musicology #509

CoversWeek #6

(Donny Hathaway – Jealous Guy)

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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)

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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 499

SoulBoy #18

(Bobby Womack – Tried and Convicted)

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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 #485

SoulBoy#4

(Keni Burke – Risin’ To The Top)

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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 #461

TheManWithTheBag #11

(Jackie Wilson – O Come All Ye Faithful)

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Just got back to the ‘Big Smoke’ after a few days spent in natural paradise with two angels. The landscape up there, (North West England), never fails to inspire me and I always come back with a bit more of a ‘Tigger Bounce’ in my step. Knocking on the Christmas door now as we come down the home straight. Tree’s up, presents beneath it, kids excited. Just have a few more things to do and then it’s kick back time from tomorrow.

A question for you all out there..has the quality of song writing, (and singing come to that), gone downhill over the last few years or am I just not being exposed to the ‘right’ material? don’t know if you noticed but I listen to a LOT of music from as far back as the early 20’s all the way through to today and if the term ‘popular’ has any meaning/value as far as making judgement is concerned then the quality of pop today is, (generally), to my ears..poor. By NO means am I suggesting that quality music isn’t still being made as I don’t need to listen any further than Master Terry Callier, (for instance), to know that marrow trembling cuts are still being made but as I listen to the ‘charts’, (not out of choice but due to having two children over the age of ten), I can’t help but be disappointed. Where are the Dinahs, Arethas, Maxine Browns, Etta James’s? the Sam Cookes, Otis Reddings, Jackie Wilsons, Clyde McPhatters, Ben E Kings, Smokey Robinsons, Marvin Gayes, Curtis Mayfields, Bobby Womacks. The Gregory Issacs, Pat Kellys, Slim Smiths, Ken Boothes, John Holts, (the list could go on and on), who are the singers and songwriters kicking arse and trembling marrows in the 21st Century??

Today’s cut is courtesy of one of the afore mentioned legends, Jackie Wilson. A man who needs no introduction with his version of the hymn ‘O Come All Ye Faithful’

musicology #378

Modernist #6

(The Impressions – Say It’s Alright)

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I was going to end this theme tomorrow but on reflection there’s too much music yet to be featured and such is the quality of the dialogue from the commentators I’m letting it run for another week.

A large part of the debate has been the use of the word ‘Modernist’ and whether it was in fact used by anyone at the time? with that in mind hold this quote from the book ‘Soul Stylists’ compiled by Paolo Hewitt which is full of anectodes from Cats who claim, (and I see no reason to believe they are lying), to have participated in the ‘nameless thing’ of the early 1960’s.

“The bands from our youth club in Hastings were dressed like The Shadows on the cover of their first album; very neat red jackets, dark ties and white shirts. Then I spotted these strangely dressed guys from another school. They had short Italian haircuts and they wore bum freezer jackets with cut away collars and half belts on the back, narrow ties, tapered trousers with slits up the sides and side laced winklepickers. I went up to one of them and asked;
“Why are you dressed like that?” and he spoke the immortal words;
“Because I’m a Modernist”

The cat’s name is Lloyd Johnson and no date is mentioned but from the sounds of the ‘clobber’ it’s likely to have been before 1964

From themusicologist’s perspective what is beyond doubt are the release dates of the music contained on the theme which is obviously, (in almost all cases), not subjective and delivers insight into the most important aspect of any ’scene’..the music and today’s cut is, in my mind, one of the greatest pieces of mod/ernist musicology of the period from quite possibly the driving force behind the winds of change none other than Curtis Mayfield who has featured heavily on themusiciologist over the last few years but also in my life since babe in arms.

hold this next quote on today’s cut from a book on the legend by author Peter Burns.

“Recorded in August 1963 the horn arrangement, a suggestion of Mayfield’s, took it’s inspiration from a Bobby Bland single but the idea for the song itself had come from a conversation between Curtis and Fred, (Cash, member of ‘the holy trinity’), one night when the Impressions were on tour in Nashville. Mayfield was effusively expounding some ideas and future plans and Cash was interjecting from time to time and concurred with “Right” and “Well that’s allright”, suddenly Curtis had a hook line ‘Say It’s Alright’. They cut this historic track at Universal studios in Chicago just two months after Curtis’s hit production of Major Lance’s ‘The Monkey Time’ which was still riding high on the charts. All the vital elements came together and this modern classic brought The Impressions back even stronger than before”.

Released on ABC-Paramount and arranged by Johnny Pate

“Say It’s alright, (it’s alright), say it’s alright, (it’s alright),
It’s alright have a good time cause it’s alright wooohh it’s alright,
We’re gonna move it slow, when lights are low,
When you move it slow it sounds like a moan and it’s alright wooohh it’s alright
Now listen to the beat, trying to catch your feet,
You got Soul and everybody know that it’s alright wooohhh it’s alright,

When you wake up early in the morning feeling sad like so many of us do,
Hum a little Soul make life your goal and surely something’s gotta come to you,
And say it’s alright, say it’s alright…it’s alright have a good time cause it’s alright woohhh it’s alright,
Now everybody clap your hands give yourself a chance,
You got Soul and everybody know that it’s alright wooohh it’s alright,

Some day I’ll find me a woman who will love and treat me real nice,
Then my roams? gotta go and my love she will know from morning noon and night,
And she’s gotta say it’s alright..say it’s alright,
It’s alright have a good time cause it’s alright woohhh it’s alright,
Now everybody clap your hands, now give yourself a chance…you got Soul now baby..”

musicology #375

Modernist #3

(Major Lance – The Monkey Time)

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Following yesterday’s dynamic duo of, (an extract from), Johnny Spencer’s excellent ‘Mod/ernist’ critique combined with the equally inspirational Miracles cut I would like to continue by quoting from a piece by Dick Hebdige who wrote a paper, (presumably for a thesis), in 1974 called ‘Style Of The Mods’. The majority of it, (as the title suggests), involves ‘Mods’ which is a different subject but obviously connected.

“All youth styles are threatened with the eventual neutralisation of any oppositional meaning. Mods were particularly susceptible to this combination of limited acceptance and full blooded commercial exploitation. According to George Melly the progenitors of this style appear to have been a group of working class dandies, possibly descended from the devotees of the Italianate style known through the rag trade world as ‘modern’ who were dedicated to clothes and lived in London. Only gradually and with popularisation did this group accumulate other distinctive identity symbols, (The Scooter, Pills and music). By 1963, the all night R&B clubs held this group firmly to Soho and Central London”.

In my personal experience the ‘Modernist’ of the early 1960’s steadfastedly refuses to align themselves with the ‘Mod’ movement that followed even though between 1962-1965, they shared many of the same clubs, dancehalls, venues and of course music. The ‘Modernist’ was not all all interested in imitation and therefore the music had to be Authentic. Be it Modern Jazz, Early Soul, Rhythm & Blues, Blues or the sounds of Jamaica that were beginning to be heard in and around London’s clubs at the time so NO English band imitating R&B would ever have been taken seriously. An exception may have been Georgie Fame’s Blue Fames who were BIG downstairs at the Flamingo but NEVER groups like The Animals, The Who, The Stones, Small Faces etc..they would be considered MOD bands.

Today’s slice of modernist musicology is courtesy of Major Lance whose vocal sound helped revitalise the sound of Black America. Mainly it must be said down to one man…Curtis Mayfield who in 1963 was at the forefront of the OKeh label’s re-emergance as a serious force to be reckoned with. This cut I know for a fact was a firm favourite downstairs at THE club for hip cats of the time ‘The New Scene’ , (located in Ham Yard Soho). Arranged by Johnny Pate and produced by Carl Davis

Hold this quote on the cut from Robert Pruter’s definitive book on the subject ‘Chicago Soul’.

“On May 8th 1963, Lance went into the studio again and made what has to be considered recording history. He did three songs; ‘Monkey Time’, ‘Please Don’t Say No More’ and ‘Mama Didn’t Know’, the latter an answer to Curtis Mayfield’s Jan Bradley hit, (or the much more obscure Fascinations cut), from earlier in the year ‘Mama Didn’t Lie’. Monkey time was paired with ‘Mama Didn’t Know’ for Lance’s second release on OKeh, and the record became a monster hit during the summer and early fall, eventually selling more than a million copies. ‘Monkey Time’, featuring the classic brassy sound that distinguished later OKeh hits, launched the OKeh label and popularized a dance of the same name.”

musicology #372

SuchIsLife #6

(Bill Withers – World Keeps On Going Around)

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Final slice of the SuchIsLife theme…which for me have been less demanding mentally than the two that preceeded it so I’m almost tempted to stick with it but, there’s a subject that I would like to share that is not only close to my heart but has informed the I since birth and that subject is ‘Modernist’. I’ll say no more about it until tomorrow when it kicks off.

Back to today though and what more authentic way to finish than with this cut from a Cat whose influence on themusicologist stretches way back to the early seventies when as a toddler he was often to be heard, (along with Bobby Womack, Curtis Mayfield, Marvin Gaye and Stevie Wonder), drifting out of the speakers. Especially this 1973 album ‘Live At Carniege Hall’ which has been etched into my consciousness from the age of 4. Exceptional album from an exceptional Lyricist, Singer, Social Commentator and Performer. Still moves me and always will..every slice a winner. Not often that themusicologist makes recommendations but if you get the chance buy this album.

musicology #371

SuchIsLife #5

(Jackie Wilson – No Pity In The Naked City)

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Day five..bit later than intended but Such Is Life..

Today’s cut is from one of the greatest singers to have ever recorded….Jack Leroy Wilson Jr known simply as ‘Jackie’ who ranks right up there with the best. Jackie, Sam Cooke and Curtis Mayfield were instrumental in fusing Rhythm & Blues, Gospel and ‘Popular’ music into what became known as Soul. Of course there were others who deserve recognition but without these three it wouldn’t be the same.

Jackie’s recording career begun in 1951 but really begun to take off after replacing Clyde McPhatter, (who left to form the Drifters), in Billy Ward’s Dominoes. In 1957 Jackie, (possibly inspired by his greatest ‘rival’ Sam Cooke), went Solo and begun his unfortunate lifelong ‘bondage’ with ‘manager’ Nat Tarnapol who is reported to be the one most responsible for robbing Jackie blind for his whole career. But the least said about him the better. Jackie racked up many hits and was quite possibly the world’s greatest performer whose stage shows are the stuff of legend. He could dance and almost sing anyone under the table but as so often seems the case died broke due to his manager’s ruthless greed and exploitation. This one from 1965 was recorded and released on the Brunswick label. No Pity In The Naked City…who knows that better than Jackie?

Cats…Hold This F*&%^$G Slice of highest quality musicology and listen Jackie’s plea..

musicology #313

Live&Direct #9

(The Jam - Going Underground/Dreams Of Children/That's Entertainment Live)

themusicologist regulars will know that along with Curtis Mayfield this Cat, Paul Weller, has exerted major influence on my thoughts, from first exposure in 1977 as a fresh faced nine year old right up to the present day. 'Words' have meaning as far as I'm concerned and his rank up there with the best I have ever had the pleasure of listening to and learning from.

Today's cut is from his Jam days. A three cut selection recorded live at the Glasgow Apollo in 1982. Taken from the LP 'Dig The New Breed'.

Watch the ride......

musicology #234

inmodwetrust #1

(Walter Jackson - That's What Mama Say)

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new theme on themusicologist and one that is very much a part of my musical education due to the fact that both my mum and dad were first generation mod/ernists, (1962-1966). the cuts laid down this week were all played in and around London during the above period.

first up is a piece from one of the premier 'mod' labels, operating out of 'Chi', OKeh. A label that was one of the first to focus on 'immigrant' music in the 1920's recording many of the early Jazz pioneers such as Louis Armstrong, King Oliver, Sidney Bechet and Mamie Smith. After some time spent lost in the musical wilderness the company's fortunes were reignited by employing Carl Davis in 1962 as head of A&R who had the vision to employ Curtis Mayfield as associate producer in 1963 as well as three of the best arrangers Johnny Pate, Riley Hampton and Gerald Sims who is quoted to have said

"the Chicago sound came from basically one source...Curtis Mayfield"

This one from 1963 is sung by one of themusicologist's favourite singers, Walter Jackson. Produced by the aforementioned Carl Davis, arranged by Riley Hampton and songwriten by none other than Curtis Mayfield with, (possibly), the Impressions harmonising.

musicology #190

nowordsjustmusic #6

(Never Know What You Can Do Give It A Try - Leroy Hutson)

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musicology #189

nowordsjustmusic #5

(Walter Jackson - What Would You Do)

LISTEN

musicology #180

soulsearching #2

(Major Lance - Sweet Music)

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day two finds us sliding out of the downbeat, (Yin), and countering with one from the upbeat, (Yang), selection. a fine piece of 1964 Soul from, as far as I’m concerned, the premier record label of the period, OKeh. big shout I know but one I’m sticking with.

part of my reasoning behind that shout is that OKeh was the label where the combined talents of Curtis Mayfield, Carl Davis, Johnny Pate and Gerald Sims came together to deliver a musical style that became the benchmark for a lot of the Soul that followed. of course there was Tamla, Chess and Atlantic, (as well as many smaller labels), and there are many fine cuts on these but of them, it can be debated, that only Tamla - Motown exerted as much influence as OKeh on the direction Soul was to take.

listen tune…

musicology #166

malevocals2 #4

(Leroy Hutson - Paradise)

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today’s cut is an 80’s Soul & Boogie classic from a man whose apprenticeship was served under one of the genres undisputed kings…Curtis Mayfield. Originally a member of vocal group ‘The Nu Tones’, he went onto feature (along with Donny Hathaway), as a member of the ‘Mayfield Singers’ after hooking up with him at Howard University.

multi talented as Singer, Songwriter, (he co-wrote Donny’s solo anthem ‘The Ghetto’), arranger and musician. he took over from Curtis as lead singer of ‘The Impressions’ in 1970

in 1973 having served his apprenticeship he went solo and released some extra fine work especially on his Hutson, and Hutson II albums. This one is a later work, (1982), taken from his only album for Elektra.

musicology #116

jamboree #3

(Erykah Badu - Soldier)

as always the musicologist has been devouring a lot of diverse music from the Kinks, James Carr, Gnarls Berkley, Small Faces, Dizzee Rascal…but this one feels like today. a pucker slice courtesy of Erykah Badu….taken from her latest ‘Set’ .. the innovative New Ameryka, released last month.

puts me in mind of Curtis Mayfield…

(also featuring musicologists Roy Ayers and Madlib)

LISTEN TUNE

musicology #96

sixartist, sixtune, sixweekspecial #19

(Curtis Mayfield - Mighty Mighty Spade & Whitey)

this week it’s all about the king … Curtis Mayfield.

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