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 #359

AlternativeSoundtrack4 #26

(Irma Thomas - It's Too Soon To Know)

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Final slice of the Alternative Hustler Soundtrack and it's come down to the faceoff between Eddie and Bert. Yesterday's slice heard Fats declare that Eddie was the new king of pool and Bert showed his true colours. Not that he has done much to conceal them but he hints that maybe it was his boys that broke Eddie's thumbs and if he, (Bert), commands it his heavies will do more than that this time. But our man has learnt some character and is prepared to make whatever sacrifice is necessary to ensure that Sarah's brings about a Victory over Bert, (who in my opinion represents the establishment).

Bert on the other hand is only really interested in ownership and money, he has said it throughout the film but what he hasn't said is how much he envies those capable of showing true feelings and who are not chained by the evils of power and money. Classic Capitalist mentality trying to show that it's wealth, greed and power that makes the world go round and not happiness, love and integrity, (character). I make no bones about it money and power don't motivate themusicologist and never will. I have bills to pay and, more importantly, mouths to feed and there are some who may, (and do), call that irresponsible and obviously they are entitled to their opinion but integrity/character don't come cheap and as with most things there is always a price to pay, (for everyone concerned). Fantastic interchange of dialogue and ideology between the antagonist, (Bert), and protaganist, (Eddie), in this scene that deserves mention. How none of the main actors received oscars for their performances is beyond reason and therefore must have been in some sense political.

The director Robert Rosen had integrity/character but ultimately it was shipwrecked on the rocks of so called 'Democracy' and he lost it. Which is not a judgement or criticism, (of Robert Rosen), more of an observation. For more insight into the facts of life it's worth taking another listen to a slice featured earlier on this theme; Memphis Slim's 'Mother Earth' (musicology #352)

Tough call the final cut..couple of options but going with my gut feeling it has to be this one from Irma Thomas with a slice of pure unaldultarated heart wrenching Soul, (with a capital S), A cover of the song made popular first by the Orioles and then by the irrepressible Dinah Washington a singer who set the standards for every female singer that followed. Rare to find a Dinah song covered that even comes close to her version but for themusicologist this one does. Also as far as I'm concerned it's fitting that the final call belongs to a female in tribute to the character played by Piper Laurie and the answer, (posthumously), is a resounding Yes. Recorded and released in 1961 for and on the Minit label. Produced, (I imagine), by Allen Toussaint.

musicology #256

sleighbellsring #4

(Mahalia Jackson - Silent Night)

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Sliding straight into this one from ‘The World’s greatest Gospel Singer’, Mahalia Jackson….Much Covered, never surpassed. Possibly the toughest choice to make on the Christmas selection such is the quality of the song and the singers who have thrown their ‘Stille Nacht Hats’ in the ring. Dinah Washington, (on a 78), Jackie Wilson and Jerry Butler all deliver but as I can only throw one……..

Perfection.

musicology #149

ladiesweek2 #3

(Billie Holiday - Georgia On My Mind)

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no post yesterday so I’ll just have to try and make it up to you with this one.

along with Bessie Smith, (soon come), and Ella Fitzgerald, Billie Holliday’s influence on the art of singing is second to none and was a major influence on all the singers that followed such as Dinah Washington and Aretha Franklin, (to name but 2)

this song written in 1930 by Stuart Gorrell for Hoagy Carmichael’s sister, (Georgia), was recorded at and for Columbia by Billie, (backed by the Eddie Heywood Orchestra), in 1941 and even though the ‘Brother Ray’ version is the one associated with the song for themusicologist it has always been the Billie that ‘takes the biscuit’.

musicology #147

ladiesweek2 #1

(Marie Knight - Cry Me A River)

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kicking off ladiesweek with a songbird whose recording career started in 1946 as a gospel singer, teaming up with cats like the Sunset Four and the Sam Price Trio, but it was in the summer of 1947 when Marie begun her association with Sister Rosetta Tharpe that her star began to shine bright, (a year later they cut the majestic ‘Up Above My Head, I Hear Music In The Air’)

Marie first hit the ’secular groove’ in 1953, moved to Mercury, stayed there for a few years and then began the transition from Rhythm and Blues into ‘Soul’ with a few choice pieces on various labels that include Baton, OKeh and Diamond.

this classic song, (arranged by Bert Keyes and produced by Stan Kahan), is from her final days at Musicor and should have provided her the commercial success that she richly deserved but it wasn’t to be and so she spent the next few years working for a telephone company !! (not returning to recording until the late 70’s)

for themusicologist this is the pick of a bunch of 1965 recordings that epitomise the ‘Uptown’ Soul sound of the period. an amazing reworking of a song sung by such luminaries as Sam Cooke and Dinah Washington but of all of them this is the ‘best’. !! more than likely it’s the Cookies singing backup but Marie’s voice soars above the clouds and hits the highest heights.