musicology #548

Jamaica #28

(Ken Boothe – Be Yourself)

Top Ranking piece of Jamaican musicology sung by one of it’s greatest artists recorded for and released by it’s champion studio, (Studio 1), and backed by the cream of the island’s instrumentalists.

Doesn’t get better than this as once again I find myself sitting in the park on a scorching day..soaking up the rays…and listening to the sweet sounds of Jamaica. Not sure of the year but do I give a F**K?…no. Peace and love to the haters and doubters that would take pleasure from seeing me stumble and fall..don’t hold your breath ; )

LISTEN TUNE

musicology #547

Jamaica #27

(Bob Andy – Life)

LISTEN

Today’s 1972 cut features the magnificent and supremely talented Keith ‘Bob Andy’ Anderson, (for me one of Jamaica’s premier artists). Founder member of the Paragons whose songwriting is second to none. I must confess that over the past few weeks I have been suffering and once again it has been holding the musicology back so rather than allow my inner turmoil to stop the flow I’ll just let the music speak for a while…

Listen the ‘ride’…

“forget about stupidity,
discover your ability,
develop your creativity,
cultivate humility,
to bear the stormy weather….”

musicology #544

Jamaica #24

(Gregory Isaacs – Financial Endorsement)

LISTEN

Out of the ‘Crown Prince’ selection and into one from the ‘Cool Ruler’…aka Jamaican Superstar Gregory Isaacs..who, (along with the Heptones and Beres Hammond), I will be catching Live at the Brixton Academy next week…

Born and raised in West Kingston’s notorious Denham Town, The Cool Ruler begun his recording career in 1968 with a self produced cut and followed with one for Prince Buster, (apparently under gentle persuasion from the notorious ghetto legend Jim Brown to offer his ‘bredren’ Gregory a platform to record), but amazingly it wasn’t until setting up his own African Museum label in 1973 in collaboration with Errol Dunkley that he began to climb his way up to the top. Why? certainly nothing to do with his immense talent, maybe he was just toorudefor the producers to deal with for more than the odd session? anyway thankfully Gregory continued to record and has gone on to deliver some of the finest music to have ever graced themusicologist’s ears.

Today’s 1974 cut was recorded for producer Alvin Ranglin and released on his GG’s Label.

musicology #543

Jamaica #23

(Dennis Brown - No More Will I Roam)

LISTEN

Looking back over the past week on themusicologist I couldn't help but notice my absence..in truth the weather was too nice and I had much street walking, hustling, networking, planning and dreaming to do and themusicologist had to take a back seat but the weather is still scorching so I'll have to come up with a new plan for this week...ahh got it...more music less scribbles, (it's the scribbling that takes ALL my time)

So with that in mind....forward up with the sweet sounds of JA.

Ranking piece from the 'Crown Prince' Dennis Emmanuel Brown produced by Winston 'Niney the Observer' Holness for his Obsever label in 1974.

Listen Tune..

musicology #542

Jamaica #22

(Horace Andy - Let Your Teardrops Fall)

LISTEN

Went to see Dean Chalkley's 'New Faces' exhibition at the Book Club last night with...Good night, Good music, (Led by the Cheeba), excellent venue and the photographs were absolutely spot on. What's that got to do with the Jamaica theme? nothing but you know this is my musical diary so I just wanted to keep yers in the loop and inform the Cats and Kittens of how, (and where), this 'stone' known to some as themusicologist is rolling.

Anyway...back to Jamaica..and today's cut is courtesy of the man Horace 'Sleepy' Hinds aka Horace Andy whose recording career started in 1966 under the guiding hand of heavyweight producer Phil Pratt but didn't really go anywhere until he turned up at Studio 1 guitar in hand, (which he had spent the preceeding 4 years learning), and waxed 'Got To Be Sure' and 'Something On My Mind' and a star was born.

Today's cut is from 1972/3. Don't know who produced it and to be honest I don't really care too much as for me it's only ever about the music and not the information.

musicology #541

Jamaica #21

(Wailing Souls - Don't Fight)

LISTEN

So as the 70's begun Jamaican music yet again changed gear this time from the light soulful, and more accessible sounds of the 60's into the roots and culture. Why? of course there are many reasons but the ones that stand out for me are 1: The artists were beginning to grow weary of being exploited by the producers 2: the social fabric of the island was rapidly disintegrating and 3: Rastafarianism was becoming ever more popular in the ghettos especially with the artists and musicians. Of course the Big producers couldn't really get involved as they were, in essence, Capitalist.

Not surprisingly this change of gear didnt go down well with the record buying public 'up a foreign' who weren't really interested in Ghetto music that talked about sufferation, poverty, exploitation, (no change there then) No they would rather hear about how much the sun shined, unrequieted love and how Jamaica was a paradise...a holiday destination that they could one day envisge visiting. Truth is that most people don't listen to music to hear about harsh reality, (unless it's glamourised of course), rather use music to escape reality. So Jamaican music turned inwards, (due mainly to internal demand), and the Roots & Culture came to dominate the dancehall.

I'm sticking with the roots, (as unpopular as it is), because for me it's the essence of Jamaican, (and all come to that), music. Today's cut is another one from the hallowed halls of Sir Coxsone Dodd's Studio 1 sung by the MAJESTIC Wailing Souls. (essentially Winston 'Pipe' Matthews and Lloyd 'Bread' McDonald), Both born and raised in Trenchtown a Kingston district synonymous with Reggae producing greats such as Ken Boothe, Alton Ellis, Joe Higgs and the Wailers, (to name but a few), Joined in this period by the notorious Errol 'Batman' Wilson, (brother of Delroy), who was immortalised in the Slickers cut 'Johnny Too Bad'. But it was as a quartet in 1969/1971 that they truly made their mark first at Studio 1 with a selection of cuts from where this one is taken and then following on at the Wailers label Tuff Gong.

LISTEN TUNE

musicology #539

Jamaica #19

(Rome - Lloyd Jones)

LISTEN

When I first heard this cut, (more than 20 years ago), I had to sit down. Still to this day I don't know what it is about it that continues to tremble my marrow but as I live and learn about life through the ups and downs there are certain tunes that are an integral part of the soundtrack to my existence...this is one of them. The sounds that pulsed out of the Kingston ghettos during the early 70's continue to speak with unmatched authenticity to my Soul and even though I am a big fan of Ska, Rocksteady and early Reggae it is this period, (the 'Golden Age'), between 1970 and 1976 that really does it for me, (the 90's too but we'll have to wait until later to hear them)

The vocalist on today's piece is Lloyd Jones, (a cat I know nothing about), but what I do know though is that, (as far as I'm concerned), music doesn't get better than this. For 20+ years this cut has been a BIG part of my life. Why? can't say for sure but it's one of the tunes that I will NEVER tire of hearing. Larry, (the field), Marshall cut it at Studio 1 and I'm not sure who waxed the original but I think it's this one....not that it matters of course and whether it's called Babylon, Rome, the Shitstym, Capitalism or Globalisation it's all just 'The Game' and I for one despise it. Sufferers all bleed the same colour blood and it's always RED so be you black, white, pink, brown, yellow or blue this one's for all of us...45 on the English Bullet label.

"From since I was a kid they have had me down as slave,
Keep pushing me everyday until they push me out of the way,
Woooooh Rome I want to go home,
Woooooooh Rome I can't stay no longer in Rome"

musicology #538

Jamaica #18

(Winston Hines - Cool Down)

LISTEN

Between the cat, (who's got my tongue), the monkey, (who's on my back), and the wolves, (who are howling round my door), I feel more like a zoo keeper than a musical curator so without further delay I'm just going to lay this one on you. Final cut of the early Reggae and then it's on to the Reggae proper.

45 on the English Camel label, (another one of my early 'revival' memories), sung by Winston Hines..and yes it's 1969.

musicology #537

Jamaica #17

(Dennis Walks - The Drifter)

LISTEN

Today's cut is a piece from my earliest 'Revival' Reggae memories, (early 80's), introduced to me by my uncle whose commitment to top ranking music was and still remains one of the most important contributions to my existence ever made. Produced by Spanish Town's..Harry Mudie. Early Sound System owner, (mid 50's), whose first production in '62, (Babylon Gone), was one of the first to feature Count Ossie. The late 60's saw a return to production for Mr Mudie who then went on to introduce Spanish Town Sound System legend I Roy to the record buying public as well as producing some of the most established Jamaican artists of the 70's. This one is voiced by Dennis Vassell aka Dennis Walks and was originally released in...yep you've guesssed it...1969 !!

musicology #535

Jamaica #15

(Sound Dimension - Baby Face)

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As far as the music of Jamaica is concerned for themusicologist there is only one studio that stands above all others..Coxsone Dodd's legendary Studio 1. Almost every singer, instrumentalist, songwriter, arranger has at one time passed through the Brentford Road gates. Far too many to list or even mention so I won't even try, suffice to say that if you pick a name he will have a connection. Coxsone was a visionary...and as such allowed others far more suited to the creative process to express themselves. He opened the doors for Jamaican music to carve itself a unique sound that finally arrived during the period now in question...(late 60's early 70's), known globally as Reggae. To wax a tune at Studio 1 meant that, as an artist, you had made it to the top. Not financially but artistically. No matter how much the sound was crafted by others, (and it most certainly was), it was Coxsone who drove it. His greatest skill was in his ability to see the wider picture and create a platform to realise it. Ideas are the lifeblood of innovation but on their own they are no more than talk....when you check it no one person did more than Coxsone to establish Jamaican music as a global force and the music stands as witness to such a claim.

So with that in mind hold this wicked instrumental cut from the previously mentioned Studio 1 house band..Sound Dimension. One listen, (for those who don't know it), should be enough to realise why Studio 1 is the Don Sound. 1969 Release, (in the UK), on the English Bamboo label. BIG Tune.

musicology #534

Jamaica #14

(Pat Kelly – Dark End Of The Street)

LISTEN

Reggae…who were it’s early protaganists? First, as was always the case in Jamaica, there were the producers. Arguably the most influential were Lee Perry, Bunny Lee and Coxsone Dodd. Then came the musicians; Brothers Aston ‘Family Man’ and Carlton ‘Carly’ Barrett, Glen Adams, Lloyd Charmers, Alva Lewis and Ronny Bop recording both for Bunny Lee, (as The Bunny Lee All Stars), and Lee Perry, (as The Upsetters).

The Studio 1 sound was created by the Sound Dimension, (Jackie Mittoo, Leroy Sibbles, Cedric “Im’ Brooks, Vin Gordon, Ernest Ranglin and Leroy ‘Horsemouth’ Wallace). Of course there were other producers and musicians who are responsible for delivering seminal work but the above mentioned stand out consistently.

So…enough chat and on with the music..Todays cut is a Lee Perry production featuring the vocals of one of my favourite singers of the period Pat Kelly backed by the afore mentioned Upsetters.

musicology #0533

Jamaica #13

(Dobby Dobson – Your New Love)

LISTEN

As 1968 came to an end so the Rocksteady evolved into the early Reggae retaining the essential flavours, (walking bassline and one drop percussion), but from my observations between 1969 and 1971 two, (almost), seperate identities emerged due, (as far as I am aware), to commercial pressure.

First there was the local sound system/dancehall market, (the lifeblood), to satisfy but also there was the export market which at the time meant England. Certain Mod/ernist’s, (or whatever you want to classify them as), took to Jamaican music straight away as early as 1962/3 and for some, (Steve Barrow for example), it turned into a lifetime’s commitment. These same hipsters seemed to embrace and recognise not only the musical quality but also the authenticity that for me is a critical aspect of Jamaican musicology. In many ways ‘Reggae’ has always been a commentary on the life and times of the sufferer and for some, (me included), that is magnetic. When I say sufferer I don’t just mean financial but also the emotional and just as importantly the social..

In England the Reggae captured a younger generation who had watched and listened as Soul, (and ‘Mod’), went overground which resulted in a look towards Jamaica for fresh inspiration. Contrary to popular belief, (and I have it on the authority of young Cats who were there), racism was not as much of an issue as has been portrayed. The universal language crosses all boundaries and the music of Jamaica spoke to both brown, black, pink and white as young kids connected through it.

I’m not sure about other parts of London but I do know that Reggae was BIG on the streets South of the River Thames in places such as Camberwell, Peckham, Brixton, New Cross, Deptford and Lewisham where Jamaicans settled. (Not forgetting Notting Hill, Shepherds Bush, Willesden and Harlesden of course). Was Jamaican music as prevalent in East and North London? I have no idea but for sure it reached out to many areas and not only in the Capital. Again I have no personal connection with Cities outside of London so I can’t comment but one look at the charts of the time shows that Jamaican music certainly had the potential to explode…

Feels a bit like I’m losing the focus so I’ll step out of the writing and on with the music otherwise i’m in danger of getting sidetracked by social history which as important as it is doesn’t really affect the quality of the music.

First up is an absolute classic from a singer who has already graced themusicologist with the original cut of ‘Loving Pauper’..Dobby Dobson. Can’t lay my hands on the 45 to credit the producer right now but I know it’s on Punch and the year of release was 1969

musicology #532

Jamaica #12

(Barrington Spence - Contemplating Mind)

LISTEN

Final cut of the Rocksteady and then it's on to the 'Moonstomp' Reggae. But before that it's time to roll one out from Sir Coxsone 'Downbeat' Dodd's Studio 1. A cut featuring the vocal talents of Barrington Spence who began singing in the early sixties but stepped out of Kingston for a few years and didnt return until around 1966 whereupon he hooked up with Naggo Morris and Sylvan Clarke, (as the Soul Boys), and cut a few tunes at Studio 1 and Treasure Isle?

Just like to finish by adding that even though Coxsone got left behind a small piece during the Rocksteady, in part due to the emergence of producers such as those featured over the last week as well as his less than fair business practices concerning artists and musicians, he was still 'swinging' and turning out top quality music, (as today's cut bears witness to), but it would be in the next phase of Jamaican musical development that he began to take back the crown and deliver the 'golden age' of Studio 1.

LISTEN TUNE...

musicology #531

Jamaica #11

(Johnny & The Attractions – Coming On The Scene)

LISTEN

Penultimate cut of the Rocksteady excursion features a vocal group that go by the name of Johnny & The Attractions, (already featured on themusicologist), who waxed some of the most beautiful Rocksteady of the day. Amazingly, (or not so if you know a little about Jamaican music), next to nothing is known about these cats so I can’t fill you in on any personal details. All I do know is that the producer was Sonia Pottinger and the label it originally appeared on was ‘Gayfeet’ and the year was most likely 1968, an important year in themusicologist’s life as well as in the progression of Jamaican music as it was in this year that Reggae first emerged.

To be honest RockSteady was not a commercial success and is still to this day not well known, (outside of the community), which has always surprised me but then again if we look at what was going on at the time maybe it was too ’simple’, slow or authentic to attract much interest in a world that was plunging headlong into complexity and inauthenticity but ever since being introduced to it in the early 80’s it never fails to reach out and touch my soul.

Anyway…enough of the sentimentality and on with the transcendental TOP RANKING musicology..

musicology #529

Jamaica #9

(Larry Marshall – Money Girl)

LISTEN

Moving out of the Derrick Harriott and into yet another fine piece but this time it’s courtesy of producer George Phillips better known as Phil Pratt..a name bestowed on him by Caltone founder Blondel Keith Calneck, (Ken Lack).

You may have noticed that one of the things about Jamaican music is the significence of the producer in musical proceedings and Phil Pratt is certainly one of them. Horace ‘Andy’ Hinds, (cousin of Justin), The Heptones and Bunny Lee all begun their journey beside the Cat at Caltone so it’s, (and his), importance in the development of Reggae deserves wider recognition.

The cut today is courtesy of singer Larry Marshall, (who would go on to find a place at Coxsone’s Studio 1), and features the talents of Rocksteady’s core protagonists that include Lynn Taitt, Gladstone Anderson, Winston Wright, Clifton Jackson, and one from Winston Grennan, Hugh Malcolm or Arkland Parks. From the sounds of it I would hazard a guess that it’s a 1967 recording but I could easily be mistaken and if so it would be early 1968. Whatever the year it was arranged by a name we have become familiar with over this week…Lynn Taitt.

Finally just like to praise a man who has previously graced themusicologist with his knowledge Steve Barrow’s Pressure Sounds for releasing the CD, (Safe Travel), from which today’s cut emerged. ESSENTIAL purchase…FULL of TOP Ranking Rocksteady that were you to try and buy the 45’s featured would cost you a small fortune, (if you were lucky enough to find them)

LISTEN TUNE…

musicology #528

Jamaica #8

(Derrick Harriott – Do I Worry)

LISTEN

So what is it about Rocksteady that is different? Musically Rocksteady is built on the ‘One Drop’, (3rd Beat), whereas Ska was built around the ‘after beat’. That and the pronounced Bass evident on the Rocksteady combined to deliver a rhythm that the dancers could sway and ‘Rock Steady’ to while holding up a beer, maybe a spliff and even a girl. While Rocking Steady a man could look nonchalant and slick whereas the ‘Ska’ was all about the wild swinging of arms…not slick and certainly no chance of winding, grinding, smoking and drinking.

In fact to make it clear..Hold this quote from the drummer who many credit with originating the ‘one drop’, Winston Grennan

‘I give a hard blow on the third..that would be a hard one drop and it would cut the beat in half”

Of course there were other key players involved such as the afore mentioned Lynn Taitt, Hugh Malcolm, Bobby Aitken, Gladstone Anderson as well as legends such as Jackie Mittoo, Roland Alphonso and the Soul Brothers and of course Tommy McCook and the Supersonics. Apologies If I have missed some…hopefullly some of you musicologists out there can ‘pipe up’ and let us know?

Right enough of the words and on with the music. I was going to drop cuts chronologically but on reflection I’ll just do my best to throw down cuts that for me define the genres. If I had planned it differently I would probably thrown down a week of Rude Boy cuts that were so prevalent in 1966 but I didn’t so I’ll just continue !!

Today’s piece is from one of Jamaica’s greatest talents the pioneering vanguard Derrick ‘One Stop’ Harriott, a Cat who was there at the birth of the Ska, Rocksteady and Reggae delivering sublime musicology. Have to say that this is one of my all time faves.

Finally…Just like to add that I continually get lost for hours, days and weeks in what I consider to be one of the most original, informative and all round TOP RANKING sites out there

Johnny Spencer’s

musicology #527

Jamaica #7

(The Techniques - Love Is A Gamble)

LISTEN

So what could have happened in 1966 to change the beat from the frenetic Ska to the laid back sound of the Rocksteady? Rumour and word has it that it was a combination of things that conspired..First of all popular information/knowledge has it that a heatwave swept the island forcing the dancers and musicians to slow the tempo..secondly as is often, (if not always), the case the time had come for the islands musicologists to evolve and in my experience slow follows quick. Thirdly, (and I'm guessing here), the Ganja may have influenced proceedings...

By 1966 many of the protaganists of the Ska were 'Beardmen' and were likely to have been 'licking chalice' Up Warika Hills with the legendary Count Ossie. I'm not suggesting that the Ganja was the chief reason for the shift..only one of many.

As for outside influences we only have to consider how Soul and the Vocal Group sound became dominant in America around this time and how much influence the likes of the Impressions subsequently had in Jamaica.

Finally and perhaps of most significance was the Skatalites splitting into two groups after the incarceration of Don Drummond in 1965...The Soul Brothers led by Roland Alphonso, (at Studio 1), and the Supersonics led by Tommy McCook, (resident at Treasure Isle). Notably Lynn Taitt is widely recognised as 'Inventing' the Rocksteady with the Hopeton Lewis cut 'Take It Easy' but other early pieces included Alton Ellis's 'Girl I've Got A Date' and Derrick Morgan's 'Rougher Than Rough', (all of which featured Lynn Taitt's guitar). Whatever the reasons for the emergence of Rocksteady it was at this junction that 'Reggae' began to take shape with the Bass rising to prominence and it must be said, (at least from my perspective), that Duke Reid wore the Rocksteady Crown.

So with that in mind the first cut has to go to the Duke and the Majestic Vocal Group known as the Techniques whose fluctuating line up included some of the great Jamaican vocalists; Slim Smith, Pat Kelly and Winston Riley as well as Junior Menz and original members Frederick Waite and Franklyn White. Clearly influenced by The Impressions this one epitomises Jamaican Vocal Group Harmony. 1967? recording on the Treasure Isle label.

musicology #526

Jamaica #6

(The Skatalites – Confucius)

LISTEN

Finishing up Round one of the Jamaican Musical History selection with this piece courtesy of the Chinese/Jamaican producer Justin Yapp who for 3 years, (1962-65) produced and delivered Ska that is as good as anything ever waxed. Yet another piece led and written by the legendary Don Drummond. Of course it’s the Skatalites, (who else !!), providing the impeccable back up. Recorded and released on Yapp’s Top Deck Label in 1964.

musicology #525

Jamaica #5

(Edwards All Stars – North Coast)

LISTEN

Was unable to spare the time to throw down yesterday..played out last night at a very dear and cherished friend’s birthday bash and spent most of the day preparing the set. Anyway explanations aside and moving on from Don Drummond at the Duke’s Treasure Isle to a cut delivered by one of the other major Ska producers and sound systems of the time; King Edwards, (The Giant). Don’t know hardly anything about the Cat other than he had a major Sound that for a while competed with the players; Sir Tom The Great Sebastian, Duke Reid, (The Trojan), Sir Coxsone Downbeat, Lord Koos, and V-Rocket on top of producing some BOSS Ska.

His main DJ, (not selector), was none other than Sir Lord Comic who went on to record what is considered to be the first ‘DJ’ cut, (Ska-ing West), in 1966 at the dawn of a new era, (Rock Steady), but more about that next week. This week it’s all about the Ska and this piece is a rare, (and I mean rare), treat. 1965 release on the, (English), Rio label. Credited to the Edwards All Stars but better known as the Skatalites.

musicology #524

Jamaica #4

(Don Drummond – Treasure Isle)

LISTEN

Looking to catch the earlier train with today’s cut otherwise I find myself too far behind the 8 Ball which is no place to be for the I. That and having too many plates up there spinning take too much of my time and energy which I haven’t got to spare. I would rather spend it with my children, listening to, finding and curating music or with my spars.

So on with the journey..day four of the Jamaican Musical History excursion and so far we have heard from two of the foremost producers of the period Downbeat the Ruler and Prince Buster so today it’s the turn of Duke Reid aka The Trojan whose Soundclashes with Coxsone are the stuff of myth and legend. Of all the islands sound systems It was these two who contested with the most ferocity and passion both musically and physically leading to heated battles between them and their respective followers both in and out of the dance. Pitched battles were fought in an attempt to intimidate and lock off the opposing sound and in part it was out of this culture that the Rude Boy emerged. Combined with Jamaica’s violent and rebellious history as well as the abject poverty and general lawlessness especially in the ghettos of Kingston the ingredients were all there to light the fuse that would eventually blow up in all out political warfare in the 70’s but I’ll get to that later on in the theme when the right time come.

Back to the Ska and Duke Reid..for me what has always distinguished The Trojan’s Treasure Isle sound is it’s sweetness and light. As far as I know Reid never allowed Ganja to be smoked in the studio or entertained any kind of Rasta ideology whereas Coxsone turned a blind eye knowing that not only did it stir the creative juices, (which it does), but that Rasta was beginning to have a major impact in Jamaican ghetto life..Duke Reid was a traditionalist and considerably older than the young and visionary Coxsone but the music produced in his studio, (and he had a speaker wired up in his Liquor store so that he could hear what was being recorded), was as good as anything produced. It was with the Rocksteady that Duke Reid truly came into his own but he was also responsible for producing some BOSS Ska as witnessed with this piece courtesy of the legendary Don Drummond..Original Skatalite, Trombonist supreme and leading light in Jamaican musical history. No one rocked the instrument like the Don and although his story ended in violence and mental illness his music will forever stand as his legacy. Quite Simply..this is Ska

LISTEN TUNE

musicology #523

Jamaica #3

(Prince Buster – Linger On)

LISTEN

Moving out of the Studio 1, (before it threatens to consume the WHOLE theme), and into a cut from one of the other notable players in the development of Jamaican musicology…Cecil Bustamente Campbell who along with Sir Coxsone, Duke Reid, Justin Yap and King Edwards had a major impact on the Ska.

Prince Buster, (so named because of his boxing prowess), was a security man for Downbeat in the early 60’s but turned his talented hands to recording and producing in 1962 after leaving Coxsone. Today’s 1964? cut is a piece from the ‘Golden Age’ paying tribute to the legend known then as Cassius Clay. Note the innovative Reverb technique employed by Buster which at the time must have been well and truly ‘modern’. The musicians backing the man were known as Buster’s All Stars and included legends Val Bennet, Raymond Harper, Baba Brooks, Junior Nelson, Rico Rodriguez, Earnest Ranglin, Jerry Haynes, Gladstone Anderson and Arkland Parks.

musicology #522

Jamaica #2

(Jackie Opel – You’re Too Bad)

LISTEN

Various Cats have laid claim to ‘inventing’ the Ska but as far as I can hear it seems to have been more of an evolution. In an attempt to provide a little insight for those who are not clued up on the historicity of Jamaican musicology before Ska there was what’s known as ‘Shuffle’ which to be brutal was more of a home grown version of American Jump/Rhythm & Blues so popular in the dance. Early Operators such as Tom The Great Sebastian and Count Nick were followed by hungrier Cats such as Duke Reid, Coxsone Dodd and Prince Buster who needed a constant source of new material to ‘mash up the dance’ and ‘Kill’ opposing Sound Systems. The competition was ferocious and it was this more than anything that fed the emerging scene for home grown talent. Combine such a need for a constant supply of fresh cuts, (Concurrent with the decline of Rhythm and Blues and looming Independence from colonial rule), with Jamaica’s strong sense of ‘national’ pride and identity and the stage was set for ‘Ska’

Coxsone led the way by setting up the legendary Studio 1 recording studio in 1963 and the icing on the cake was a collective of the hottest musicologists on the island coming together in 1964 as the Skatalites. As previously mentioned on themusicologist Jackie Mittoo was Coxsone’s musical director and as such is as responsible as anyone for defining Ska.

Today’s cut is a prime slice of the Skatalites pie from 1964? featuring the majestic Jackie Opel on vocals and the combined talents of any number of Tommy McCook, Roland Alphonso, Lloyd Brevett, Lloyd Knibb, Lester Sterling, Don Drummond, Jah Jerry, Jackie Mittoo, Johnny Moore and Percival Dillon…in a word..BOSS

musicology #521

Jamaica #1

(Delroy Wilson - Joe Liges)

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Right...been waiting, (impatiently), for inspiration regarding the next theme and I'm pleased to announce that it has arrived. Random cuts are all well and good but they have no direction which is something the butterfly mind is prone to suffer from in all honesty. I say suffer because direction is, at least for me, essential when travelling down satisfaction's long and winding road.

So what is the theme I hear you ask? Obviously the title should give you a clue...Jamaica and it's RICH musical heritage. In fact I would go so far as to say that contemporary music owes a HUGE debt disproportionate to the Country's size and population. How was it that such a small and as far as many people are concerned, (me most definately NOT being one of them), insignificent island produced such a treasure trove of musicology? I'm not planning on transcribing Jamaica's history as I don't know enough about it but at the risk of sounding like I'm blowing my own trumpet...I do know about the islands musical historicity. A genuine love affair that stretches back to some of my earliest musical memories starting in the early 70's and, (along with Soul), stretching up to today. Fact is I truly LOVE Jamaican music with a passion. So much it has given me that I would like to try and repay the debt in the only way I know how and that is by sharing it with youse Cats and Kittens.

For the officionados among you I doubt there will be anything you havent already heard but themusicologist is not in the business of unearthing cuts that nobody has heard rather I'm in the business of playing what I consider to be cuts from the top of the tree and lets face it those are sometimes the best known. That said you won't be hearing the internationally known 'popular' tunes during this theme purely because they are not the ones that I know and love.

I have been listening to and collecting Reggae since the early 80's from I was a teenager whereas before that it was only what I was introduced to by family members. Just like to give an extra nod to one of my Uncles whose debt I will always be in for introducing me to such profound musicology..

Before we begin I would just like to lay me cards on the table and confess my alliegance to what I consider to be the premier studio and sound system to hail from the land of wood and water none other than Sir Coxsone 'Downbeat The Ruler' Dodd's CHAMPION sound..Studio 1. Above all others it's the Coxsone sound that has hit me hardest but there have been far too many TOP RANKING artists and producers along the way to namecheck, rest assured I will do my best to represent as many as I can as the theme unfolds over the coming days and weeks.

The format will be linear starting not at the dawn, (the late 50's), of the Island's musicology but rather when Jamaican music found it's own unique 'voice' after Independence in 1962. The sound was named 'Ska' a term many are already familiar with so I'm not going to get caught up in the why's, who's and wherefores of the terminology as I would rather let the music speak. Of course this is only one persons subjective evaluation of the music and I'm sure that others will have their own 'favourites' but that's part of what makes 'Reggae' so special...'Every Man Does His Thing A Little Way Different'

Finally..before I begin the sessions proceedings I would just like to add that I may 'double up' on some of the cuts that I have already thrown over the preceding 3 years so forgive me if I do...

First up is a cut from 1963..featuring the 13 year old Delroy Wilson singing a piece written by Dodd employee and all round musicologist Lee Perry concerning former Coxsone Sound Man, Enforcer and 'dance crasher' Prince Buster who, (thank the stars for us music lovers), decided to step to his own beat...

45 released in England on the pioneering R&B Label.

musicology #520

Randoms #3

(Errol Dunkley – A Little Way Different)

LISTEN

Apparently it was 3 years ago that themusicologist stepped into the global arena in an attempt to communicate. 3 years later and I’m still trying. SO much water has gone under the bridge since then it almost seems like I have lived at least three lives. In fact the ONLY constant in my life has been the music. Companions on the journey who I thought would be there for the duration have stepped off and significant others have stepped in. I suppose that is the way it has to be. Nothing lasts forever, (other than music of course)

The journeys soundtrack along the way has been just as hill and gully as the existence itself..sometimes so raw that I wince when I listen but there’s no taking it back, (nor would I want to), so I’ll just keep rolling out the message and let the dialogue unfold naturally as it always has and most likely will be.

Today’s messenger is the majestic Errol Dunkley a cat who first sung his way into the musicologist’s heart and mind with his 1966 cut, at the crossroads between Ska and Rocksteady), ‘Love Me Forever’ but it’s this one that I identify him with. The TOP ranking ‘A Little Way Different’. This version is the 12″ rather than the Sonia Pottinger produced 1972 original. Both equally superb in their own right.

musicology #519

Randoms #2

(Bill Withers – Take It All In And Check It All Out)

LISTEN

Next cut on the random selection…and it’s time for this one from the great Bill Withers one of the three major teachers for themusicologist from my formative years one listen should help you understand why when the man speaks themusicologist listened. Highlighted from his 1972 TOP RANKING ‘Still Bill’ set. Recorded in LA at the Record Plant and released on Sussex. Also featuring the combined talents of Obbye Hall, Benorce Blackmon, Melvin Dunlap, James Gadson and Raymond Jackson.

LISTEN TUNE…

“You can fill up a room with idle conversation,
You can stir up a whole darn nation with your mouth,
But before you start to show your indignation,
About a situation,
You oughta take it all in and check it all out,

You can create a boom with uh catchy information,
You can shake up a lot of people if you shout,
But before you begin to grin about the success of your creation
You oughta take it all in and check it all out

You can make out a plan with aimless dedication,
You can hang up a million slogans in your house,
But before you put it into operation,
Before you man your station now,
You oughta take it all in and check it all out,
You oughta take it all in and check it all out,
Find out what it’s all about uh huh,
You oughta take it all in and check it all out,
You oughta take it all in and check it all out Find out what it’s all about uh huh,
You oughta take it all in and check it all out,
You oughta take it all in and check it all out”

musicology #518

Randoms #1

(Barrington Levy – Girl I Love You)

LISTEN

Wednesday already and I have yet to fling down this week…too busy trying to catch butterflies but as of yet no luck. I have a few themes lined up but none seem to be speaking to me so for the moment I’ll just roll with a few choice cuts from the vaults while I stand with open mouth and watch the butterflies dance.

First up is a, (1984), piece from the land of wood and water, (Jamaica), courtesy of the unmistakable Barrington Levy.. a 12″ on the Greensleeves label.

musicology #517

Duets2 #7

(Earth & Stone - Jailhouse Set Me Free)

LISTEN

Final cut on Round 2 of the duets theme and i'm finishing up with this mighty slice from sublime Jamaican duo Albert Bailey and Clifton Howell otherwise known as Earth & Stone. The pair first cut their musical teeth with Coxsone but quickly moved onto the Hookim brothers legendary Channel 1 in 1973 and for 5 years they recorded some of the finest 'Rockers' known to man.

Not 100% sure but I'm guessing that the top ranking rhythm track is courtesy of the majestic Skin, Flesh & Bones, (Lloyd Parks, Charles 'Sly' Dunbar and Ansel Collins), who were the backbone responsible for creating what became known as the revolutionary sound.

musicology #515

Duets2 #5

(Dudley Sibley and Peter Austin – Hole In Your Soul)

LISTEN

Today’s cut is yet another RockSteady scorcher but this time courtesy of Sir Coxsone ‘ Downbeat The Ruler’ Dodd’s Brentford Road powerhouse…Studio 1. Regulars on themusicologist should know by now of my ongoing ‘affair’ with the sounds of Sir Coxsone..for me the premier recording studio and Jamaica’s most important sound. Not to say that there aren’t many other producers and studios that deserve recognition and undying support but Downbeat will always wear the crown as far as I’m concerned.

musicology #514

Duets2 #4

(Lee Dorsey and Betty Harris – Love Lots of Lovin’)

LISTEN

Slipping out of Jamaica and back to America with this 1968 piece of New Orleans Soul courtesy of Deep Soul songstress Betty Harris in harmony with Crescent City native and Mod/ernist favourite Lee Dorsey. Produced by a man who has featured many times on themusicologist; Mr New Orleans….Allen Toussaint and released on his and Marshall Sehorn’s Sansu label. I’ll take an educated guess and say that it’s The Meters providing the funk but one thing is for sure and that is the contribution Allen Toussaint made to delivering some of the cream of Crescent City musicology throughout the 60’s and into the 70’s. Respect is always due.

musicology #513

Duets2 #3

(Winston & George – Denham Town)

LISTEN

Moving out of the soul searching and into the social commentary for todays cut with a classic piece of 1966/7 RockSteady critiquing the state of West Kingston District ‘Denham Town’ as it ‘Turned Vietnam’. Produced by Leslie Kong and featuring Gladstone Anderson on Piano Jackie Jackson on Bass and sax man supreme Roland Alphonso. Released in the UK on a Pyramid 45.

musicology #512

Duets2 #2

(Am I A Good Man - Them Two)

LISTEN

Today's marrow trembler finds themusicologist standing in 'still waters' that run almost too deeeeeeeeeep and I'm probably shooting myself in the foot by peering into the darkest recesses of my soul in such a public way but authenticity compels me to continue asking the question....what/who am I? (not that I'm expecting or even asking for an answer as I don't believe there is a definitive but unfortunately that doesn't stop the internal dialogue).

Paradoxically? the question has reared it's head at the onset of this 'Harmony' theme but in the words of Blues man supreme Little Willie Littlefield 'Life is like that' and no amount of running and hiding will alter a truth.

The musicology presented by the TOP RANKING Numero Label was originally recorded for and released on Miami's Deep City label sometime in the late 60's? and features the combined harmonies of Clarence Reid and Willie Clarke ably backed and driven by Helene Smith, Arnold Albury and Reed Roberts. For me music doesn't get 'better' than this...what a tune.

har·mo·ny

–noun,plural-nies.

agreement; accord; harmonious relations.

a consistent, orderly, or pleasing arrangement of parts; congruity.

Origin:
1350–1400; ME armonye <>

—Related forms

non·har·mo·ny, noun,plural-nies.

pre·har·mo·ny, noun

—Synonyms
1. concord, unity, peace, amity, friendship. 2. consonance, conformity, correspondence, consistency.

musicology #511

Duets2 #1

(Birdlegs & Pauline – Spring)

LISTEN

This week it’s all about the musical harmony between two people. Kicking off the theme with a 1964 mod/ernist classic courtesy of 60’s Soul duo Sidney ‘Birdlegs’ Banks and his wife Pauline Shivers Banks. Originally recorded for and released on Jim Kirchstein’s Cucca label..this is the Vee Jay Release.

musicology #510

CoversWeek2 #7

(Bill Withers – Let It Be)

LISTEN

Final day of the second instalment of the covers theme..yet again there’s too many to choose from so rather than waste precious time deliberating I’m just going to lay this cut on you. Yet another one from themusicologist’s memory banks..Bill Withers 1971 version of the Beatles song Let It Be. Highlighted from his first LP ‘Just As I am’. Produced, arranged and featuring ‘Booker T’ Jones as well as the combined talents of Stephen Stills, Jim Keltner, Bobbye Hall Porter and Al Jackson Jnr. Recorded and released on the Sussex label.

“When I find myself in times of trouble Brother Billy comes to me,
Speaking words of wisdom, Let It Be ohhh Let It Be..”

New theme starts tomorrow…

musicology #509

CoversWeek #6

(Donny Hathaway – Jealous Guy)

LISTEN

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)

LISTEN

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 #506

CoversWeek2 #3

(Solomon Burke – Maggie's Farm)

LISTEN

bit later than expected on yesterday’s George Benson cut so I’m laying today’s slice of the covers pie down early…before I get sidetracked with my load. Cat still has my tongue a piece so without further delay hold Solomon Burke’s Rhythm & Blues version of Bob Dylan’s protest song. Especially poignant in the 21st Century as ‘Maggie’s Farm’ is well on the way to selling us into a desolate future full of debt, fear and loathing. Watch the ride, make sure you wear your seatbelt and brace yourself for the crash…heading our way sometime over the next 2/3 years.

musicology #505

CoversWeek2 #2

(George Benson – Take 5)

LISTEN

Been a long time coming but after 8 months of trials and tribulations it feels like themusicologist is back in the saddle. To be honest there have been times over the past few months when I’ve asked myself whether I should continue to invest so much time and effort in the brave new world of the hyper-real as the ‘return on investment’ is almost impossible to quantify but as the months have rolled by and this new chapter in the book of life gets written I realise how essential it is, (for me at least), to have a soundtrack as well as how much the world is changing in relation to investment. As far as I can see the only life worth living is the one you want to live and not the one forced apoun us by fear, capitalism and politricks. I live and breathe music, (always have), and without it existence would be half of what it is..communication would be even more of a struggle and the continuing and ever more valuable dialogue I find myself engaging in would feel more like a monologue.

Music facilitates learning as it challenges the I to participate and question rather than just observe and obey whereas chasing financial success at the expense of all else is a fools quest..Something I have learnt along the way is that money ain’t worth the paper it’s printed on and the pursuit of it may leave you cold, bitter and empty whereas the pursuit of success as a human being opens up the possibilities to express your self and through that connect with others who are also crawling, walking or running along the road to freedom. I say fuck the money and let’s explore the love.

Today’s cut from master Guitarist George Benson, (a Cat who begun his career at the age of EIGHT playing in an unlicensed nightclub), says it all in two words.

Selected from his 1974 set ‘Bad Benson’

musicology #504

CoversWeek2 #1

(Hortense Ellis – Sitting In The Park)

LISTEN

This week I’m revisiting an earlier musicology theme concerning cover versions. Cat’s got my tongue a piece today and I have plenty to do regarding ‘the project’ so I’ll just get straight down to business and kick off the proceedings with Hortense Ellis’s top ranking Studio1 version of Billy Stewart’s Soul classic ‘Sitting In The Park’. Always been a bit of a mystery to me why there are so few female singers to have emerged from Jamaica…The only three I can think of are Marcia Griffiths, Phyllis Dillon and Hortense Ellis?..During her career Hortense recorded for all the top producers Coxsone, Duke Reid, Lee Perry, Bunny Lee, Gussie Clarke but, (like 99% of all Jamaican artists), never had any great commercial success….shame.

musicology #503

SoulBoy #22

(Eloise Laws – Put A Little Love Into It)

LISTEN

Final cut on the SoulBoy and I’m going to wrap it up with this 1977 cut on the Invictus label set up by Eddie and Brian Holland and Lamont Dozier. The songwriting and production team largely responsible for much of Motown’s success between 1962-67. Sung by the daughter of Hubert Laws Snr, sister of Hubert, Ronnie and Debra.

musicology #502

SoulBoy #21

(Ann Peebles – Give Me Some Credit)

LISTEN

last few cuts on the SoulBoy..looking forward to listening back to the theme in all it’s glory. almost impossible when in the eye of a theme. So without further delay hold this quality cut from Soul songstress Ann Peebles.

musicology #501

SoulBoy #20

(Eddie Ray – You Are Mine)

LISTEN

hmmm..how to follow yesterday’s cut from the Lion? many have tried, (on stage), and all failed. Sam Cooke stole every show he appeared on and tore the house down everytime both with the Soul Stirrers and as solo artist so I don’t relish the prospect ! still…someone has to so I suppose it’s close my eyes and ‘pin the tail on the donkey’ time and just allow whoever the musicology sword falls on to come in and do their thing..

Today’s cut then is courtesy of a Cat who I know nothing about. Introduced to me via the SUPERB Numero group’s collection of Rare gems..this cut is borrowed from the Top Ranking Series Eccentric Soul: The Prix Label.

Another SoulBoy Marrow Trembler….

musicology #500

SoulBoy #19

(Sam Cooke – Somebody Ease My Troublin’ Mind)

LISTEN

milestone on themusicologist…500 cuts and still haven’t even scratched the surface of the vaults !! here’s hoping that you cats and kittens have enjoyed the journey so far. how long will it last? who knows…but I’ll keep spinning as long as I’m able. When I took the first step on this musical journey I had no idea where it would lead. I just felt that the time had come to communicate with the world and open up a dialogue with my heart, soul and mind using the most effective language that I know…the sweet sounds of music. What is it about music that leaves such a deep impression? I don’t know but there have been many books written, lectures, discussions and debates around tables, on street corners, in bars, classrooms and hallowed halls for generation after generation and still there are no definitive explanations, such is the power of frequency and especially harmony to resonate deep within us and touch the soul in ways that, at least for me, nothing else comes close to reaching other than that elusive feeling words can’t describe, Love…

I was going to wax lyrical and go right into ‘one’ but, (and I don’t know for sure why?), to be brutally honest with you today’s cut nails the way I have been feeling these last few days courtesy of the one artist who, for me, stands above all others..The Lion, Mr Soul…Sam Cooke without whom the music we now call Soul may not have emerged and even if it did definitely wouldn’t have been the same. Recorded in 1964 not long before the curtain closed on the troubled last few years of his short life. Sung in such a way that it leaves no doubt why the Lion is known as Mr Soul…The man who put the Soul in Soul….what a F***in’ TUNE, (excuse the profanity but the piece always brings me to my knees and trembles my marrow)

musicology 499

SoulBoy #18

(Bobby Womack – Tried and Convicted)

LISTEN

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 #498

SoulBoy #17

(Garland Green – Plain And Simple Girl)

LISTEN

right..have to be quick today, (even though I’m slowing the tempo..), as I have to get my ‘bottle’ out the ‘apple’ sharp and wanted to get this one up for as long as possible..apologies for leaving you SoulBoys and SoulGirls hanging for the next installment these last few days, things to do…people to see, (MrHare them shoes are sooo ‘RUDE’)…no excuses just apologies. Hope to make up for it with this Sunday afternoon, Soul Spectrum slice from Garland Green..produced and arranged in 1970 by the majestic Donny Hathaway his first and most , (commercially), successful, (whatever that means?), release on Cotillion. I am a BIG fan of this one. Soul through and through….Listen Tune…

musicology #497

SoulBoy #16

(The Fundamentals – Before It’s Too Late)

LISTEN

Through the ups, downs, highs, lows, hills and gullys of my life the only ever present is the soundtrack. To put it simply I am passionate about music in a way that is sometimes frightening. I Lose all sense of time and as long as I have music as a guide no mountain is too high to climb, (and I’ve found myself at the foot of quite a few !), If truth be told I could, (and would be happy to), spend my whole life bathing in musical waters….but before I can do that I need to make my play and at the moment I’m busy setting up the next phase of the project. It had to take a back seat for the last 9 months as the threads of my life unraveled….but as they say in France…C’est La Vie and one thing’s for sure “I plan to stay a believer”..
That’s not to say that I’m completely out of the woods..that will take some time but feels to me like I’m on the right track. anyway…back to the SoulBoy with today’s beautiful piece of 1967 Vocal Group action from out of Chi’.

musicology #496

SoulBoy #15

(Sam And Dave – Goodnight Baby)

LISTEN

Staying on board the Soul Train for this week as there are far too many cuts and artists who have yet to be featured..Marvin Gaye, Bobby Womack, James Carr, Sam Cooke, Teddy Pendergrass, Al Green, Aaron Neville, Bobby Bland, Solomon Burke and on and on and on in fact a year still wouldn’t be long enough to dig deep into the Soul Cellar so another week is the LEAST I can do.

Too many pieces to choose from…must have lined up at least 5 cuts…just as I’m about to prepare one a next piece floats out of the speakers to distract my butterfly mind. So without further delay hold this piece from one of the great duets Sam Moore and Dave Prater. So electric were they on stage that Otis Redding refused to go on after them. 1965 release on the Stax Label.

musicology #495

SoulBoy #14

(Bettye Lavette – Easier To Say Than Do)

LISTEN

What is Soul? have I asked this question before? can’t remember and to be honest I don’t think I’ll go back over the last 494 diary entries to satisfy my curiousity ! all I can say is that for me Soul communicates with my emotions in ways that only music seems to be able to. I enjoy looking at Art and reading it too but there’s something about listening to it that has a transcendent quality that words can’t describe..So instead I’ll leave it to the music..

Today’s cut is a first on themusicologist not only for the artist but also for the way in which it was delivered.courtesy of a fellow musicologist who I have had the pleasure to hook up with via the musical diary. The first in a series? of collaborations between themusicologist and audience. Recorded in 1970 for Shelby Singletons SSS International label but not released? BIG label for the Northern Soul Cats this is a fine piece of Soul from a great singer who first recorded at the dawn of Soul in 1962. Probably best known in the Soul community for her Marrow trembling ‘Let Me Down Easy’ .. Still going strong Bettye Lavette is a genuine Soul singer of the highest order.

musicology #494

SoulBoy #13

(Angie Stone - Everyday)

LISTEN

Another day another Soul dollar..sticking with The Ladies for the next few days, (seems rude not to !!), but (almost) moving into the 21st Century with this cut from the magnificent Angie Stone..yet another artist who started out singing Gospel..Have to be quick today as I'm on a course refreshing my screen printing skills so can't wax lyrical..

Today's 1999 cut is highlighted from Ms Stone's debut set 'Black Diamond'..co written by D'Angelo. QUALITY mod/ernist Soul from one of themusicologists favourite contemporary artists.

musicology #493

SoulBoy #12

(Irma Thomas – Ruler Of My Heart)

LISTEN

Love the way the SoulBoy is shaping up….Soul and Reggae are the two musical languages that I am fiercely passionate about..I like many genres and almost all styles but nothing connects with the I like these two. Maybe it’s because I was brought up with them? especially Soul, the sweet sounds of Jamaica didn’t make an appearance until I was 3 or 4 years old but Soul is in my flesh, blood and bones…prenatal style !!

Seems like the Soul Kitchen’s hotting up with every cut so i’ll keep up the pressure with this piece from the superb Irma Thomas..well known to Soul Cats and Kittens for many a fine slice, (this being one of them), ‘The Queen of New Orleans Soul’ started out singing in a Baptist Church choir as a teenager but it wasn’t until 1960 that she ‘waxed her first side’. Like all the great New Orleans Soul singers of the sixties it was on the pioneering label Minit that she really begun to cut loose under the wing and watchful eye of the legendary Allen Toussaint, producer, arranger, songwriter and piano maestro whose contribution to the emerging sound now known as Soul deserves, (and gets), honourable recognition. Today’s cut was reinterpreted by the ‘Big O’ for his first solo outing ‘Pain In My Heart’ and as good as that is, for me, this one reaches out even further. 1963 recording on the Minit label. Already featured twice on themusicologist, (#150/ #359 Irma Thomas oozes Soul.

musicology #492

SoulBoy #11

(Doris Troy – Please Little Angel)

LISTEN

Ladies with Soul … Lots to choose from; Aretha Franklin, Carla Thomas, Candi Staton, Randy Crawford, Millie Jackson, Mary Wells, Gwen McCrae, Vicki Anderson, Marva Whitney, Lyn Collins, Barbara Lewis, Etta James, Dee Dee Warwick, Fontella Bass, Minnie Ripperton, Marie Knight, Dee Dee Sharp, Mitty Collier…as well as contemporary kittens such as Angie Stone, Brandy, India Arie, Beyonce…and those are just the ones off the top of my head !

As difficult as it was to choose..today’s cut, (courtesy of Doris ‘Just One Look’ Troy), has ALL the right ingredients; Vocals, Lyrics and Production..

Bronx born Doris Higginsen begun her career singing Gospel in her fathers choir but it was as a songwriter that she scored her first hit ‘How About That’ recorded by Soul pioneer Dee Clark in 1960. Three years later she was spotted by James Brown working as an usherette at the Apollo and in that same year she wrote and recorded the Mod/ernist classic ‘Just One Look’. Not sure how or why but Doris didn’t go on to receive the critical acclaim that her talents deserved. Employed by the Beatles at Apple as Artist, Writer and producer Doris sung backup and worked with some of the UK’s most established musicologists, (The Rolling Stones, Pink Floyd, Led Zeppelin, Eric Clapton and The Moody Blues), but failed to make a commercial impact as an artist in her own right. After a few years in the wilderness Doris’s story became a successful stage show ‘Mama I Want To Sing’ which is scheduled for a cinema release this month? I didn’t know that before researching for today’s cut but musicology works in mysterious ways so it makes complete sense to me.

musicology #491

SoulBoy #10

(Candi Staton – To Hear You Say You’re Mine)

LISTEN

Listening back over the SoulBoy I realised that the Ladies hadn’t got a look in !! so this week I aim to rectify that and roll with some female action..starting with this one from the SUPERB Candi Staton. Yet another graduate from the school of Gospel..(where almost ALL the greatest Soul Singers started), Candi Staton is best known for ‘Young Hearts Run Free’ but at the end of the 60’s and into the early 70’s she recorded for Rick Hall and his majestic Fame label from whence today’s cut came.

musicology #490

SoulBoy#9

(O.V Wright – Motherless Child)

LISTEN

Wooooooooooooooooooooooooooooyyyyyyyyyyyyyyyyy. Lee Fields was so hot last night but the Menahan Street Band were on fire. Deeeeeeeeeeep Soul and funk that has to be heard and seen live to be fully appreciated. WHAT a show. EVERY song a winner. They almost tore the roof off at the Bloomsbury last night which considering its underground was quite a feat ! If you like Soul and Funk and they are playing in your town then do yourselves a favour and make sure you attend.

Bit of a dilemma as to what to lay down today? TOO MUCH choice on the Soul front and as I go to lay one down another comes up and ’speaks’. Been listening to Legends like Marvin Gaye, Otis Redding, Sam Cooke, Al Green, Leroy Hutson as well lesser known but just as majestic Cats like James Carr, O.V Wright, and a whole host of 45’s from the 60’s and 70’s so rather than face the dilemma I’m just going to lay down this 60’s Soul marrow trembler and be done…..Recorded for and released on Don Robey’s BackBeat Label in 1965, (from the album If It’s Only For Tonight)

musicology #489

SoulBoy #8

(Lee Fields & The Expressions - Do You Love Me Like You Say You Do)

LISTEN

Have to be quick on this one as I'm heading out the door to see these Cats perform live and direct at the Bloomsbury Ballrooms in my hometown...the first metropolis and greatest city in the world...London. REALLY looking forward to it and if anyone out there needs convincing to make the effort to get down there this should be enough...Soul of the HIGHEST order. Released last year on the Truth and Soul label..Featuring Lee Fields, Charles Bradley, Leon Michels, Toby Pazner, Tom Brenneck, Dave Guy, Mike Deller, Nick Movshon, Homer Steinweiss.

musicology #488

SoulBoy #7

(Donny Hathaway – Giving Up)

LISTEN

Slowwwwwwwwww toooooooooday. Was out on the tiles last night and didn’t ‘get me nut down’ until the break of dawn…QUALITY night though, (in a club beneath the Ritz)..good friends birthday bash. Saw a few faces that I haven’t seen in a while and met some new ones…All Good. So I’m just going to lay down the cut without further delay as I’m tired. This one is courtesy of the sublime Donny Edward Hathaway a troubled Cat who despite his trials and tribulations still delivered some of the finest Soul yet recorded. Highlighted from his second LP ‘Donny Hathaway’ Released in 1971 on the Atco label, written by Van McCoy and featuring legendary musicians King Curtis, Al ‘The Human Timekeeper’ Jackson Jr, Phil Upchurch and Cornell Dupree.

musicology #487

SoulBoy #6

(Jackie Wilson – No Pity In The Naked City)

LISTEN

hmmm…themusicologist has been AWOL these last few days ! busy getting it all straightened out but the musicology is on constant playback in anticipation of hitting the right note. In truth I’m a bit lost for words at the moment but not for music and this one from Soul brother supreme Jackie Wilson is BOSS. For themusicologist Jackie is one of a handful of artists who personify the essence of Soul. Starting out with his performances as lead singer with Billy Wards Dominoes in 1953 right up to the 70’s Jackie was always trembling marrows with his vocal ability… and this is one of them.

musicology #485

SoulBoy#4

(Keni Burke – Risin’ To The Top)

LISTEN

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 484

SoulBoy#3

(D-Train – You’re The One For Me)

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for the next 3 days, (starting today), themusicologist is going AWOL so the SoulBoy posts are going to be short but, at least as far as the music is concerned, sweet. Truth is I am starting a foundation course today and I’ll be busy with it until Sunday night so with that in mind…

Today’s cut is a classic piece of Soul from the early 1980’s. BIG on the Jazz Funk scene that rocked London’s underground towards the end of the 70’s, (in reaction to the commercialisation of Disco), and lasted right up until the mid 80’s, (before Rare Groove took up the batton)

One of my favourite cuts from the period, D-Train consisted of James “D Train” Williams on lead vocals and Hubert Eaves III, (former member of funk and soul outfit Mtume), as instrumentalist. This was the version that moved the crowd mainly due to the introduction..

“With the love I have inside of me we can turn this world around,
we can live through all eternity and we’ll never touch the ground,
We’ll take a chance to ride apoun a star to a place that’s far away,
The light of love will shine on us forever and a day….”

Soul Weekender Crew…all yours..

musicology #483

SoulBoy#2

(Curtis Mayfield – Billy Jack)

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So…after yesterday’s introduction to the musicology of Soul it’s time to turn up the heat with a cut from the 70’s..not to say that yesterday’s piece from the Miracles wasn’t ‘hotter than ten fire side’ as, for me, it most certainly is but as is often the case at the dawn of things, (the birth of Soul in this instance), it’s not always as accessible until the context is expanded and the horizon widened…

Significantly it was today’s artist that first touched both my conscious and unconscious in equal amounts beginning an appreciation for the man and his ‘language’ that started from babe in arms due, in part, to my dad who is a BIG Curtis Mayfiled, (and the Impressions), fan. One of the first LP’s that I can remember in fine detail is Curtis Live, (and it’s counterpart ‘Curtis’ you know the one with the man himself on the cover in them flared strides looking of into the sunset. I have featured and wrote about Curtis many times over the past three years so excuse me if I don’t repeat what I have already written for the sake of ‘information’.

Simply put….for me Curtis is Soul personified and his message has inspired me MANY, MANY times along the ‘way’…

Highlighted from his eponymous and hard hitting 1975 social commentary set ‘There’s No Place Like America Today’…..

Just out Monday
Run into a friend
Down the street, down the street
Where I live
Ahh ahh sad things begin
I could feel from within
From the message
From the message
He had to give

‘Bout a buddy of mine
Running out of time
His life run out of time
Somebody past noon
Shot across the room
And now the man no longer lives

Too bad about him
Too sad about him
Don’t get me wrong
The man is gone
But it’s a wonder he lived this so long

Up in the city they called him Boss Jack
But down home he was a alley cat
Ah! didn’t care nothing about being black
Ah! Billy Jack

Ahh can’t be no fun, can’t be no fun
To be shot, shot with a hand gun
Body sprawled out, you without a doubt
Running people out, there on the floor

Ah, ah bad bloody mess
Shot all up in his chest
Shot in the chest
One sided duel, gun and a fool
What a way to go

Up in the city they called him Boss Jack
But down home he was a alley cat
Ah Didn’t care nothin’ bout being black
Ah Billy Jack

musicology #482

SoulBoy #1

(The Miracles – I’ll Try Something New)

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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 #481

PoliceAndThieves #6

(Junior Murvin – Police&Thieves)

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Last day of this theme but before the final cut I would like to elucidate on the my thoughts and inspiration for laying it down. various parts of London, (and many other parts of the world), in the late 70’s and throughout the 80’s were a battleground as the old world began to give way to the new and the front line soldiers were the police. Stop and search was a BIG problem that only served to alienate ‘us’ from ‘them’. In my experience community policing gave way to bullying and now we live in a society where for many the Police are the oppressors.

Of course the argument could, (and does as far as some are concerned), run that fire needs to be fought with fire but on the other hand the Tao maintains that the ‘way’ to deal with ‘yang’ (fire) is with ‘Yin’ (water) and I have to state wholeheartedly that I agree..my recent experience has highlighted that fire burns whilst water soothes..anyone who has been in such a situation must know of what I speak?. I’m not blaming those individuals who join ‘the force’ as ‘a wo/man has to do what a wo/man has to do’ in order to survive. My belief is that the responsibility lies squarely on the shoulders of those who crack the whip….

Could only be this one to finish up..Junior Murvin’s international 1976 ‘hit’ … Supremely produced and mixed by Lee Perry.

musicology #480

PoliceAndThieves #5

(Woody Guthrie – Pretty Boy Floyd)

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Have to be quick with today’s post..man on a mission ! so without further delay hold this cut from Master Woody Guthrie who I am a BIG fan of. Regulars to the musical diary might have already guessed that I hunger for authenticity whether in music or in life..too much bullshit angers me which is why ‘news’ doesn’t interest me at all. At the risk of seeming indifferent the conventional propaganda machine or to use it’s common name..the media has an agenda…the promotion and pursuit of Capital over happiness…money ain’t worth the paper it’s printed on…how much has been printed over the last year? something like 20 Billion?? and yet still the poor are getting poorer while the rich are getting richer. make no mistake the gap between the two is widening…how can that be?

Anyway…before I get involved hold this cut from Woody about outlaw Pretty Boy Floyd. Recorded in 1939 the song highlights Floyd’s apparent generosity to the poor which considering Guthrie’s Oklahoma roots and the mans authenticity I would imagine was true. Floyd’s funeral remains the States most attended funeral so he most have been popular for more than mere infamy… the outlaw is generally respected amongst the poor community and also revered for his generosity while his nefarious activities are often overlooked.

musicology #479

PoliceAndThieves #4

(NWA – Fuck The Police)

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So much to do and so little time in which to do…the bane of the 21st Century and as we move deeper into the ‘Age Of Insecurity’ the question I sometimes find myself asking is

“what the f**k is it all about” and by ‘it’ I mean existence…is it a game “full of sound and fury signifying nothing” or does it have any deeper meaning. If truth be told, (and I have said it before), for me it does have meaning and it isn’t a game..games are for playing while I believe that life is for living.

What has this got to do with the current theme..not much. Just the way I’m rolling today…I Feel good, great in fact and I just wanted to share it with you.

While searching and scanning themusicologist vaults for cuts about Police and Thieves I have concluded that musically, Thieves barely get a mention. I think Foucault wrote a book about society’s fascination with villains, (which I will have to procure for the library), but they are not well represented in musicology whereas the police on the other hand are.

Today’s cut needs no introduction..borrowed from seminal 1988 album ‘Straight Outta Compton’ featuring the harmonious talents of Ice Cube, Mc Ren, Eazy-E, Dr Dre and DJ Yella