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#themusicologist [796] Sixto Rodriguez – the Establishment Blues

Deb, Con, Farve…hold this one. ORIGINAL rebel selection. x

Art courtesy of Qiu Ying: ‘Saying Farewell at Charlton’ (aka ‘Xunyang’)

musicology #590

Flow #9

Gil Scott Heron – Shut Um Down

Werner Herzog is quoted to have said: “The poet must not avert his eyes” and this mod/ern/ist poet has continued to tell it like it is regardless of whether Cats and Kittens want to hear it or not…today’s piece was one of a few delivered in response to the 3 Mile Island Nucleur Energy disaster in America in 1979. This cut is borrowed from his ‘1980’ Set…Gil Scott Heron step up and ‘speak’

“Did you feel that rumble? did you hear that sound,
Well It wasn’t no earthquake but it shook the ground,
Made me think about power like it or not,
Got to work for Earth for what it’s worth,
Cause it’s the only Earth we’ve got,

Shut ’em down
if that’s the only way to keep them from melting down,
Shut ’em down
if that’s the only way to keep them from melting down,

I heard a lot about safety and human error,
A few dials and gauges is just a wing and a prayer,
If you need perfection and that’s what it takes,
Then you don’t need people, can’t use people,
You know people make mistakes,

Shut ’em down
if that’s the only way to keep them from melting down,
Shut ’em down
if that’s the only way to keep them from melting down

Did you feel that rumble? did you hear that sound,
Well It wasn’t no earthquake but it shook the ground,
Made me think about power like it or not,
Got to work for Earth for what it’s worth,
Cause it’s the only Earth we’ve got,

Shut ’em down
if that’s the only way to keep them from melting down,
Shut ’em down
if that’s the only way to keep them from melting down..”

musicology #588

Flow #7

(Desmond Dekker & The Aces – Young Generation)

Out of yesterdays, (at least for me), Inspirational slice of the Black Ark pie and straight into this sublime piece of Rocksteady from Desmond Dekker and The Aces..

LIsten Tune..

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 #577

Essential Cuts #7

(Fela Kuti – Kalakuta Show)

Today’s ESSENTIAL cut comes courtesy of, (for me), one of the ALL time greats none other than Fela Anikulapo Kuti. Genuine Virtuoso and giant of a man who stood for Freedom utilising the Universal language to highlight the injustice of politricks. Hold this 1976 cut..14 minutes of the hardest hitting musicology ever recorded that surely holds the power to wake the dead. Special mention must go out to MASTER Tony Allen…drummer supreme.

Listen Tuuuuuuune

musicology #440

Fragments #6

(New Power Generation – Guess Who’s Knockin’)

“The objective is always to pull out the tablecloth without in any way changing the arrangement of the table”

Short but so sweet. Scathing social critique from a master of suspicion.

The cut is courtesy of Prince project The New Power Generation. Featuring lead vocals from original member Tony M. Just like to add that by laying this one down I’m risking the wrath of a certain musician whose name I shall refrain from mentioning because rumour has it that he had it removed from this, the original 1993, set due to an unlicensed sample…so do me a favour and keep it on the ‘DL’.

The connection? .. The set was released in the same year that Baudrillard penned the fragment above.

musicology #436

Fragments #2

(Marvin Gaye – In Our Lifetime)

“The psychiatrists, analysts and all the psychological and social experts complain that they have to repair the immense damage done, to children in particular, by the social , parental and educational systems. But this human wastage is their stock in trade, whether they be therapists, politicians or social workers and the like. If everything only went well, the social welfare field would disappear, and all these fine people would be laid off. The system feeds, then, on its own misfortune. And every agonizing revision or alternative would involve an even more complicated, even more perverse machination”.

the musicology is courtesy of Marvin with a quality piece of 80’s Boogie from his final Motown set ‘In Our Lifetime’

musicology #412

Terry Callier #4

(Terry Callier – Fool em I Fool R U)

Slipping out of Mr Callier’s first cut in 1963 into today’s piece of MAJESTY from his current 2009 set ‘Hidden Conversations‘.
TOP ranking piece of 21st century ‘Steppers’ from the Man. A message of genuine authenticity from a man who walks it like he talks it…and let’s be honest, they don’t grow on trees..

Oh yeah…I’m experimenting with a new piece of interactivity on themusicologist today..it’s a ‘Ratings’ thing, (which I have just seen is only visible above the actual post rather than on the ‘front page’), just to get a better idea of what the community are in to. Not sure whether It will be a permanent fixture yet…just testing it to see if it has any value.

Well….?
Huh,
Is this a game we play,
Just a phase we go through,
Is this the price we pay,
Will there be reperations too,
If we’re not careful what we say,
If we ain’t careful what we do,
What kind of fool am I,
What kind of fool are you,

You can read it on the printed page,
It’s a fender bender…and road rage,
One for all and all for one,
Until some asshole pulls a gun,
Somebody’s hurt and somebody cries,
And somebody lives…somebody dies,
And we hear pleas of innocence..
Mental impairment and self defense,
Hey what can the matter be,
What’s happening with society,
And what’s the ransom and the cost,
To save a generation lost,
Who’s able to complete the task,
Solve the riddle and lift the mask,
Yeah pardon me but I just got to ask

This a game we play,
Just a phase we going through,
Is this the price we pay,
Will there be reparations too,
If we’re not careful what we say,
We ain’t careful what we do,
What kind of fool am I,
What kind of fool are you,

And so we catch the evening news,
With all of these conflicting views,
Plague and famine..third world plights,
Poverty and womens rights,
Yea bishop when does life begin,
And what’s a crime and what’s a sin,
Hey is there some kind of master plan,
To bring peace to the holy hands,
In brightest day or darkest night,
There’s rifle fire left and right,
And on this dark and dangerous road,
How long before the world explodes,
But one for the money…two for the show,
If we got to reap just what we sow,
Hey pardon me but I just got to know,

Is this a game we play,
Just a phase we going through,
Is this the price we pay,
For reparations overdue,
If we’re not careful what we say,
If we ain’t careful what we do,
What kind of fool am I,
What kind of fool are you.

musicology #374

Modernist #2

(The Miracles – Way Over There)

Today I would like to take the opportunity and quote from a top ranking piece of critique on the subject of Modernist by a Cat named Johnny Spencer who lived through as well as observed the changing face of London during the early Sixties.

“In London during the early sixties as in other parts of the British Isles a tiny minority of young, (mostly working class), boys and girls known only to themselves as ‘Modernists’ were walking, talking, dressing and dancing to a different song. These youngsters who were conceived in the heady and delirious optimism that marked the end of WW II had passed onto them in their genes a very real sense of supremecy, invincibility and confidence, a confidence that was fuelled and underpinned by the meta narrative of the western world, the concept of modernity, then at it’s zenith. By the early 1960’s the social fabric of cities in England had changed radically from the period before 1945, the war had dealt attitudes of authority and deference a mortal blow, conscription had ended, and the young en masse for the first time found themselves with a realistic disposable income. With history on their side this generation of independently minded teenagers felt able to think and act for themselves, not in a quasi-intellectual way as the ‘beatnicks’ had done, or to have to rebel, like the ‘Teddy Boys’, but as a truly autonomous entity.”

The musicology is courtesy of modernist icons ‘The Miracles’, (Smokey Robinson, Bobby Rogers, Marv Tarplin, Ronald White and Claudette Rogers), whose unique and distinctive sound epitomised the emerging sound that became known as Soul. The cut that was BIG on the London scene was in fact the second version, (with strings), but in the essence of ‘Modernist’ I had to lay this, (regional) one, (without strings), on you. Recorded for and released in 1960 on Motown.

musicology #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 #185

nowordsjustmusic #1

(Will Greer Reading Woody Guthrie/Woody Guthrie – Do-Re-Mi)

musicology #127

socialcommentaryweek #7

(Billy Bragg – Johnny Carcinogenic Show)

finishing up with this one from brother Bragg’s latest ‘set’, Love & Justice, (the deluxe edition), a pucker selection of quality slices that is highly recommended. has to be the deluxe as it has the accoustic and the accompanied versions of each cut.

part of the inspiration for throwing down the social commentary selection has been my regular viewing of documentary’s made by Adam Curtis which are always to be found in the tray of themusicologist’s dvd player. each episode full of information on the how, who and why we find ourselves in the freedom trap of the 21st century.

‘The Power Of Nightmares’, ‘Century Of The Self’, ‘Pandoras Box’, ‘The Mayfair Set’ and ‘The Trap’ are not available on DVD, (surprise, surprise), but they are all out there available for consumption thanks to knowledge pirates who make an effort to share gems like these.

for me, the ‘Century Of The Self’ may be the most important as it outlines exactly how we, (the masses), have been sold into the slavery of a desires culture.

the truth is that in this ‘iwah’ the Economy is the deciding factor when it comes to making decisions/policies and so the pursuit of profit has become the bottom line.

a danger of the one ideology approach is that money doesn’t have a conscience and takes no responsibility.

I recommended tracking down all of the documentarys and watching them with your young ones because as the man says

“look i’m not responsible for the lessons children learn…….”

so if that’s the case then it’s up to us to help our children learn the truth..hard I know but nevertheless ESSENTIAL. one way is to use music…I know it works.

just like to add that your continued support on themusicologist is appreciated..

“saw some guy on the TV yesterday, selling poison by the ton,
how can you do such a thing the woman asked and he replied,
the secret is to hook em young,

look i’m not responsible for the lessons children learn,
i’m just responsible for giving my investors some returns,
here’s a message from the sponsors of the Johnny Carcinogenic Show,
the sponsors of the Johnny Carcinogenic Show,

you’d never belief just how much effort goes into,
adding some glamour to the brand,
to distract you from the damage that they do,
putting their products in your hand,

what other industry could ever get away,
with contaminating its best customers this way,
here’s a message from the sponsors of the Johnny Carcinogenic Show,
the sponsors of the Johnny Carcinogenic Show,

here’s a product that promises to do nothing but,
take your money and your soul,
poverty is toxic everybody knows,
no need to help it take its toll,

who will profit from the misery they sow,
not the grandchildren that you will never know,
here’s a message from the sponsors of the Johnny Carcinogenic Show,
the sponsors of the Johnny Carcinogenic Show,
the sponsors of the Johnny Carcinogenic Show, poverty’s toxic,
the sponsors of the Johnny Carcinogenic Show,
poverty’s toxic

musicology #126

socialcommentaryweek #6

(Phil Ochs – The Ringing Of Revolution)

penultimate cut on the ‘social’ and themusicologist is rolling with one from an artist who was brought to my attention by the man that kicked off this current theme Stephen William, (billy), Bragg who not only cites Ochs as an inspiration but also recorded a tribute to the man ‘I dreamt I Saw Phil Ochs Last Night’ on his 1990 LP ‘the Internationale’

being an admirer of Billy Bragg, (“I just couldn’t help myself guess I was born with a curious mind”), themusicologist headed off on a journey and tracked down some of the man in question’s work. there are many great online sources of Phil Ochs Info so i’ll leave it to them to fill you in on the full and very colourful picture of his bitter sweet life and, in musicology style, let the music do the talking.

this piece of revolutionary prose is taken from the Phil Ochs In Concert LP (1966) and is, for me, as good as the song as message gets.

“in a building of gold with riches untold,
live the families on which the country was founded,
and the merchants of style with their vain velvet smiles,
were there for they also were hounded,
and the soft middle class crowded in to the last,
for the building was fully surrounded,
and the noise outside was the ringing of revolution

sadly they stared and sank in their chairs,
and searched for a comforting notion,
and the rich silver walls looked ready to fall,
as they shook in doubtful devotion,
the ice cubes would clink as they freshened their drinks,
wet their minds in bitter emotion,
and they talked about the ringing of revolution

we were hardly aware of the hardships they beared,
for our times taken with treasure,
oh life was a game and work was a shame,
and pain was prevented by pleasure,
the world cold and grey was so far away,
in distance only money could measure,
but their thoughts were broken by the ringing of revolution

and the clouds filled the room in darkening doom,
as the crooked smoke rings were rising,
how long will it take how can we escape,
someone asked but no-ones advising,
and the quivering floor responds to the roar,
in a shake no longer surprising,
as closer and closer comes the ringing of revolution

so softly they moan please leave us alone,
as back and forth they are pacing,
and they cover their ears and try not to hear,
with pillows of silk they’re embracing,
the crackling crowd is laughing out loud,
peeking in at the target they’re chasing,
now trembling inside the ringing of revolution

with compromise sway we gave it half away,
when we saw that rebellion was growing,
now everything’s lost as they kneel by the cross,
where the blood of christ is still flowing,
too late for their sorrow they’ve reached their tommorow,
and reaped the seed they were sowing,
now harvested by the ringing of revolution

in tattered tuxedos they faced the new heroes,
and crawled about in confusion,
and they sheepishly grinned for their memories were dim,
of the decades of dark execution,
hollow hands raised they stood there amazed,
in their shattering of their illusions,
as the windows were smashed by the ringing of revolution

down on our knees were begging you please,
were sorry for the way you were driven,
theres no need to taunt just take what you want,
and we’ll make ammends if were living,
but away from the grounds the flames told the town,
that only the dead are forgiven,
as they vanished inside the ringing of revolution”

musicology #124

socialcommentaryweek #4

(Bob Dylan – It’s Alright Ma I’m only bleeding)

house full of kids today, (easter holidays), so it’s an evening post..

hardcore social commentary from the man who needs no introduction.

must confess that themusicologist’s relationship to Mr Dylan had two periods..the early, (as a young child via my dad), and the second time round as an experimental 21 year old on the ‘bottom lips’. during that part of the journey this one in particular expanded my mind.

a lyrical and emotional tour de force that almost transports me back to me days wandering in a ‘diamond sky’

taken from the 1965 album Bringing It All Back Home..

Darkness at the break of noon,
Shadows even the silver spoon
The handmade blade, the child’s balloon
Eclipses both the sun and moon
To understand you know too soon
There is no sense in trying.

Pointed threats, they bluff with scorn
Suicide remarks are torn
From the fool’s gold mouthpiece
The hollow horn plays wasted words
Proves to warn
That he not busy being born
Is busy dying.

Temptation’s page flies out the door
You follow, find yourself at war
Watch waterfalls of pity roar
You feel to moan but unlike before
You discover that you’d just be One more
person crying.

So don’t fear if you hear
A foreign sound to your ear
It’s alright, Ma, I’m only sighing.

As some warn victory some downfall
Private reasons great or small
Can be seen in the eyes of those that call
To make all that should be killed to crawl
While others say don’t hate nothing at all
Except hatred.

Disillusioned words like bullets bark
As human gods aim for their mark
Made everything from toy guns that spark
To flesh-coloured Christs that glow in the dark
It’s easy to see without looking too far
That not much Is really sacred.

While preachers preach of evil fates
Teachers teach that knowledge waits
Can lead to hundred-dollar plates
Goodness hides behind its gates
But even the president of the United States
Sometimes must have To stand naked.

An’ though the rules of the road have been lodged
It’s only people’s games that you got to dodge
And it’s alright, Ma, I can make it.

Advertising signs that con you
Into thinking you’re the one
That can do what’s never been done
That can win what’s never been won
Meantime life outside goes on
All around you.

You lose yourself, you reappear
You suddenly find you got nothing to fear
Alone you stand with nobody near
When a trembling distant voice, unclear
Startles your sleeping ears to hear
That somebody thinks
They really found you.

A question in your nerves is lit
Yet you know there is no answer fit to satisfy
Insure you not to quit
To keep it in your mind and not forget
That it is not he or she or them or it
That you belong to.

but though the masters make the rules
For the wise men and the fools
I got nothing, Ma, to live up to.

For them that must obey authority
That they do not respect in any degree
Who despise their jobs, their destinies
Speak jealously of them that are free
Cultivate their flowers to be
Nothing more than something
They invest in.

While some on principles baptized
To strict party platform ties
Social clubs in drag disguise
Outsiders they can freely criticize
Tell nothing except who to idolize
And then say God bless him.

While one who sings with his tongue on fire
Gargles in the rat race choir
Bent out of shape from society’s pliers
Cares not to come up any higher
But rather get you down in the hole
That he’s in.

But I mean no harm nor put fault
On anyone that lives in a vault
But it’s alright, Ma, if I can’t please him.

Old lady judges watch people in pairs
Limited in sex, they dare
To push fake morals, insult and stare
While money doesn’t talk, it swears
Obscenity, who really cares
Propaganda, all is phony.

While them that defend what they cannot see
With a killer’s pride, security
It blows the minds most bitterly
For them that think death’s honesty
Won’t fall upon them naturally
Life sometimes Must get lonely.

My eyes collide head-on with stuffed graveyards
False gods, I scuff
At pettiness which plays so rough
Walk upside-down inside handcuffs
Kick my legs to crash it off
Say okay, I have had enough
What else can you show me?

And if my thought-dreams could be seen
They’d probably put my head in a guillotine
But it’s alright, Ma, it’s life, and life only.

Lyrics by Bob Dylan 1965 Warner Bros. Inc Renewed 1993 Special Rider Music

musicology #122

socialcommentaryweek #2

(Style Council – A Stones Throw Away)

not easy to find tunes that criticise the establishment. no surprise really, (especially these days), at a time when most artists concern seems to be with achieving the two F’s, (fame&fortune)

not that I blame them as, in this age, success is measured by material wealth…big motors, large amounts of ‘tom’, houses in every town..you know what I mean. art as entertainment is todays message as the culture of pop dominates every corner of our society.

this 1985 piece taken from the Style Council’s most critical set ‘Our Favourite Shop’ shows that there was a time when some saw it as their duty to openly criticise without fear…read ’em and weep.

“For liberty there is a cost, it’s broken skulls and leather cosh,
From the boys in uniform, now you know whose side their on,
With backing, with blessing, from earthly gods not heaven,
A stones throw away from it all.

Whatever pleasures those who get, from stripping skin with rhino whip,
Are the kind that must be stopped, before their kind take all we’ve got,
With loving, with caring, they take great pride in working,
The stones throw away from it all.

Whenever honesty persists, you’ll hear the snap of broken ribs,
Of anyone who’ll take no more, of the lying bastards roar,
In Chile, in Poland, Johannesburg, South Yorkshire,
A stones throw away…..now we’re there”

musicology #121

socialcommentaryweek #1

(Billy Bragg – Take Down The Union Jack)

themusicologist has tried to keep politics off the menu but it’s one of the subjects that infuriates me. the deceipt, corruption, greed and unbeleivable hypocrisy is just too much for me to not have a musical say.

unfortunately the only politics left today is the politics of greed and the blame for that lies with those who shape society. ultimately responsibility lies with each of us but we all know that ‘the law’ restricts us from taking action in ever increasing ways and is in fact an establishment tool that has very little to do with justice.

the subjects that are, (for me), most important are Health and Education, essentially because I have two children and find myself at the ‘sharp end of the stick’ in both areas. of course economics are an issue but money has no place in my heart so holds little interest.

one of musics greatest attributes is delivering a message and themusicologist is often heard singing this one as I go about my life so I was especially pleased when my eldest asked for this one to be added to her I-Pod..this is what I call education. just as Curtis and Paul Weller, (among many others), helped shape my views so it may be with the next generation.

I’m starting the socialcommentaryweek with this one by one of themusicologists most respected artists who has always stood up to be counted and in my humble opinion is one of the finest songwriters to hail from these shores…taken from his 2002 Set ‘England, Half English’.. just like to add that I am proud of the culture that is a part of me and it saddens me to see it fade away to be be replaced by the globalisation ideology that has been forced apoun us since the end of World War II. I believe whole heartedly in community but not in homogeny and brother Bragg articulates many of my thoughts and feelings perfectly … lyrics Bragg-La … lyrics.

“take down the Union Jack, it clashes with the sunset,
and put it in the attic, with the emperors old clothes,
when did it fall apart? sometime in the 80’s,
when the great and the good gave way to the greedy and the mean,

Britain isn’t cool you know it’s really not that great,
it’s not a proper country, doesn’t even have a patron saint,
it’s just an economic union that’s passed it’s sell by date,

take down the Union Jack it clashes with the sunset,
and ask our Scottish neighbours if independence looks any good,
cos they just might understand how to take an abstract notion,
of personal identity and turn it into nationhood,

is this the 19th Century that I’m watching on T.V
the dear old queen of England handing out those M.B.E’s
a member of the British Empire that doesn’t sound too good to me

Gilbert & George are taking the piss aren’t they
Gilbert & George you’re taking the piss.
what could be more British than here’s a picture of me bum
Gilbert & George YOU’RE TAKING THE PISS

take down the Union Jack it clashes with the sunset
and pile up all those history books but don’t throw them away
they might just have some clues about what it really means
to be an Anglo hyphen Saxon in England.co.uk
to be an Anglo hyphen Saxon in England.co.uk”

(Billy Bragg 2002)

	dave on musicology #410
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listen tune..

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