musicology #245

soul&boogie #6

(Faze O - Ridin’ High)

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Cats…apologies for not completing the ’soul&boogie’. Been ‘grafting’ since EARLY Saturday Morning and have only just made the time and space to hook up to themusicologist. Decided to continue the theme for this week so it’s straight into this one from Chicago boogie quintet Faze - O who scored with this 1978 cut on the She label. Keyboardist Keith “Chop Chop” Harrison, guitarist Ralph “Love” Aikens, bassist Tyrone “Flye” Crum, drummer Roger “Dodger” Parker, and percussionist Robert “Bip” Neal, Jr combine to deliver a glimpse into the future of funk/soul/boogie at the dawning of a new day.

LISTEN TUNE……

musicology #244

soul&boogie #5

(Dolette McDonald - Xtra Special)

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quick's the word and sharp's the action on today's post..Busy, Busy, Busy at the moment and time waits for no man so I'm dropping this piece of '82 'shun on you without further ado. BIG tune on the floor and in the clubs back then and is still very much sought after. 12" on the BC label. Produced and mixed by Began Cekic for, (Al Hudson's?), One Way productions.

musicology #243

soul&boogie #4

(Maze - Before I Let Go)

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Boogie of the highest order from the legendary Maze featuring, of course, Frankie Beverly. Too many bombs dropped by them to list and every one a winner. Already featured twice on themusicologist so no need for the introduction. This one, released in 1981has got it all..lyrics, vocals, production and of course impeccable syncopation.

musicology #242

soul&boogie #3

(Change - Paradise)

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For themusicologist one of the many benefits of listening to and learning from the ‘boogie’ is the genre’s optimism. At the time, (certainly in England), the outlook was BLEAK. Margaret Thatcher, (and crew), had torn the heart out of the country and begun to establish their ideology on the nation.

Free Market, ‘Entrepenurial’, State backed Capitalism where the individual was more important than the collective. I’m not about to go ‘into one’ on the political philosophy of the times all I will say is that as an 11 year old in 1979 just about to start secondary school it certainly had a huge impact on me. Greed became the order of the day which in my opinion had a negative impact on society at large. The boogie on the other hand had a positive effect bringing people together ‘under a groove’.

The group in today’s spotlight were formed in 1979, (in Bologna), by Italian producers Jacques Fred Petrus and Mauro Malavasi and with their first album ‘The Glow Of Love’ enjoyed instant success. Obviously Luther Vandross as lead singer played a part but more than that the group had ’style’ and so even after Luther’s one album contribution they managed to evolve and continue to deliver.

The importance of ‘Boogie’ to the development of what became known as ‘House’ is unquestionable and this cut from their second album, (Miracles), is a 5 minute slice of Boogie, with a capital B.
Tight drums, pucker bass line, excellent production and the perfect vocal from Diva Gray as the cherry on the cake.

musicology #241

soul&boogie #2

(Kleeer - Intimate Connection)

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day two of the ’soul&boogie’ and already dropping bombs…anyone who was there throwing shapes knows that this cut tore it up anytime it was played and still sounds as fresh as it did more almost 25, (Count ‘Em), years ago.

The cats in question, (Paul Crutchfield, Richard Lee, Norman Durham and Woody Cunningham), started out in the early 70’s but it wasn’t really until they hooked up with producers Patrick Adams and Greg Carmichael around 1976, (as the Universal Robot Band), that things really began to take off.

3 years later they changed their name to Kleeer and begun to record, (for me), some of the best boogie of the period, one of which has already graced themusicologist, (musicology #10). This one though from 1984 is the cream of the crop. produced by Eumir Deodato, engineered and mixed down by Mallory Earl for Atlantic, has to be one of my most cherished pieces of the ‘black stuff’.

Serious…..

musicology #240

soul&boogie #1

(Light Of The World - London Town)

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inspired by last weeks mod selection I would like to take this opportunity to explore in chronological order the music of the various scenes I have had the pleasure of being involved in over the years.

mod revival was the first, (1977 - 1981), and this one, (1981 - 1984), known over here as ‘Jazz Funk’ musically and ‘Casual’ fashion wise saw me into the crucial teenage years. For me the two are connected, especially in attitude. Jazz Funk/Casual was yet another working class movement that sprung out of a desire to be ‘modern’ and create something in tune with the times. This selection is a soundtrack to those years. ALL big tunes on the scene.

First up has to be this one from UK outfit ‘Light Of The World‘ with the essential 12inch ‘London Town’ on the Ensign label, (produced by Augie Johnson). Proof if needed that we certainly have the talent on this side of the pond to produce genre defining cuts of the highest order.

musicology #239

inmodwetrust #6

(The Marvelettes - Someday, Someway)

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

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

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

musicology #238

inmodwetrust #5

(Tony Clarke - The Entertainer)

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

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

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

musicology #237

inmodwetrust #4

(The Valentinos - Lookin' For A Love)

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

musicology #236

inmodwetrust #3

(The Miracles - Mickey's Monkey)

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

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

musicology #235

inmodwetrust #2

(Joe Hinton - You Know It Ain't Right)

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

musicology #234

inmodwetrust #1

(Walter Jackson - That's What Mama Say)

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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 #233

communication #11

(The Wailers - Dreamland)

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today finds themusicologist standing at a crossroads. November the 6th has, for 20 years, been a special day in my calender and today is no exception. Circumstances have changed which makes it all the more poignant as it's the woman who I have spent my life with's 40th birthday and even though our paths have taken different turns I will always cherish and love her.

This cut is, as far as I'm concerned, the Wailers at their best. 'Bunny' delivers lead on this one with Peter and Bob harmonising in true Impressions style and it's yet another piece of majesty from Coxsone Dodd's Studio1 label. I grew up listening to and being inspired by Third World's version of this song from their 1977 '96 Degrees In The Shade' LP and much as I cherish that version this 'marrow trembler' brings me to my knees whenever I hear it.

musicology #232

communication #10

(The Classics - Civilisation)

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New day dawning? maybe. Let’s hope so.

First I would just like to congratulate the new American president on his victorious campaign to be elected. No doubt that it has significence. What that significence is though is not so easy to articulate. I don’t know a single policy of his but his acceptance speech was on in my house this morning, my 10 year old son has been made aware of Obama, (political ideology at work), at school. People were on the streets of London last night talking about it being a historical day…Why? because we are deep into globalisation and it is being enforced by the media as well as the politrickians.

Don’t get me wrong I am more than up for change but change of what exactly? I hear the word often. It has been Obama’s key word in the same way that I hear education over emphasised by the ‘Labour’ government here in England but, I don’t see it happening. We all know that words, (especially English ones), have many meanings, (perfect for politrickians), but without action signify nothing.

With that in mind today’s cut of the communication pie is a plea from themusicologist to those who run things. Quality Lee Perry production, attributed to The Classics, (Denzil Dennis and Milton Hamilton), recorded sometime in the late 60’s/early 70’s.

Finally I would just like to add a non globalised mention for English cultural icon Guy Fawkes whose day it is today. Unfortunately this tradition has, (over recent years), been supplanted by the American tradition of Halloween which for themusicologist has absolutely no cultural significence whatsoever.

Penny for the Guy anyone?

musicology #231

communication #9

(Jimmy Ruffin - What Becomes Of The Brokenhearted)

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

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

musicology #230

communication #8

(Dennis Brown - It’s Too Late)

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Artist, producer and one of Jamaica’s most loved sons, Dennis Emmanuel Brown first recorded at the tender age of 11 for Derrick ‘One Stop’ Harriott but it was at Coxsone Dodd’s Studio 1 that he made his name starting with a cover of the Van Dykes cut, ‘No Man Is An Island’ in 1969. The man had a prolific career that stretched right up until his untimely death in 1999 at the age of 42.

This one written by Carol King is, for themusicologist, a great example of what a cover version should attempt to do, namely bring something new and fresh to a song. Something which Jamaica’s musicologists seem to have perfected….Recorded for Joe Gibbs sometime in the 80’s.