Boothes, John Holts, (the list could go on and on), who are the singers and songwriters kicking arse and trembling marrows in the 21st Century??

Today’s cut is courtesy of one of the afore mentioned legends, Jackie Wilson. A man who needs no introduction with his version of the hymn ‘O Come All Ye Faithful’

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 #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 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 #372

SuchIsLife #6

(Bill Withers – World Keeps On Going Around)

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

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

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

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

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

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

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

musicology #371

SuchIsLife #5

(Jackie Wilson – Love Is Funny That Way)

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

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

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

Listen Tune

musicology #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 #293

JamaicanVocalGroupAction #4

(The Techniques – Queen Majesty)

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

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

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

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

musicology #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 #190

nowordsjustmusic #6

(Never Know What You Can Do Give It A Try – Leroy Hutson)

musicology #189

nowordsjustmusic #5

(Walter Jackson – What Would You Do)