sleighbellsring #1
(The Maytals – Christmas Feeling)
Day one of the Christmas selection. I’m just going to lay them down without much ‘commentary’. First up is a slice from Jamaica..proof, if needed, that it doesn’t require snow, reindeer or Jack Frost nipping at yer nose to generate the Christmas spirit. Early sixties cut from the Legendary Maytals.
birthdaybashsoul&funk #7
(Steve Parks – Moving In The Right Direction)
Final cut from the birthdaybash rare groove selection and I’m finishing up with a top ranking piece of 80’s soul from a cat called Steve Parks. As far as I know he only waxed one set for the Solid Smoke label from which this, the title track, is taken. First heard by themusicologist in 1986 whilst raving out and about in London Town. Last ‘played ‘out’ by themusicologist at the birthdaybash on November 29th.
Tomorrow begins the Christmas selection. One a day to put us in the mood for when the sleigh bells ring…….
birthdaybashsoul&funk #6
(Jean Carn- Don’t Let It Go To Your Head)
penultimate day of the ‘birthdaybash’ and no better cut than this for communicating the message. A 1978/9 12″ special from the vaults of Philadelphia International featuring the extraordinarily talented Jean Carn. Written and produced by the legendary Leon Huff and Kenny Gamble. Quality tune, beautifully delivered..LISTEN TUNE.
birthdaybashsoul&funk #5
(Red Hot + Riot – Sade – By Your Side CottonBelly Remix)
having heard from a few of the big guns that tore up the dancefloors during London’s ‘rare groove’ scene of the mid 80’s it’s time for a slice of the ‘close to my heart’ selection that was thrown down by me at the birthdaybash. One of the, (many), things I enjoyed about the ‘bash’ was the opportunity to play the music that I wanted to hear. Normally when ‘playing out’ the brief is to play a certain groove….whether that be Boogie, Funk, House, Reggae but not a cross section. Also the DJ is under pressure as the entertainer apoun who the ‘night’ relies. The Bash on the other hand was no pressure and more of a musical ‘journey to the self’ which I enjoyed immensely.
Anyway…the cut in question is the ‘Cottonbelly’, (Stuart Mathewman), remix of Sade’s ‘By Your Side’ for the tribute to Fela Red Hot + Riot project. For me one of the best pieces of ‘modernista’ around that not only communicates the message, In Spades, but also ‘trembles me marrow’ whenever I have the pleasure of feeling it. themusicologist is a BIG fan of Sade and Fela Kuti, (who also got a spin on the night), and to combine his legendary spirit, Sade’s beautiful lyrics and vocal performance with Stuart Mathewman’s production is a genuine musical treat.
“You think I’d leave your side baby?…
you know me better than that,
think I’d leave you down when you’re down on your knees?…
I wouldnt do that,
I’ll tell you you’re right when you want,
and if only you could see into me,
when you’re on the outside and you can’t get in I will show you,
you’re so much better than you know,
when you’re lost, you’re alone, can’t get back again,
I will find you darling and I will bring you home,
ooohh when youre cold i’ll be there hold you tight to me,
ooohh when youre alone i’ll be there by your side…”
birthdaybashsoul&funk #4
(The Equals – Funky Like A Train)
you know what … life is sweet like sugar at the moment and I’m enjoying it to the max. I would even go so far as to say it’s all good. I’ve got my mind right and it’s time for action. Over the past few weeks things and time have been synchronising harmoniously and ‘opportunity’ has been knocking hard on my door.
Iv’e let the kid in, we have sat down and reasoned, allowed our’self’ to let go and moved on, together, to face the dawning of the new day…where the sun is shining.
Today’s cut is courtesy of another London based group, The Equals, whose original members came from as far afield as Jamaica and Guyana but also included two local kids from Holloway and Islington, (hence the name ‘Equals’) . Hooking up in 1965 they tasted success in 1968 with a pop tune ‘Baby Come Back’, (about as far away from today’s cut as could be imagined).
Another BIG tune on the Rare Groove scene that was, for a while, one of the most sought after pieces of the day changing hands for around £50 which was a lot of money 20 odd years ago. themusicologist unearthed a copy of the 7″ in a ‘Junk-Shop’ in London’s ‘salubrious’ New Cross for the princely sum of 10 pence !!! and rinsed it for the next couple of years. Can’t remember if it was ever on a LP and like I said this was LONG before the days of CD’s, Ebay and of course MP3’s so to find a copy was true to the genre’s name, RARE.
Can’t remember exactly but from memory I think that the year of release was 1976 maybe even 1974.
birthdaybashsoul&funk #3
(Cymande – The Message)
Today’s slice from the ‘birthdaybash’ pie was one of the ‘Rare Groove’ anthems that NEVER failed to shake London’s floors in the mid 80’s. If themusicologist was compiling a top ten of cuts that were the soundtrack to them days this would definately be one. HEAVY funk from a London based collective of West Indian players who blended all the musical flavours of the day to deliver an almost unique sound.
Apparently discovered rehearsing in a Soho club, (there’s that place again!!), by producer John Schroeder who obviously knew quality when he heard it and signed them immediately. This was their first recording, released on the Janus, (Chess), label in 1972.
Players:
Ray King – Vocals/Percussion
Joey Dee – Vocals/Percussion
Steve Scipio – Bass
Sam Kelly – Drums
Derek Gibbs – Soprano/Alto Sax
Pablo Gonsales – Congas
Peter Serreo – Tenor Sax
Mike Rose – Alto/Flute/Bongos
Patrick Patterson – Guitar
birthdaybashsoul&funk #2
(Bobby Reed – The Time Is Right For Love)
been waiting almost two years to lay this one down on themusicologist and in true musicology style the ‘time’ has come. One of my all time TOP tunes that never fails to touch me DEEP
“Ooooooh baby, here we are alone at last,
together just the two of us, with no one else in sight….”
birthdaybashsoul&funk #1
(The Meters – Love Slip Apoun Ya)
little run down of a selection of slices served up by themusicologist on saturday night at our joint birthdaybash down at the 3BlindMice. Played two sets one of which was the ‘rare groove’ which, musically, is anything from the late 60’s up to the closing of the seventies. The Rare Groove scene on the other hand sprung up in London sometime in 1985 when the ‘Boogie’ became mainstream and began to lose it’s edge.
Again, Soho was involved in the scene’s birth, (especially the ‘Wag’) but a bigger part was played by large scale ‘Blues’ parties. (unlicensed gatherings), organised in disused commercial properties, (especially in and around Camden and Kings Cross), where serious money could be, (and was), made charging ‘tenners’ on the door. Many a career was launched from the proceeds of such ‘warehouse parties’ as well as it being a hotbed of creativity style and flair. It went on to play a HUGE part in the development of fashion introducing ‘vintage’ as a lifestyle choice rather than ‘second-hand’ as a matter of neccesity.
Anyone who was there knows it’s global legacy both in fashion and music and the next seven, (count ’em), slices were ALL played, regularly, by anyone who was lucky enough to own them, (in the days before CD’s and EBay of course).
The band responsible for this majestic piece are none other than New Orleans musicologists the Legendary Meters, one of the premier funk outfits of all time. The original line up, (formed in 1965), of Art Neville, Leo Noncentelli, Joseph Modeliste and George Porter Junior, (joined by Art’s brother Cyril in 1975), were responsible for delivering some of the cream of the genre and are second to none in the funk lexicon.
Taken from their album, Fire On The Bayou, produced by the musical genius Allen Toussaint and recorded at his, (and Marshall Seahorn’s), Sea Saint Studio. For me it doesn’t get funkier than this.
soul&boogie #6
(Faze O – Ridin’ High)
Cats…apologies for not completing the ‘soul&boogie’. Been ‘grafting’ since EARLY Saturday Morning and have only just made the time and space to hook up to themusicologist. Decided to continue the theme for this week so it’s straight into this one from Chicago boogie quintet Faze – O who scored with this 1978 cut on the She label. Keyboardist Keith “Chop Chop” Harrison, guitarist Ralph “Love” Aikens, bassist Tyrone “Flye” Crum, drummer Roger “Dodger” Parker, and percussionist Robert “Bip” Neal, Jr combine to deliver a glimpse into the future of funk/soul/boogie at the dawning of a new day.
LISTEN TUNE……
soul&boogie #5
(Dolette McDonald – Xtra Special)
quick’s the word and sharp’s the action on today’s post..Busy, Busy, Busy at the moment and time waits for no man so I’m dropping this piece of ’82 ‘shun on you without further ado. BIG tune on the floor and in the clubs back then and is still very much sought after. 12″ on the BC label. Produced and mixed by Began Cekic for, (Al Hudson’s?), One Way productions.
soul&boogie #4
(Maze – Before I Let Go)
Boogie of the highest order from the legendary Maze featuring of course Frankie Beverly. Too many bombs dropped by them to list and every one a winner. Already featured twice on themusicologist so no need for the introduction. This one, released in 1981has got it all..lyrics, vocals, production and of course impeccable syncopation.
soul&boogie #3
(Change – Paradise)
For themusicologist one of the many benefits of listening to and learning from the ‘boogie’ is the genre’s optimism. At the time, (certainly in England), the outlook was BLEAK. Margaret Thatcher, (and crew), had torn the heart out of the country and begun to establish their ideology on the nation.
Free Market, ‘Entrepenurial’, State backed Capitalism where the individual was more important than the collective. I’m not about to go ‘into one’ on the political philosophy of the times all I will say is that as an 11 year old in 1979 just about to start secondary school it certainly had a huge impact on me. Greed became the order of the day which in my opinion had a negative impact on society at large. The boogie on the other hand had a positive effect bringing people together ‘under a groove’.
The group in today’s spotlight were formed in 1979, (in Bologna), by Italian producers Jacques Fred Petrus and Mauro Malavasi and with their first album ‘The Glow Of Love’ enjoyed instant success. Obviously Luther Vandross as lead singer played a part but more than that the group had ‘style’ and so even after Luther’s one album contribution they managed to evolve and continue to deliver.
The importance of ‘Boogie’ to the development of what became known as ‘House’ is unquestionable and this cut from their second album, (Miracles), is a 5 minute slice of Boogie, with a capital B.
Tight drums, pucker bass line, excellent production and the perfect vocal from Diva Gray as the cherry on the cake.
soul&boogie #2
(Kleeer – Intimate Connection)
day two of the ‘soul&boogie’ and already dropping bombs…anyone who was there throwing shapes knows that this cut tore it up anytime it was played and still sounds as fresh as it did more almost 25, (Count ‘Em), years ago.
The cats in question, (Paul Crutchfield, Richard Lee, Norman Durham and Woody Cunningham), started out in the early 70’s but it wasn’t really until they hooked up with producers Patrick Adams and Greg Carmichael around 1976, (as the Universal Robot Band), that things really began to take off.
3 years later they changed their name to Kleeer and begun to record, (for me), some of the best boogie of the period, one of which has already graced themusicologist, (musicology #10). This one though from 1984 is the cream of the crop. produced by Eumir Deodato, engineered and mixed down by Mallory Earl for Atlantic, has to be one of my most cherished pieces of the ‘black stuff’.
Serious…..
soul&boogie #1
(Light Of The World – London Town)
inspired by last weeks mod selection I would like to take this opportunity to explore in chronological order the music of the various scenes I have had the pleasure of being involved in over the years.
mod revival was the first, (1977 – 1981), and this one, (1981 – 1984), known over here as ‘Jazz Funk’ musically and ‘Casual’ fashion wise saw me into the crucial teenage years. For me the two are connected, especially in attitude. Jazz Funk/Casual was yet another working class movement that sprung out of a desire to be ‘modern’ and create something in tune with the times. This selection is a soundtrack to those years. ALL big tunes on the scene.
First up has to be this one from UK outfit ‘Light Of The World‘ with the essential 12inch ‘London Town’ on the Ensign label, (produced by Augie Johnson). Proof if needed that we certainly have the talent on this side of the pond to produce genre defining cuts of the highest order.
inmodwetrust #6
(The Marvelettes – Someday, Someway)
Bit late with this final instalment of the mod selection. big night Friday night…the Cyprus cats were back in town to celebrate which, although having nothing to do with ‘mods’ certainly deserves a mention. As the regulars know themusicologist is, for me, a musical diary, a soundtrack connecting my feelings to the sweet sound of music, the benefits of which are many. had a great night made even better by making new connections which was a pleasure.
Music wise today’s cut is another from the Berry Gordy and Motown selection by a girl group whose name burned brightly on the emerging Mod/ernist scene especially in the lead up to Soul establishing itself as a mainstream musical force. B-side to their classic Beechwood 45789. Quality double sider that was definately played in and around London back in the day.
Tamla 45 from the pivotal year concerning mods and soul, (1962), whose paths were inextricably linked on the ‘road to freedom’ as oppressed people discriminated by the colour of their skin or, (as was/is the case on these fair shores), the way they spoke, began to break down, (and through), the walls of class and colour boundries to have more opportunities to fulfil their dreams and aspirations.
inmodwetrust #5
(Tony Clarke – The Entertainer)
Focus and discipline are certainly two attributes hard to come by for themusicologist in these turbulent times. Lucky for me I have music as guide, companion, and trusted friend. Might sound strange but often feels like a dialogue between me and the sounds…anyway, enough of the butterfly mind and back to the theme.
This cut was recorded the year that ‘mod’ had well and truly arrived, (some would even say finished), ‘tickets’ were everywhere and leading up to, (and certainly beyond), the bank holiday tear ups the ‘originals’ were moving on. Elsewhere kids up and down the country were ‘aving it large’, (for the first time), as ‘mod’ was spoonfed to the nation and beyond. Modernists on the other hand turned their back and looked for something else to direct their trend setting and creative energies into. Which is not to say that some of the vanguards didn’t stick with it and join in the ‘fun’. Maybe for them it wasn’t neccesarily about ‘being first’ it was also about ‘being there’, as perpetrators of ‘the new breed’ to take advantage of the opportunities that had arisen out of them revolutionary ‘times’. I think it was the philosopher Hegel who wrote/said that Ideas are the prime movers of history and not social or economic forces and for themusicologist, ‘Mod’ was and to some extent still is an idea.
The musicology is courtesy of a cat named Tony Clarke who recorded this Mod classic for one of the other Big mod labels, Chess. Unfortunately I have been having problems hooking up my Turntable to the computer so It will have to be the CD remaster until I can replace it with the 45. hope you understand.
inmodwetrust #4
(The Valentinos – Lookin’ For A Love)
today’s slice of the mod/ernist pie, (written by J.W Alexander and Zelda Samuels), features one of themusicologist’s all time favourite, inspirational and also influential artists…Robert Dwayne, (Bobby), Womack who played a BIG part in my musical upbringing back in the early 70’s (continuing up to today). The cat’s career stretches back into the 50’s when as a member of family Gospel group the Womack Brothers he was spotted by none other than the Lion, (Sam Cooke), who was so impressed he remembered them when setting up his ground breaking Sar label and brought them in to record, as well as hiring Bobby as a guitarist and important member of the Sam Cooke ‘family’ both on tour and in the studio. This one is their third recording on the label but their first as the Valentinos.
inmodwetrust #3
(The Miracles – Mickey’s Monkey)
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.
inmodwetrust #2
(Joe Hinton – You Know It Ain’t Right)
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.
inmodwetrust #1
(Walter Jackson – That’s What Mama Say)
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.
themusicologist 