musicology #340

AlternativeSoundtrack4 #7

(John Lee Hooker - I’ll Know Tonight)

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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)

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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)

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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)

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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)

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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)

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So…after ‘rinsing’ some ‘Joes’ for a few bucks, ($105), it’s time for Eddie 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 musicology is courtesy of 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)

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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 #333

DownbeatTheRuler #13

(The Wailers - Do It Right)

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Final cut of the Coxsone Tribute. Have to finish up with this 1965 piece of rip roaring Ska sung by the Wailers. Featuring not only Jamaica’s premier band the Skatalites but also no less than Sir Coxsone Dodd himself on ‘Beer Bottle Percussion’ Duties !! Just like to add that many a deserved artist didn’t get a spot on the Downbeat Tribute most notably The Heptones, Jackie Mittoo, Dennis Brown, Sugar Minott, Ken Parker, Cornell Campbell, The Clarendonians..(too long a list to name them all). Some of them have already featured on themusicologist and I imagine that all will eventually..

In addition, the Second in the Tribute Tee series is to communicate my appreciation, (in more ways than one), for the man who made it all possible. Clement Seymour ‘Sir Coxsone/Downbeat The Ruler’ Dodd whose musical legacy is, for themusicologist, second to none.

musicology #332

DownbeatTheRuler #12

(Delroy Wilson - I Want Justice)

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Penultimate cut of the Downbeat Tribute selection. Just like to make clear that for themusicologist Sir Coxsone’s Studio 1 is the Number 1 sound which is obviously a reason for paying a two week tribute to the musical legacy he laid down. Of course without the musicians, singers, producers and engineers who contributed it wouldn’t be. So even though this is a tribute to Downbeat it’s just as much a tribute to all who participated in delivering some of greatest music ever made and I hope the last two weeks have been as enjoyable for you as it has been for me.

Tomorrow I will be releasing part two of ‘The Project’ that has occupied an ever growing part of my heart and mind for more than 20 years and as always would appreciate your feedback/critique/opinions on it.

Today though it’s time for a slice from Mr Delroy Wilson who begun his career with Coxsone at the tender age of 13. Born in 1948 Delroy first enjoyed ’success’ with his musical attacks on Dodd’s one time employee Prince Buster, ( ‘Joe Liges’), which I was going to lay down, but it was during the Rocksteady period, (and after), that his star truly shone with cuts like I’m Not A King, Dancing Mood, Riding For A Fall, Keep On Trying etc, (all of which almost made it onto the tribute), At the tail end of the Sixties Delroy and Sir Coxsone parted ways and he drifted between various producers such as Bunny Lee, Gussie Clarke, Niney The Observer and the Hookim Brothers Channel 1 but as with many of Jamaica’s foundation artists the 80’s weren’t kind to him and his star begun it’s descent into almost obscurity by his untimely death in 1995.

So if you’re listening Delroy…this one’s for you….a top ranking slice of the Ska pie from 1965 originally released as a 45 on the Studio 1 label featuring, (unless my ears are deceiving me), what sounds like The Wailers on backup.

musicology #331

DownbeatTheRuler #11

(Lone Ranger - Dance 'A Fi Cork)

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A rare treat for all 'Downbeat' Lovers...Lone Ranger in the dance waxing lyrical on the Larry Marshall Killer 'Throw Me Corn'.

'Late Night Blues' connoisseurs selection recorded live in the dance sometime in the early 1980's...1983?

Taken from the Studio 1 LP 'Battle Of The DJ's'

musicology #330

DownbeatTheRuler #10

(Wailing Souls - Don't Fight)

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Today's cut, for me, epitomises the Studio 1 sound apoun which much of Reggae was built. Drum, Bass and Harmony..the trinity and who better to provide an example on the Downbeat tribute than the mighty 'Wailing Souls'

Their story begins with Winston "Pipe" Matthews who as a youth living in Kingston in the early '60s, learned to sing at the feet of singer supreme Joe Higgs, (already a veteran vocalist with a string of hits to his name, coaching up and coming talent in his tenement yard, his most famous protégés being the Wailers). Higgs' training stood Matthews in equally good stead and by 1963, the aspiring singer and his vocal group the Schoolboys had come to the attention of Prince Buster. In 1965, the Schoolboys folded, but Matthews was soon back with a new group, the Renegades. This vocal trio comprised Matthews, Lloyd "Bread" McDonald, and George "Buddy" Haye, both of whom were also alumni of Higgs' vocal classes. It was at this point that the trio came to the attention of Coxsonne Dodd and the Renegades embarked on a fruitful career at Studio One.

In 1968, Haye departed, in his place came two new singers, Oswald Downer and Norman Davis. Such a shift of lineup prompted the group to totally cut ties with the past, and they changed their moniker to the Wailing Souls. Studio One eventually released two seminal compilations of recordings from this period, The Wailing Souls and the LP from which today's piece is taken Soul and Power.

Still going strong after more than 40 years the Wailing Souls continue to deliver soul stirring musicology that stands as a testament to both their quality and longevity. For more 'Souls' Knowledge visit their site from where the above information was unashamedly gleaned.

An early 70's cut, with the bassline echoing the Larry Marshall classic 'Throw Me Corn'.

musicology #329

DownbeatTheRuler #9

(Ken Boothe - Just A Little Bit Of You)

Short but sweet today as I’m out early morning back late afternoon and then out playing football in the evening. Today’s slice of the Downbeat pie is one of my absolute favourites from what, for themusicologist is Studio 1’s Golden age. Delivered by a Cat who has already featured on this theme but, in true musicology style, the axiom “as in music so in life” comes through loud and clear on this one…so this one it had to be.

I’m gambling that it’s Leroy Sibbles on Bass? with full Sound Dimension crew locked tightly in the groove….

Listen Tune..

musicology #328

DownbeatTheRuler #8

(Horace Andy - Found Somebody Of My Own)

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Today on the Downbeat Tribute it’s the turn of Horace Hinds, (cousin of Justin) A.K.A Horace Andy renamed by Sir Coxsone in time for his seminal 1970 set ‘Skylarking’, (one of the first Studio 1 LP’s that themusicologist had the pleasure of owning). Introduced by the inimitable ‘Dread At The Controls’…Mikey Dread from a radio program showcasing Studio 1. Could have been one from any number of Horace’s recordings but didn’t want to pass up an opportunity to pay a second tribute on themusicologist to Mikey Dread who is no longer with us. Not only that but it’s one that is lesser known but, for me, just as good as many of his classics. Taken from one of the mighty Dread’s Rockers In The Morning sets.

Mikey and Horace…come in and let the people know what you’re talking about.

musicology #327

DownbeatTheRuler #7

(Charlie Organaire - Rude Boy Charlie)

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Day 7 of the Downbeat selection is a roasting piece of Ska featuring Harmonica player, producer and original member of Bobby Aitken's Rocksteady pioneers The Caribbeats, Charles Cameron. Anytime you hear a harmonica played on a slice of Jamaican music, (especially Ska and Rocksteady), more than likely it's the 'Organaire' blowing on sessions for the likes of Coxsone, (of course), Prince Buster, Duke Reid and King Edwards as well as many others.

This cut is also likely to feature the musical talents of Lloyd Brevett on Bass, Lloyd Knibb on Drums, Jah Jerry Haynes, on Guitar and Jackie Mittoo on piano the musical backbone apoun which the Studio 1 sound and success was built.

musicology #326

DownbeatTheRuler #6

(Dave Barker - Johnny Dollar)

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Today’s page of the Downbeat story is a 45 from an artist known by the name of Dave Barker, (a nom de plume courtesy of Lee Perry), who is probably best known for his part on the well known single ‘Double Barrel’. A singer and ‘DJ’ who was among the earliest proponents of the ‘chatting’ style made popular by such luminaries as U-Roy, Dennis Alcapone, I-Roy and Dillinger. There were earlier Cats who dropped ‘chat pon the mic’ but it wasn’t until Hugh Roy stepped up that the genre came of age and flew out of the dance and into the recording studio in 1970 on Arthur ‘Duke ‘ Reid’s definining rocksteady rhythms.

This one, a 1970 cut on the English Studio 1 subsidary label Ackee, is a cover of Garnett Mimm’s earlier majestic 1964 Soul recording ‘A Quiet Place’ and finds Mr Barker, who in my opinion was a much better singer than ‘DJ’, in fine voice expressing concerns about people intruding on his quiet time.

musicology #325

DownbeatTheRuler #5

(Burning Spear - Creation Rebel)

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Today's cut is from one of music's greatest ambassadors; Winston Rodney better known as Burning Spear whose message of defiance and determination has always been as clear as crystal.

The Spear was born in March 1948 and raised in St Ann's Bay Jamaica along with Bob Marley, (and before them Marcus Garvey), who introduced him to Coxsone in 1969. Over the next few years he recorded without much success or financial reward until hooking up with Jack Ruby who produced his seminal works Marcus Garvey and Man In The Hills. The rest as they say is History.

This one, recorded sometime in the early 70's and backed by the 'New Establishment' (including the 'dub'), holds a special place in themusicologist's heart as it was one of the pieces that helped me through my darkest hours a few years back and as a result will always hold deep meaning.

For more information on the man and his music check his personal site..

musicology #324

DownbeatTheRuler #4

(Ken Boothe - You’re No Good)

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Today’s cut is from one of THE greatest Jamaican vocalists never known, (outside of the Reggae community)..one of music’s many mysteries to me is how Ken Boothe has never had the global recognition that his talent deserves. Time after time, year after year from the earliest days right up until the present this Cat has delivered. In truth his Studio 1 output alone could have easily filled this theme to overflowing. His ‘cup certainly runneth over’ as they say and todays slice should illustrate why.

I love Alton Ellis as well you know but I would have to say that in my humble opinion Ken Boothe is ‘Mr Soul Of Jamaica’.

Born and raised in Kingston Mr Boothe was a foundation stone in the Coxsone empire as important to the Label’s success as the Miracles were to Tamla Motown who stuck by Downbeat until parting company in the early Seventies. Without further delay hold this, The original Ska version of his later ‘hit’. Look out for A Ken Boothe special on themusicologist sometime in the future.

musicology #323

DownbeatTheRuler #3

(Alton & Hortense Ellis - Easy Squeeze)

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Out all day yesterday working the tees so apologies for not dropping a next ‘Downbeat bomb’ through your speakers. Hopefully today’s slice of the Coxsone pie will make up for it.

A classic piece of Brentford Road Rock Steady that has trembled my marrow for many years. Could have thrown it down a few times on previous themes but for reason unbeknown to ‘mesang’ didn’t until today.

One of the most emotive, hard hitting, Rough & Tough cuts of the Rock Steady period in my humble opinion…lyrics, vocals, music all combining in soul searching harmony to communicate a message concerning the quest for that most elusive of feelings, True Love.

Recorded and first released in 1966? for Dodd by the Godfather Of Rocksteady Alton Ellis alongside his younger Sister Hortense, both of whom are sadly no longer with us. What is however (and will be for as long as music like this is being loved and played), are their ‘works’ many of which sit comfortably at the very top of the musicology tree.

Hortense was Jamaica’s ‘first female vocalist’ cutting her teeth as early as 1959 on such legendary talent shows as Vere John’s Opportunity hour, (where many a ‘Jam Down’ legend begun their careers), but it wasn’t until a few years later in 1961 under the tutelage of Downbeat that she begun a recording career. For sure having Alton as a brother helped but anyone who has heard her sing would agree that merit was the foundation stone apoun which she built a career that stretched right up to her untimely death in 2000 AD. Recording for many of the greatest Jamaican producers such as Duke Reid, Bunny Lee, Harry Mudie and Gussie Clarke, (to name a few)

As regulars may be aware Alton has featured more than any other Jamaican artist on themusicologist over the preceeding two years so I won’t wax lyrical on the man and his music today other than to reiterate that it was he and the previous Artist, (Bob Andy), who first opened my ears and heart to Downbeat The Ruler’s output and for that I am eternally grateful..

So in Tribute to the memories of Alton, Hortense and Clement Seymour ‘Sir Coxsone / Downbeat The Ruler’ Dodd hold this…..

musicology #322

DownbeatTheRuler #2

(Bob Andy - I’m Going Home)

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Sir Coxson was a music lover and man on the street but also a businessman and a successful one at that which, in my experience is often not appreciated by those who have been left behind to hustle and scratch for survival on the tough streets of places like Kingston, London, New York etc. The truth is that many would rather see you stumble and fall than lift yourself out of the mean streets especially when, as far as they are concerned, (and maybe rightly so), you have made it off the sweat of their brow. This seems to have been the case with Coxsone as the years rolled on but it’s not easy to keep such an enterprise going, (as many record label owners would attest to), when everyone wants a slice of the pie. Coxsone not only put Studio 1 together but also kept it going right up until his death.

Possibly inspired by Cats like Sam Cooke whose SAR label was, (along with Berry Gordy’s Tamla Motown), a pioneer in the record business, Dodd couldn’t afford to ‘take any prisoners’ so paid the Artist, Arranger, Producer and Musician per side, (or as employee), rather than cut them in on the Action. After all it was he who was taking all the risk so why share the rewards? Any business person would agree with his appraisal of the situation but the Artist wouldn’t. To further highlight the point the singer of today’s cut is quoted to say;

“Clement Dodd is a good mentor and he really provided the facilities for a group of youngsters who would never have had anywhere to go in those days, but he could have done more for them. I would say Jamaican music suffers from a Coxsone syndrome.”

I can see why. It was they who created the ‘product’ for Dodd to capitalise on so why should they not be ‘cut in’? Dodd may say that “if you want a piece of the pie you also have to take some of the risk” which hardly any of the Artists were in a position to do. Cats like Prince Buster, (a businessman and Artist), saw the light and parted company with Dodd as soon as possible to make a name, (and hopefully some ‘corn’), for himself but of the many hundreds in Jamaican music history VERY few have much to show, financially, for their achievements.

What they do have though is a place in musical history that will last long after they have been laid to rest and an army of fans that continue to spread their name. Personally I would rather be the Artist than the businessman.

Anyway enough chat and on with the Downbeat show….

This 1966 !! cut, (his first solo piece), is courtesy of former Paragons founding member and songwriter supreme Keith Anderson, (Bob Andy), apparently backed up by The Wailers but to my ears it sounds more like The Heptones? anyway whoever is harmonising it’s Bob Andy’s wailing lead that cuts through and is one of my personal favourites…featured on one of the greatest Studio 1 LP’s Bob Andy’s Songbook.

Bob Andy….Live on…

musicology #321

DownbeatTheRuler #1

(Jackie Opel - Eternal Love)

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This week’s theme is a tribute to Sir Coxsone Dodd’s Jamaican musical powerhouse..Studio 1. Clement Seymour Dodd was a genuine music lover who set up his sound system ‘Downbeat The Ruler to play Rhythm & Blues after returning from a trip to America in 1954. It wasn’t until 1963 however that he setup the first Recording studio to be owned by a ‘Man on the street’ the legendary Studio 1.

Almost every Jamaican singer or musician of note has at one time passed through the Brentford Road studio and although many were unhappy with the financial arrangements I hope that none would argue that the man was a Giant in the progress of Jamaican musicology.

So without further delay hold this 1963 cut from the majestic Jackie Opel with a piece from the earliest days of Studio 1 featuring The cream of Jamaica’s musicians The Skatalites

musicology #320

SongsOf Protest&Freedom#6

(Otis Redding - A Change Is Gonna Come)

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final cut of the freedom&protest...and what better way to finish with one of the greatest songs sung by one of the greatest singers. Sam Cooke's original has already featured on themusicologist but couldn't pass up this opportunity to throw it down again.

Otis singing Sam Cooke...doesn't get any better. Taken from the LP 'Otis Blue'...With Issac Hayes on the Keyboards, (and production), as well as the full Stax/Volt family Donald Dunn, Steve Cropper, Al Jackson, Wayne Jackson, Andrew Love, Gene Miller and Fred Newman.