LadyEmma 10
“What you seek is seeking you.” – Mawlana Jalal-al-Din Rumi
#0867 I Found Me a Love – Glen Washington
Reggae
#0839 Cocoa Tea – No Love
Critique of 2020 #5
Supreme piece of roots from the mighty ‘Cocoa Tea’. SERIOUS critique on the crony capitalist ‘shitstym’
“Stop it, white collar executive, stop run racket,
’cause if you check them pocket,
Things you wouldn’t believe, them bwoyyyy them got it..
There ain’t no love inna the city, they treating the people without pity,
No love in the country, all about we are dying for mercy…”
foooookin, CRAPitalist blooodclaaaaaaaat fools with their destructive ‘explosion’ ideology.
#0836 Peter Touch-Here comes the judge.
BIG man ‘Touch’ dropping ‘bombs’.
Critique of 2020 #2
A scathing critique of colonialism from master Peter Tosh. His vocal cut of Tommy Mc Cook and the Destroyers ‘Ah So’ released by Joe Gibbs on his ‘Shock’ Label in 1971.
A cut of The legendary Abyssinians ‘Satta’ Rhythm, (originally recorded at the home of Jamaican music Sir Coxsone’s imperious Brentford road powerhouse … Studio 1)
The Abyssinians purchased the master tapes from Coxsone and released ‘Satta’ on their own ‘Clinch’ label in 1971 and the rest is Reggae history.
‘Satta’ was in itself a loose version of Carlton (Manning) & his Shoes ‘Happy Land’, (the Abyssinians consisted of Bernard Collins and ‘Shoe’ two brothers Donald and Lynford).
#themusicologist [#0816] Dennis Brown – Tribulation
Pluto meets Jupiter #2
Sliding out of the Cool Ruler and into one from the Crown Prince..
“There is one thing stronger than all the armies in the world, and that is an idea whose time has come.” – Victor Hugo
#themusicologist [#811] Baby I Love you so – Jacob Miller
aSongForCon
“For beautiful eyes, look for the good in others; for beautiful lips, speak only words of kindness; and for poise, walk with the knowledge that you are never alone.”
Eternally x
#themusicologist [#807] Girl of my Dreams – Cornell Campbell
aSongForCon
with ETERNAL love from Dad
Girl of my dreams………
ALWAYS x
#themusicologist [#804] Wailers– Bend Down Low
The Upsetter’s [Lee Perry] BURIAL version of the Wailers 1966 Studio 1 classic…
“Fighting to preserve things as they are inevitably becomes a battle to think and speak of things in certain ways, either defensively or preemptively. We face the future empty-handed, language-wise; we are dumb in the face of the future.” George Orwell
Original version [#643]
https://themusicologist.wordpress.com/2012/02/25/musicology-643/
#themusicologist [#800] Lloyd and Devon – Wolf Out Deh
1977 Upsetter selection recorded at the legendary Black Ark. Featuring Lloyd [Robinson] and Devon Russell on the vocals
be careful of the ‘WOLF OUT DEH’….
#themusicologist [789] Paragons – Blackbird singing
Fork in the road 2
“Take these broken wings and learn to fly”
musicology #0756
Nubag #24 (a year in the life)
Black Up – Karl Bryan & Count Ossie
“Out of suffering have emerged the strongest souls; the most massive characters are seared with scars”. Khalil Gibran
Watch over me….x
musicology #0731
word/sound/power #1
Prince Malachi – Trodition
rolling out a selection of personal favourites on themusicologist over the next few days/weeks/months in an effort to keep the wolves from ‘the door’. after all, what better way to soothe the ‘savage beast’ than with sweet music…
first up is this top drawer piece of roots courtesy of Prince Malachi. Released on the Roots Hitek label in 2006.
musicology #0703
aHymnForCon #9
John Holt – I See Your Face
“No truth can cure the sorrow we feel from losing a loved one. No truth, no sincerity, no strength, no kindness can cure that sorrow. All we can do is see it through to the end and learn something from it, but what we learn will be no help in facing the next sorrow that comes to us without warning.”
– Haruki Murakami
x
musicology #0675
aSongforCon #14
the Wailers – Dreamland
Conis chan … we’ll count the stars up in the sky and surely……we’ll never die. x
musicology #0669
aSongforCon #8
Marcia Griffiths – the First Time Ever I Saw Your Face
NOTHING could prepare me for the heartache of my childs death but music certainly helps to process and ease the pain. Please watch over me Kohzu…until we meet again x
musicology #0665
aSongforCon #4
Jackie Mittoo – (life is a) Merry Go Round
“There exists no more difficult art than living. For other arts and sciences, numerous teachers are to be found everywhere. Even young people believe that they have acquired these in such a way, that they can teach them to others. Throughout the whole of life, one must continue to learn to live and, what will amaze you even more, throughout life one must learn to die.” – SENECA –
musicology #0659
Earl Sixteen – Changing World
Jumping back into themusicologist saddle with this Top ranking, Augustus Pablo produced Late 70’s piece of social critique, courtesy of the Majestic Earl ’16’ Daley.
I leave it to the man himself to tell his story…
(borrowed from an interview conducted by father ‘Small Axe’…maximum respect is always due)
Link to FULL interview.
“Basically, I started out on the street corner, under the light post, with all the boys, hanging out at night. I started out at Waltham Park Road, where I grew up, in Kingston, Jamaica. At the age of about 13, I started getting into like, Chi-Lites music, ’cause in Jamaica we’ve got a big influence of American music. I kind of started to listen to a lot of soul American stuff, Chat, (Chuck) Jackson (?), James Brown music, and all this and all that. Usually, after like doing my… ’cause you know, I lived with my Auntie at the time. On Saturdays, I used to turn up the radio and do my housework, and listen to the radio, and in the nights, when we get out on the streets, sometimes I’d be singing, “Trash man didn’t get no trash today,” like “People Makes the World Go Round” The guys kind of liked how my voice kind of sounded, ’cause I used to try to sing exactly like the actual records.
In those days, the good old days, everybody was into singing like Dennis Brown. Dennis Brown at that time was like one of the most influential artists, he was really progressive at that time, he was young still. All the school boys and kids who liked music, we used to like always try to pack on Dennis Brown, because he’s like a role model for us. So I kind of started out with that, but I was more like singing falsetto, like Pavoratti kind of stuff. Afterwards, after that, they had Vere Johns, talent contests going on in night clubs around Kingston. There was one at the Turntable Club, there was one at the Vere Johns, and there was one at the Bohemia Club, which was closer to me in Half Way Tree. One of the guys who used to hang out with us, Donald Hossack, he used to teach music like keyboards, piano. He encouraged me to enter one of the talent contests.
During that time I was still going to Church and singing now and again on the choir, and I started doing solo stuff, out from the choir, just singing songs all on my own, because I had this really unique kind of voice and all the people liked my voice. I was in the Church, but I wanted to get involved in some of the Chi-Lites stuff, some of the soul stuff, because the parties were happening, you get the girls and all that. I went to try and get an audition for the talent contest; I was about 14, 15 then, still going to high school. When I went and did the auditions, it turned out that I got picked in the audition, then went to the heats and I reached up to the finals.
In this final, there was like Michael Rose, Junior Moore from the Tamlins, there was myself, there was a girl called Joy White, she’s brilliant, I still love her, and there was another girl, I think it was Sabrina Williams. There was about six of us in the final, that’s a big night. Anyway, I kind of scraped through, I was biting my nails, but I made sure that I did my homework. I practised this tune 24 hours a day, “Peek a Boo,” one by the Chi-Lites, it was a big song in Jamaica so a lot of people knew it. When I did it, I ended up winning the 25 dollars (on) boxing day, I was too small to drink the beers so I had to give them all away (laughs), but after that I started getting the buzz, I started getting addicted to it. I like how the crowd cheers me, so when I left high school, I passed my exams, and I was meant to go to Commercial High School, which is like a college, St. Andrew Technical. I started going there, but I was really involved in the music, I wanted to form a group. I actually had formed a group called the Flaming Phonics. We were doing school barbecues, school fetes, playing in auditoriums around the country, like Calabar, mainly the high schools, Holy Child Girl’s School……”
musicology #0650 (Truth&RightsRemix)
Johnny Osbourne – Truth & Rights
themusicologist is back in the saddle today with a remix of the Johnny Osbourne Downbeat Roots Classic ‘Truth & Rights’. Recorded in the late 70’s at Sir Coxsons Studio 1, although in truth it was, like much of Coxsons later output an overdub recorded over an early 70’s ‘golden age’ Studio 1 rhythm, a practice originated by Sugar Minott a few years earlier.
By the late 70’s Jamaica was on the edge and Kingston was to all intents and purposes a battlefield. The economy had collapsed due, (in part), to outside influence as well as infighting between the opposing forces of the JLP and the PNP. Without going into too long a narrative Jamaica, (and the Caribbean) was on the frontline of the Cold War. Manley was a ‘Socialist’ and Seaga was a ‘Capitalist’ and the war that erupted was instigated by outside pressure to destabilise the situation. The age of ‘Roots & Culture’, One Love and ‘Ites was almost over and the ‘Gunman’ style was on the march. Studio 1, (as a creative force), was too all intents and purposes finished and Sir Coxson was relocating to the relative peace and safety !!! of Brooklyn signalling the end of the mightiest of Jamaica’s Musical powerhouses…
The rhythm for this tune was originally recorded at Studio 1 in the early part of the 70’s and released as ‘Take a Ride’ (miscredited to Al Campbell). Johnny Osbourne’s Truth and Rights was, (to the best of my knowledge), never released as a 7 Inch and was only available on the LP, (along with other ‘golden age’ overdubs), anyway…before i digress here is my tribute version to one of the mightiest of the Studio 1 roots cuts…
themusicologist meets Downbeat @ bloodSweatandteeS
part 2 of theUrbanMusicologyProJect…
Selected by themusicologist in tribute to Jamaica’s Soundsystem and Recording Studio HEAVYWEiGHT Sir Coxsone Downbeat the Ruler Dodd and FULL Brentford Road Crew.
I have waxed lyrical MANY times, (and dropped the needle on a number of supreme cuts), over the years here about the greatness of Studio 1 and some of its chief protagonists ..cats like Jackie Mittoo, Leroy Sibbles, Joe Higgs, Ken Boothe, the Skatalites, (to name a few), and how they carried the swing throughout the early days of Ska, Rocksteady and into Reggae. In fact I LOVE Studio 1 so much it led me to design and produce the tribute tShirt in Sir Coxsone’s honour which in turn inspired the formation and formulation of bloodSweatandteeS. Of course there were plenty of other producers along the way like Duke Reid, Justin Yap, Prince Buster, Lee Perry, Bunny Lee, King Tubby and the Hookim family but, at least as far as i am concerned, Downbeat was and will always remain the ruling sound. themusicologist IS a journey and as such the most effective way to illustrate what music means to me and how much it has informed my life is to lay down ‘SouLRebeLSymphonies’ rather than the the ‘1Shot’ that has dominated themusicologist for the past 4/5 years. I have played and listen to music this way for almost 30 years so it is also part of my narrative and authenticity so I hope you will allow me to indulge this part of my self as well as do me the favour of listening to it this way? The works of art on this mix were recorded and released from the late 60’s through to the mid 70’s, (with a few later cuts sprinkled in), when the Downbeat sound dominated. Before that the main rivalry, (especially record wise), was between Downbeat and the Trojan and even though there were some great producers throughout the age Studio 1 was the Home of Reggae and recording for Coxsone was the goal for almost all of the artists throughout the 60’s and early 70’s…..
to conclude todays monologue..I STRONGLY believe that music is for sharing and playing in your own environment so the mix is available to download and if you like Reggae and especially Studio 1 then i implore you to ‘fill your boots’ (and if you like it feel free to share it with your community.)
the bloodSweatandteeS ‘Sir Coxsone Downbeat’ tribute tShirts, (below the soundcloud player), are available in various colours and there are still some sizes left so if you are looking to represent now’s the time as some of the combinations will not be repeated due to my desire to innovate continuously !
the ORiGiNAL ‘SouLRebeL’ tributeTees
themusicologist meets KiNG Tubby @bloodSweatandteeS
theUrbanMusicologyProJect #1
themusicologist is evolving into a new phase..out of the ‘1 tune’ and into ‘the mix’. Less ‘talking’ and more ‘walking’ with the added bonus of, (for a limited time), being downloadable for themusicologist family, friends, shipmates, and FULL crew.
FiRST up is a tribute to Osbourne ‘KiNG TUBBY’ Ruddock. the Heavyweight Champion of DUB who is pivotal in the development of not only Jamaican Music but almost every kind of ‘Dance’ Music that followed. Hip Hop, House, Dubstep, Jungle, Drum & Bass..EVERYone of them owes a debt to the KiNG.. So without further delay hold/download this mix and blend of KiLLER DubWise cuts from the KiNGS Studio.
p.s I’m not sure how Long this set will be available for Download as Soundcloud charges a monthly fee, (which I pay), but the package I am on is limited so if you like the set then don’t delay..download today. All I ask is that if you like it then please click the ‘Heart’ to show some love and if you FEELING it strong then a comment would be greatly appreciated.
LiMITED EDiTiON ‘TUBBYs HoMEToWN HiFi’ TributeTeeS designed and produced by themusicologist , (as a ‘momento of the experience’). Available EXCLUSiVELY at
bloodSweatandteeS
musicology #0649
Hugh Mundell – Book Of Life
Augustus Pablo produced TOP Drawer, HEAVYweight 1976 roots classic from 16 year old vocalist Hugh Mundell..featuring, (among others), Jamaican drummer supreme Leroy ‘Horsemouth’ Wallace on Drums and the mighty EarL ‘Chinna’ Smith on Guitar…selected from the ‘Africa Must Be Free By 1983’ LP
themusicologist 