musicology #236

inmodwetrust #3

(The Miracles - Mickey's Monkey)

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

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

musicology #235

inmodwetrust #2

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

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

musicology #234

inmodwetrust #1

(Walter Jackson - That's What Mama Say)

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

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

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

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

musicology #233

communication #11

(The Wailers - Dreamland)

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

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

musicology #232

communication #10

(The Classics - Civilisation)

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

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

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

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

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

Penny for the Guy anyone?

musicology #231

communication #9

(Jimmy Ruffin - What Becomes Of The Brokenhearted)

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

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

musicology #230

communication #8

(Dennis Brown - It’s Too Late)

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

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