aSongforCon #6
Curtis Mayfield – The Makings of YOU
“almost impossible to do…reciting the makings of YOU”
one from the King for my princess. x
musicology #0666
aSongforCon #5
Anouar Brahem – Walking State
“After silence that which comes closest to expressing the inexpressible is music” – A.Huxley
musicology #0665
aSongforCon #4
Jackie Mittoo – (life is a) Merry Go Round
“There exists no more difficult art than living. For other arts and sciences, numerous teachers are to be found everywhere. Even young people believe that they have acquired these in such a way, that they can teach them to others. Throughout the whole of life, one must continue to learn to live and, what will amaze you even more, throughout life one must learn to die.” – SENECA –
musicology #0664
aSongforCon #3
Deon Jackson – I Dedicate This Song To You
“Of all the girls in this whole wide world,
I found a Love that is warm,
Not only does she please me,
She protects me from all earthly harm,
In my moments of darkness she’s always by my side,
For in all my endeavours she’s been more than a guide,
Oh to you I dedicate this song….”
musicology #0663
aSongforCon #2
Ravi Shankar – Morning Love
Today’s song for Con flows from a collection of musical GIANTS: Pandit Ravi Shankar, Kamala Chakravarty, Master Qureshi Alla Rakha Khan and flutist supreme Jean-Pierre Rampal.
“Then said Almitra, “Speak to us of Love.”
And he raised his head and looked upon the people, and there fell a stillness upon them. And with a great voice he said:
When love beckons to you follow him,
Though his ways are hard and steep.
And when his wings enfold you yield to him,
Though the sword hidden among his pinions may wound you.
And when he speaks to you believe in him,
Though his voice may shatter your dreams as the north wind
lays waste the garden.
For even as love crowns you so shall he crucify you.
Even as he is for your growth so is he for your pruning.
Even as he ascends to your height and caresses your tenderest
branches that quiver in the sun,
So shall he descend to your roots and shake them in their clinging to the earth.
Like sheaves of corn he gathers you unto himself.
He threshes you to make you naked.
He sifts you to free you from your husks.
He grinds you to whiteness.
He kneads you until you are pliant;
And then he assigns you to his sacred fire,
that you may become sacred bread for gods sacred feast.
All these things shall love do unto you that you may know
the secrets of your heart, and in that knowledge
become a fragment of Life’s heart.
But if in your fear you would seek only love’s peace and love’s pleasure,
Then it is better for you that you cover your nakedness
and pass out of love’s threshing- floor,
Into the seasonless world where you shall laugh,
but not all of your laughter, and weep, but not all of your tears.
Love gives naught but itself and takes naught but from itself.
Love possesses not nor would it be possessed;
For love is sufficient unto love.
When you love you should not say, “god is in my heart,”
but rather, I am in the heart of god.”
And think not you can direct the course of love,
if it finds you worthy, directs your course.
Love has no other desire but to fulfil itself.
But if you love and must needs have desires, let these be your desires:
To melt and be like a running brook that sings its melody to the night.
To know the pain of too much tenderness.
To be wounded by your own understanding of love;
And to bleed willingly and joyfully.
To wake at dawn with a winged heart
and give thanks for another day of loving;
To rest at the noon hour and meditate love’s ecstasy;
To return home at eventide with gratitude;
And then to sleep with a prayer for the beloved in your heart
and a song of praise upon your lips.”
musicology #0662 Paul Weller – Where’er You Go
aSongforCon #1
SO much ‘water’ has flowed under my ‘bridge’ since the previous cut. My daughter Constance has passed through this earthly plane, she had just turned 19 years of age.
Words could never do the youngblood justice and i find myself (often) with nothing to say so I reached back into the library pulled out ‘the Prophet’ and read/adapted this.
“Let not the waves of the sea separate us now, and the years you have spent in our midst become a memory.
You have walked among us a spirit, and your shadow has been a light upon our faces.
MUCH have we loved you.
And ever has it been that love knows not its own depth until the hour of separation.
And now your ship has come, and you must needs go.
DEEP is your longing for the land of your memories and the dwelling place of your greater desires; and our love would not bind you nor OUR needs hold you.
Yet this we ask ere you leave us, that you speak to us and give us of your truth.
And we will give it unto our children, and they unto their children, and it shall not perish…”
Rest In Peace Kohzu..ALWAYS in my Heart, Mind and Soul.
[
musicology #0661
Lishonile – Batsumi
Frequently updating themusicologist would be a ‘walk in the park’ if it wasn’t for the narrative that accompanies each cut. I listen to music every day and am constantly turning up incredible slices of top drawer urbanemusicology. 45 years of listening to superb music counts for something and for me the knowledgehustle is what matters. NOT the medium it is on, it’s rarity, economic value or even the artist(s) involved. To be honest I don’t give a f**k about the category/label … do the combined frequencies and harmonies reach out and touch me or not is my ONLY concern. That said I appreciate that such details are important to some of the Cats out there and if that’s your bag…all power to you.
For the next few weeks I’m going to go small on the narrative and BIG on the music to get themusicologist back into the groove and always follow the Louis Armstrong maxim of playing “the good kind” of music.
musicology #0660
Antonio Machin – Lindas Cubanos
Back in the saddle with this majestic piece courtesy of vocalist supreme Antonio Machin featuring Daniel Sanchez. Born in Sagua La Grande in 1903 to a Cuban woman and a Spanish father the youngblood found himself working at a young age to support the family. The story goes that he was singing quietly to himself when a priest passed by and was so taken by his voice that he urged him to sing in public. Young Antonio obliged and tore it up in his first performance, (Schubert’s Ave Maria), determined to make something of himself he dedicated his life to learning the art and craft of the vocalist. By the age of 20 he was the ladies choice on the manor and in 1926 he moved to the big smoke, (Havana), and earned a position as a singer in a Cafe. It wasn’t long before he began to make waves and found himself singing in (Big) Don Azpiazu’s Orchestra at the Havana Casino. Four years later and the Don’s fame led them to New York City where they laid down a 78 titled ‘El manisero’ which went on to be the first Cuban hit in America. Not wishing to return to Cuba he settled in New York and in 1932 formed the Cuarteto Machín with Puerto Rican natives Plácido Acevedo (trumpet), Cándido Vicenty (tres) and Daniel Sánchez (second voice and guitar). Recording over 200 cuts of prime Carribean/Latino the Cuarteto evolved into the Sexteto adding the imperious Remberto Lara.
In 1935 He left New York and landed in London and then moved over to Paris before finally settling in Madrid at the end of the 1930’s. ‘Father’ Machin is a Cuban music legend and one listen to his ‘work’ should guarantee that all genuine musicologists take note, (if not already known), of his name. Cuban music had a MAJOR influence on ‘Popular’ music and elements are heard in many musical styles from the Salsa of Brazil to the Ska of Jamaica. This cut was recorded between 1933-34
“The music of Cuba developed from a unique set of historical and social circumstances. African slaves, brought to work on the Spanish sugar plantations, soon outnumbered the European colonists. The attitude of the Spanish political and religious institutions towards African culture, while undeniably oppressive, was more open than in some other colonial societies. Catholic priests did their best to convert the Africans to Christianity, but they overlooked their worship of African deities as long as they gave them Christian names. In fact, santeria, a religion that combines Catholicism with African deities and rituals, is still a key part of Cuban spiritual life.
Son developed around the turn of the century in Oriente, a region in eastern Cuba. Migrating musicians brought son west to Havana in the 1920s, where it exploded in popularity. The fundamental element of the son is a rhythmic pattern called clave (lit. “key”). Played on two wooden sticks, called claves, this repetitive beat is the foundation upon which all of the other musical elements are structured. It gives son the propulsive swing that has endeared it to people around the world.” – Putumayo
musicology #0659
Earl Sixteen – Changing World
Jumping back into themusicologist saddle with this Top ranking, Augustus Pablo produced Late 70’s piece of social critique, courtesy of the Majestic Earl ’16’ Daley.
I leave it to the man himself to tell his story…
(borrowed from an interview conducted by father ‘Small Axe’…maximum respect is always due)
Link to FULL interview.
“Basically, I started out on the street corner, under the light post, with all the boys, hanging out at night. I started out at Waltham Park Road, where I grew up, in Kingston, Jamaica. At the age of about 13, I started getting into like, Chi-Lites music, ’cause in Jamaica we’ve got a big influence of American music. I kind of started to listen to a lot of soul American stuff, Chat, (Chuck) Jackson (?), James Brown music, and all this and all that. Usually, after like doing my… ’cause you know, I lived with my Auntie at the time. On Saturdays, I used to turn up the radio and do my housework, and listen to the radio, and in the nights, when we get out on the streets, sometimes I’d be singing, “Trash man didn’t get no trash today,” like “People Makes the World Go Round” The guys kind of liked how my voice kind of sounded, ’cause I used to try to sing exactly like the actual records.
In those days, the good old days, everybody was into singing like Dennis Brown. Dennis Brown at that time was like one of the most influential artists, he was really progressive at that time, he was young still. All the school boys and kids who liked music, we used to like always try to pack on Dennis Brown, because he’s like a role model for us. So I kind of started out with that, but I was more like singing falsetto, like Pavoratti kind of stuff. Afterwards, after that, they had Vere Johns, talent contests going on in night clubs around Kingston. There was one at the Turntable Club, there was one at the Vere Johns, and there was one at the Bohemia Club, which was closer to me in Half Way Tree. One of the guys who used to hang out with us, Donald Hossack, he used to teach music like keyboards, piano. He encouraged me to enter one of the talent contests.
During that time I was still going to Church and singing now and again on the choir, and I started doing solo stuff, out from the choir, just singing songs all on my own, because I had this really unique kind of voice and all the people liked my voice. I was in the Church, but I wanted to get involved in some of the Chi-Lites stuff, some of the soul stuff, because the parties were happening, you get the girls and all that. I went to try and get an audition for the talent contest; I was about 14, 15 then, still going to high school. When I went and did the auditions, it turned out that I got picked in the audition, then went to the heats and I reached up to the finals.
In this final, there was like Michael Rose, Junior Moore from the Tamlins, there was myself, there was a girl called Joy White, she’s brilliant, I still love her, and there was another girl, I think it was Sabrina Williams. There was about six of us in the final, that’s a big night. Anyway, I kind of scraped through, I was biting my nails, but I made sure that I did my homework. I practised this tune 24 hours a day, “Peek a Boo,” one by the Chi-Lites, it was a big song in Jamaica so a lot of people knew it. When I did it, I ended up winning the 25 dollars (on) boxing day, I was too small to drink the beers so I had to give them all away (laughs), but after that I started getting the buzz, I started getting addicted to it. I like how the crowd cheers me, so when I left high school, I passed my exams, and I was meant to go to Commercial High School, which is like a college, St. Andrew Technical. I started going there, but I was really involved in the music, I wanted to form a group. I actually had formed a group called the Flaming Phonics. We were doing school barbecues, school fetes, playing in auditoriums around the country, like Calabar, mainly the high schools, Holy Child Girl’s School……”
bloodSweatandteeS Special
musicology #0658
Out On The Ocean Sailing – Ann Cole & the Colmanaires
BIG piece of ‘golden age’ Gospel from themusicologist vaults featuring the sublime vocals of one of the greatest female vocalists (n)ever known, (outside of the knowledge hustler tribe), Cynthia Coleman aka Ann Cole ably backed by the Colmanaires, Joe Walker, Sam Walker, and Wesley Johnson. Ann and the Colmanaires toured with Muddy Waters in ’56 where Muddy heard her performing Preston Fosters Got My MoJo Working and the rest is Rhythm & Blues history..
Today’s cut marks another step on the journey for themusicologist..i hope you are listening ’cause If I ever needed someone I need you..
musicology #0657
todays post is the first in a series of ‘sets’ laid down ..going back to themusicologist roots..
featuring some HEAVYWEiGHT cuts from across the musical and vibrational spectrum. two ways to ‘consume’ it
1:Here on themusicologist ..
2:Via my mixcloud feed
the set represents/symbolises how i feel right here…right now after receiving and trying to process some disheartening news received this week.
John Coltrane, Miles Davies, Terry Callier, Benga, Chamillionaire, Gorillaz, Dean Blunt, Lonnie Liston Smith and more all feature along the way. a BURIAL set from me. experimental, brok foot selection from the deepest recesses of a mans Soul.
fuck the words…the music is where it is.
musicology #0656
Tribute to Don Pedro #6
the Sensations – Right On Time
Out of the Rhythm & Blues and into the Rocksteady with this majestic cover of the Impressions cut. Rarely does a cover do justice to the original for me but this one is an exception to the rule..
Written by Master Curtis Mayfield and originally recorded by the Impressions for the 1966 Ridin’ High LP the Sensations recorded this version in 1967. Released in the UK on Graeme Goodall’s Doctor Bird label this is a BiG piece from the Sensations, a group originally formed by Jimmy Riley and Cornel Campbell that featured, (along the way), Buster Riley, Aaron ‘Bobby’ Davis, Johnny Osbourne and Jackie Parris, who the lead is on todays fine piece im not sure but i’m guessing its Jackie Parris rather than Jimmy who had moved onto one of Jamaica’s greatest vocal groups the Uniques by 1967 but it could even be Cornel Campbell?
one thing IS for SURE…the tune is a top ranking, nailed on marrow trembler and one that I’m sure Don Pedro will appreciate as the surf hits the shore on another day in paradise and he watches the sun sink over the pacific as the Don is world renowned for ALWAYS being ‘Right On Time’.
BIG up yourself Don Pedro….
musicology #0655 Daddy Woo Woo
Tribute to DON Pedro #5
the Vibrations – Daddy Woo Woo
sliding out of the Ska and into the 60’s Rhythm and Blues with this cut from the Vibrations. A vocal group who first appeared on the scene as the Jay Hawks in 1956 and had a ‘hit’ with; Stranded in the Jungle, (remind me to dig it out from the vaults and lay it down), as well as notable early ‘Soul’ cuts Oh Cindy, Since I Fell For You, the Watusi, Peanut Butter and the classic My Girl Sloopy.
Don Pedro shares a West Coast connection with these cats who hail from the City Of Angels in California. the Don took up residency there for many years after deciding it was time to leave the auld Country and head out West to stroll the Boulevards.
Back in the day the Don and I used to be found frequenting ‘Mod’ hang outs. I had become disillusioned with the rare Funk clique and was in between scenes and even though it was my second time, (once a mod/ern/ist always a mod/ern/ist), the scene had evolved, (or maybe it was us who had evolved??), anyway we had some memorable times together and it was there that my love and respect for the Don was born…again I digress so i’ll leave it there. Suffice it to say that the music connects us and i Know that he will enjoy this one… recorded for and released on Atlantic in 1964.
musicology #0654 Special Event
Tribute to DON Pedro #4
Baba Brooks – Special Event
Don Pedro is a lover of the fine things in life…a purveyor of quality and style. Be it women, vehicles, garments, food, ‘kettles’, ‘Tom’ and anything else that catches his attention. Anyone who knows the Don will clarify that the Cats antenna is finely tuned. That’s not to say that he can’t or doesn’t know how to get down with all manner of people as the Don posseses that rare quality of being comfortable in his own skin and therefore non judgemental of others regardless of how they ‘hang’. A proper ‘man of the world’ the DON has seen and lived more on his travels through life than most. I wax lyrical about the man because those of us who have shared some of them travels can say that they have lived too. The Don asks for for little but gives plenty.
Anyway before i digress and get lost, (im on a TIGHT schedule on this fine sunny morning in London Town), …hold this rip roaring piece of Jamaican Ska from led by one its greatest protagonists the mighty Oswald ‘Baba’ Brooks featuring the cream of Jamaica’s musical fraternity. Recorded for Duke Reid and released on his Treasure Isle label in, (what sounds to me like 1965) ..
BiG Piece of urbanmusicology
musicology #0653 Perseverance
Tribute to DON Pedro #3
Count Lasher – Perseverance
Big piece of Mento from Jamaican musicologist and knowledgehustler supreme the great Terence Parkins aka Count Lasher whose lyricosity and verbal dexterity is as good as it gets… 1954 Release on the Caribou Label.
Step up Count Lasher for my man Don Pedro…
musicology #0652 Don’t Let Nobody
tribute to Don Pedro #2
Joe Morris – Don’t Let Nobody
sticking with the Rhythm and Blues selection for round two with more Don Pedro Philosophy..but before, during or after the cut i hope you will lend me your ear as i wax philosophically on this thing called Life…
the age old question of meaning is one i often ponder as i walk down the road and the longer the journey goes on the clearer i can see the path. for me life’s meaning is in the relationships we forge. not the aquaintances, the authentic connections to each other. the ones that present us with the opportunity to be ourselves, without fear or damnation. In the play Macbeth, Shakespere wrote the words:
“Out, out brief candle, life’s but a walking shadow a poor player that struts and frets his hour upon the stage and then is heard no more; it is a tale told by an idiot full of sound and fury signyfying nothing”
is it? … I have been honoured to share the journey with Giants along the way and regardless of how long we rolled together they continue to have a positive influence on me. They are by no means angels of virtue but their actions and non actions have touched the depths of me soul.
Don Pedro is one of them giants and the relationship will always be a cherished one.
This selection is taking shape serendipitously as today’s cut features the Gigantic Joe Morris, (another major player at the forefront of the shift from big band swing to small band jump/rhythm and blues), who, in his brief career, journeyed with some heavyweights such as Dizzy Gillespie, Lionel Hampton, Big Joe Turner, Dinah Washington, Wynonie Harris, as well as being the unoficial house band at Atlantic records in the early 50’s when Cats like brother Ray and Lowell Fulsom were cutting their R&B teeth. His candle went out at the tender age of 36 but half a century on and his voice is still heard loud and clear…
Like the man says..
“Don’t let nobody mess all over you”
musicology #0651- Let the Good Times ROLL
Tribute to DON Pedro #1
Louis Jordan – Let The Good Times Roll
cracking on with a new selection in tribute to a genuine living legend who i call Don Pedro, a KING amongst pawns who is an inspiration. Before i kick off though allow me to talk a while.
Hopefully everyone knows a ‘Don Pedro’ one of them Cats whose actions speak MUCH louder than their words. Trailblazers who lead, Shepherds not sheep who ‘Walk the Walk’ rather than ‘Talk the Talk’. I first met Don Pedro in my late teens, the man was sharp like PAPER. Never settling for anything less than the best that life was offering. International traveller with a taste for the fine things. Don Pedro hustled with the best and could sell snow to eskimos. The best hustlers are the ones that present opportunities rather than try to take you for what you’ve got and Don Pedro was right up there with the champions. Life was/is NEVER dull when you are rolling with the Don. Memories are made of these connections and relationships like these are rare and full of life. Pedro lives life to the FULL and this selection is in his honour. Enough with the words and on with the music. STRICTLY boss tunes for the Don from across the musical spectrum
Roll on DON Pedro you touch and continue to inspire everyone who has the fortune to call you friend…
First up is a slice from one of the Rhythm and Blues pioneers whose Tympany 5 was instrumental in changing the direction of urbanmusicology from Big Band Swing to Small Band Rhythm & Blues and in the process inspired a new genre. a GENUINE legend Louis Jordan and Don Pedro speak the same language, sing from the same hymn sheet, blow the same horn and would have rolled together in the 1940’s. NO doubt.
Fitting start to the selection as Don Pedro ALWAYS made sure to ‘Let The Good Times Roll’
musicology #0650 (Truth&RightsRemix)
Johnny Osbourne – Truth & Rights
themusicologist is back in the saddle today with a remix of the Johnny Osbourne Downbeat Roots Classic ‘Truth & Rights’. Recorded in the late 70’s at Sir Coxsons Studio 1, although in truth it was, like much of Coxsons later output an overdub recorded over an early 70’s ‘golden age’ Studio 1 rhythm, a practice originated by Sugar Minott a few years earlier.
By the late 70’s Jamaica was on the edge and Kingston was to all intents and purposes a battlefield. The economy had collapsed due, (in part), to outside influence as well as infighting between the opposing forces of the JLP and the PNP. Without going into too long a narrative Jamaica, (and the Caribbean) was on the frontline of the Cold War. Manley was a ‘Socialist’ and Seaga was a ‘Capitalist’ and the war that erupted was instigated by outside pressure to destabilise the situation. The age of ‘Roots & Culture’, One Love and ‘Ites was almost over and the ‘Gunman’ style was on the march. Studio 1, (as a creative force), was too all intents and purposes finished and Sir Coxson was relocating to the relative peace and safety !!! of Brooklyn signalling the end of the mightiest of Jamaica’s Musical powerhouses…
The rhythm for this tune was originally recorded at Studio 1 in the early part of the 70’s and released as ‘Take a Ride’ (miscredited to Al Campbell). Johnny Osbourne’s Truth and Rights was, (to the best of my knowledge), never released as a 7 Inch and was only available on the LP, (along with other ‘golden age’ overdubs), anyway…before i digress here is my tribute version to one of the mightiest of the Studio 1 roots cuts…
themusicologist meets Downbeat @ bloodSweatandteeS
part 2 of theUrbanMusicologyProJect…
Selected by themusicologist in tribute to Jamaica’s Soundsystem and Recording Studio HEAVYWEiGHT Sir Coxsone Downbeat the Ruler Dodd and FULL Brentford Road Crew.
I have waxed lyrical MANY times, (and dropped the needle on a number of supreme cuts), over the years here about the greatness of Studio 1 and some of its chief protagonists ..cats like Jackie Mittoo, Leroy Sibbles, Joe Higgs, Ken Boothe, the Skatalites, (to name a few), and how they carried the swing throughout the early days of Ska, Rocksteady and into Reggae. In fact I LOVE Studio 1 so much it led me to design and produce the tribute tShirt in Sir Coxsone’s honour which in turn inspired the formation and formulation of bloodSweatandteeS. Of course there were plenty of other producers along the way like Duke Reid, Justin Yap, Prince Buster, Lee Perry, Bunny Lee, King Tubby and the Hookim family but, at least as far as i am concerned, Downbeat was and will always remain the ruling sound. themusicologist IS a journey and as such the most effective way to illustrate what music means to me and how much it has informed my life is to lay down ‘SouLRebeLSymphonies’ rather than the the ‘1Shot’ that has dominated themusicologist for the past 4/5 years. I have played and listen to music this way for almost 30 years so it is also part of my narrative and authenticity so I hope you will allow me to indulge this part of my self as well as do me the favour of listening to it this way? The works of art on this mix were recorded and released from the late 60’s through to the mid 70’s, (with a few later cuts sprinkled in), when the Downbeat sound dominated. Before that the main rivalry, (especially record wise), was between Downbeat and the Trojan and even though there were some great producers throughout the age Studio 1 was the Home of Reggae and recording for Coxsone was the goal for almost all of the artists throughout the 60’s and early 70’s…..
to conclude todays monologue..I STRONGLY believe that music is for sharing and playing in your own environment so the mix is available to download and if you like Reggae and especially Studio 1 then i implore you to ‘fill your boots’ (and if you like it feel free to share it with your community.)
the bloodSweatandteeS ‘Sir Coxsone Downbeat’ tribute tShirts, (below the soundcloud player), are available in various colours and there are still some sizes left so if you are looking to represent now’s the time as some of the combinations will not be repeated due to my desire to innovate continuously !
the ORiGiNAL ‘SouLRebeL’ tributeTees
themusicologist 