musicology #174

alternativesoundtrack2..Quadrophenia #6

(Big Jay McNeely – Without A Love)

it’s on top for Jimmy now and from here on in it’s just pure kicks in the nuts for the kid..

the come-down off the ‘blues’ wouldn’t be helping either but there’s no denying that he’s on the slippery slope downwards. one thing about slipping into darkness is, you never know when it’s going to end until the moment after you hit the floor. it could be moments or even years until you start the climb back up.

I know I have been there, (too many times), so I feel for the kid but life seems to be full of trials and tribulations, each to be conquered and vanquished and in the scheme of things ‘growing up’ isn’t that hard an ordeal. you just got to accept it and move on..

the dialogue says it all. his mum has nailed him for being involved in the troubles, found his stash and kicked his arse out onto the streets..the musical accompaniment is a 1962 cut of majesty, (as far as i’m concerned), by a legendary Rhythm & Blues performer, saxophonist supreme Big Jay McNeely, (and his band), which has a particularly fine a piece of organ work that I have been waiting for the opportunity to fling down..a 45 on the Swingin’ Label.

musicology #173

alternativesoundtrack2..Quadrophenia #5

(The 4 Casts – Stormy Weather)

day 5 and for Jimmy it’s all about to start going downhill. having made his way, (on convoy), down to Brighton and spent the day getting ready for some evening action he has been ejected from the ‘dance’ for jumping from the balcony in an attempt to impress Steph, (the things we males do to be noticed by the ladies !!), who has mugged him off to be with ‘The Face’.

having nowhere to go and no-one to go with he spends the night on the beach, (no doubt speeding off his ‘nut’), and in the morning makes his way to to meet up with the boys. this is followed by the big ‘tear-up’ on the beach and the demolishing of a cafe that some ‘greasers’ have holed up in. if you’ve seen it you know all about the ‘knee jerker’ in the alley with Steph and then him having his collar felt by the old bill, where he ends up in a black mariah with his ‘hero’ .

Cut to this scene, where the mod attitude and deference to authority is highlighted by ‘the Face’s’ dismissal of his financial punishment in style. but notice how the judge states that these are not the first wave of ‘hooligans’ to hit Brighton, in reference to the much more dangerous and violent racecourse wars of the 1920’s featuring the likes of ‘The Elephant Boys’, the Brummagen boys, the Sabini’s and cats such as Georgie Sewell and Billy Kimber…Brighton was always a hotbed of crime and violence right up until the most recent spate of re gentrification that has taken place over the preceding 10 years or so..and a trip ‘down the line’ was very common for London’s opportunists and villains of the past.

the tune that follows is a slice of the Atlantic pie from early 1964 by a vocal group I know nothing about so I can’t offer any information other than what’s on the label.

stormy weather is certainly up ahead for ‘young Jim’

musicology #172

alternativesoundtrack2..Quadrophenia #4

(Robert Parker – Watch Your Step)

today’s section is the scene about ‘scoring the ‘Jack & Jills’ for Brighton, featuring Jimmy, Dave, (his so called best mate), and Chalky. ‘Flash’ Pete puts them on to some proper Villians from South Of The River and the story unfolds..

one thing I would like to add is that there is no way that what follows, (“lets do the bastards motor”), would or could have happened back in the day…it’s pure fantasy to suggest it. what definately did happen back then, is Villains were on the speed long before the ‘mods’ and it many cases would have been how the teenagers were introduced to them.

speed was in use throughout the 1950’s, (especially in and around Soho), and was known to have been used by some in preparation for crimes that sometimes required a ‘liitle helper’. used in World War II, ( British troops used 72 million amphetamine tablets in the second world war), it was freely available to soldiers to ‘help’ keep them alert, awake, and fearless. I recall a sentence from a fantastic work of art, (Information Panel), detailing the late 50’s, early 60’s period of crime in London and it mentions ‘teams of pilled up 16 stone villains striking terror into the hearts of most’…especially on the ‘armed blag’ so to suggest that young kids would have been so foolish to have dealt out such retribution over such a small thing as a ‘Cockle’s’ worth of pills is misguided.

the piece of music that follows the dialogue is a well known Mod/ernist slice of the Rhythm & Blues pie by artist Robert Parker that was issued in the UK on London DJ and musicologist Guy Steven’s Sue label a couple of years after this one, (the American original released on V-Tone in 1961).

I know it’s been all Rhythm & Blues so far but it was this music that defined Mods up to the year in question, (1964) and certainly not bands like The Who. Live music was performed at places like the Scene by bands such as The Who, The Animals and others but they were mostly to be found, (tradition that still holds), performing in local Pubs and live music venues.

musicology #171

alternativesoundtrack2..Quadrophenia #3

(Gino Parkes – Fire)

after the ‘reunion’ at the public baths with old ‘spar’ Kevin, Jimmy has been to a party, been seen getting off with a girl, (purely for some ‘blues’), by the object of his affection and desire, (Steph), and has for the first time begun to question ‘what it’s all about’

this next, (key), section of dialogue finds Kevin, (the rocker), turning up at Jimmy’s family home on a social visit and offering to fix his ‘poxy hair-dryer’, (scooter), which leads to a great piece of acting and communication between the two childhood friends about ‘being different’. the reality is, (of course), that they are exactly the same and Kevin, (played majestically by Ray Winstone), nails this with the closing line…

What struck me about the film was the way it portrayed the disillusionment of the movement as well as it’s depiction of the ‘Mod’ attitude, (captured in fine style by Phil Daniels as ‘Jimmy’), and it’s in this exchange that it is laid bare.

the music is a 1962 cut from Detroit, courtesy of Soul singer Gino Parkes, (not forgetting the cats behind the Motown sound, the ‘Funk Brothers’), with a rare slice of the Motown pie. can’t say for sure whether it was played back then but if not, it should and probably would have been if known about.

musicology #170

alternativesoundtrack2..Quadrophenia #2

(Buster Brown – Fannie Mae)

day two of the selection and after setting the scene, (no pun intended), with one of the great Mod classics Jimmy finds himself having a clean up at the Public Baths…now there’s a blast from the past…young bloods these days can’t even begin to imagine how common it was right up until the 1970’s to have your weekly bath down at the local swimming pool, (nowdays known as ‘Leisure Centre’)

part of what I really enjoy about Quadrophenia is the way it depicts how life was for the working class. which really began to change, (for the worse), during Thatcher’s reign as we were sold into rising debt and subsequently wage slavery with the ‘carrot’ of becoming ‘better off’.

my belief is that today’s society is a backward step. Health, Education and Security are all in a spiraling decline as the businessmen and politicians wait like stinking vultures to carve up the ‘institutions’ that were meant for the people’s welfare. It won’t be long before business is in charge of all the areas mentioned above as whoever is in charge tries to remind us that it’s ‘for our own good’ .. believe me it won’t be. as always the Poor and Needy will be raped and pillaged by the Rich and Greedy.

so..back to the film.

‘Jimmy’ is having a relaxing soak in the bath when the opening lines to Gene Vincent’s ‘Be Bop A Lula’ come floating over the cubicle wall… being a ‘Mod’ he takes this as a personal affront and makes his feelings known. leading to a vocal altercation that is about to step up to a confrontation until the two parties make visual contact and realise they are, what sounds like, friends. as we now know the ‘mods vs rockers’ fighting pitched battles and being sworn enemies is a myth overcooked by the media to sell newspapers.

if the truth be known it was more likely to be mods fighting mods over age old territorial rights or who ‘owned’ a particular corner of a dancehall.

the tune that follows is an example of the music that was appreciated by both mods and rockers, (music is a great leveller), another stomping piece of Rhythm & Blues, (released in 1959), that was played in early mod venues in London by the likes of original DJ’s such as Sammy Samwell and Guy Stevens.

Tony Blue this one’s yours. hope it brings back fond memories of being young, free and disengaged.

musicology #169

alternativesoundtrack2..Quadrophenia #1

(Tommy Tucker – Hi Heel Sneakers)

having enjoyed laying down the alternativesoundtrack selection to one of themusicologist’s favourite films, (Good, Bad and Ugly),  so much I feel It’s time for another one…

this time it’s the turn of cult English film, Quadrophenia.

still the only cinematic portrayal of one of the most enduring and influential youth cults to emerge…’Mod’. which is amazing when we consider the impact that the movement had on music, fashion and society over the preceeding 45 years.

as a youngster growing up on the streets of South East London during the seventies, (born in 1968), themusicologist was part of the original mod/ernist legacy by having parents who were there at the birth of the movement, (1962), that had evolved out of a scattering of disparate individuals who began to congregate in pockets of London to become known, (mainly to themselves), as ‘stylists’ or even ‘modernists’.

there are many reasons for this but the most important was the change in music from ‘Rock & Roll’ to ‘Rock & Soul’ that began to happen around 1959 but also the impact of globalisation and the ‘consumer society’ that emerged out of it.

I have seen and enjoyed the film many times but the thing that I always found dissapointing was the soundtrack. I know the film was about ‘Mods’and in many ways it was authentic but also a little bit one-sided in as much as, for me, it didn’t do musical justice to the more ‘underground’ aspect of the movement so this week it’s going to be about tunes that were BIG on, and in, the ‘Billy Bean’

day 1 finds ‘Jimmy’ turning up at a club and buying his supply of FFrench Blues, (amphetamines),  to complement the night’s action at a local club.

a tune well known and loved by mods, modernists and stylists, recorded in late 1963 and released in early 1964. (the year in which the film was set). released as a 45 on the ‘Checker’ label..a Rhythm & Blues dancer that had all the neccessary requirements for getting the ‘Cats’ off their arse and on the floor..

musicology #168

malevocals2 #6

(Fela Kuti – Sorrow, Tears & Blood)

didn’t throw one down yesterday…late night Friday and then headed straight out of ‘the smoke’ for some country air…slept for most of the day and be the time we returned it was too late.

this last cut of the malevocals is a song that has been getting a lot of exposure over the last few weeks and even though the cat in question may not be especially well known for his singing it was as a vocalist that he began his career.

as far as legends go ‘Fela’ stood as tall as anyone. almost singlehandedly inventing, (along with drummer Tony Allen), the genre known as ‘AfroBeat’. the life and times of Fela Kuti are well documented so i’ll leave it down to the music to provide an insight into the man.

taken from his 1977 album ‘Sorrow, Tears & Blood’ this is the title track about political conditions in his homeland. to say that Fela was an activist and thorn in the side of the government is an understatement for a man who was beaten to within an inch of his life, imprisoned on trumped up charges and hounded at every turn. but it never stopped him making powerful, immortal slices of music that communicated on many levels.

Fela was and still is an example of how music is the most effective form of communicating the message and is, as far as I’m concerned, the only ‘language’ that transcends all ‘boundries’

“Everybody run, run, run
everybody scatter, scatter….”

musicology #167

malevocals2 #5

(Amblique – Yesterday)

big night tonight…a friend’s 40th birthday bash and ‘yer man’, (themusicologist), is selecting the sounds.

the menu consists mainly of Soul, Funk and Boogie, (70’s and 80’s), but I’ve also put together a ‘Dancehall’ set and a ‘Dubstep’ selection to satisfy all tastes…should be a top night…almost all the ‘cats’ are making an appearance.

this cut, a cover of The Beatles song ‘Yesterday’, is by one of my favourite ‘digital’ singers over the last 15 years who began his career as a youth under the tutelage of Derrick ‘One Stop’ Harriott’ in 1970 as Ramone The Mexican but it wasn’t really until 1994 when he teamed up with Sly & Robbie that his career began to take off, which just goes to show the importance of sticking to your guns. since then he has continued to ‘tear up’ the dance with his recordings and performances.

this one is taken from a 45, (a vinyl single to all those digital heads), and it’s a Clive Hunt production on the Kickin’ label from around 1996, (if memory serves me right), as is often the case there is very little information on the label, not even an ‘engineer’ credit…no surprise really as I doubt the song was licensed from whoever holds the rights.

musicology #166

malevocals2 #4

(Leroy Hutson – Paradise)

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 #165

malevocals2 #3

(Ray Charles – Let The Good Times Roll)

Todays artist needs no introduction .. a first outing on themusicologist and definately not the last.
BIG down Winforton Street in the early 1960’s. a tune that epitomised ‘The Golden Age’ and one of my grandad’s favourites…

“hey everybody….let’s have some fun, you only live but once and when youre dead youre done”…

musicology #164

malevocals2 #2

(Amsterdam – Jacques Brel)

stepping outside of the sounds of Jamaica and blazing new ground with a singer from Belgium who themusicologist came across by pure chance one night when I fell asleep on the sofa with the ‘Ned Kelly’ on and was woken from my slumber not only by this cats voice, but just as importantly his passionate delivery.

I must admit I was blown away and having never listened to a song sung in French I vowed to dig some of Jacques Brel’s work up and aquaint myself with it. I can’t translate a word of it but after watching and listening to this live performance of his on the documentary it brought tears to my eyes and sent a shiver up my spine…in other words I felt it.

apparently he was a huge star in France and obviously Belgium and I can hear why. He pulled no punches and was known and well loved for his ‘protest’ songs as much as his songs of love…

it was this 1964 cut that woke me from my slumber. it’s a song about Amsterdam, sailors on shore leave and the so called dregs of society about whom Brel was a passionate defender.

David Bowie is a big fan of Brel’s, (and this song in particular), recording it first in 1970 for a John Peel session live at the BBC.

musicology #163

malevocals2 #1

(Cornell Campbell – My Country)

kicking off this weeks selection with a mighty cut from one of Jamaica’s finest, Cornell Campbell who has been dropping musical bombs like this for almost 50, (count ’em), years. the man has laid down so many top ranking pieces it beggers belief that he is not an international star.

there at the birth of Jamaican musicology Cornell Cambell began his career at the tender age of 11, (according to the man himself), for none other than Coxsone ‘Downbeat the ruler’ Dodd. after a financial dispute he moved on to King Edwards, then formed vocal group ‘The Sensations’ with Jimmy Riley.

back to Dodd as a solo artist and lead singer of ‘The Eternals’ before hooking up with Bunny Lee in the early 70’s…the cat has worked with all of the great Jamaican producers throughout his long career, (which is still going strong), covering almost all of the styles from R&B through to Dancehall so I’m not going to bore you with the ‘information’ …. i’m just going to throw this one down and leave it to you to decide.

musicology #162

vocalgroupaction2 #7

(The C.O.D’s – Michael)

I’m almost at the end of my tether with the f*****g BOXNET audio widget and Ive been looking at alternatives so in the VERY NEAR future expect that there will be changes made ….

in the meantime hold this 1965 Mod classic from Chicago vocalgroup The C.O.D’s. who were overheard singing under a streetlamp by two cats who were so impressed with their talent that they decided to setup a label, (Kellmac), just to record them. unfortunately this was their only ‘hit’ so the label only lasted less than two years and a handful of releases, (3 of which are by the group)

the lineup consisted of lead singer Robert Lewis, Carl Washington and (songwriter), Larry Brownlee who alone went on to have fame as a member of the Lost Generation. Sadly Brownlee was murdered on Chi’s tough streets in 1978. the other two members disappeared without musical trace…

one that themusicologist remembers well from ‘back in the day’ thanks to ‘Uncle Johnny’ who was a major influence in the formative years of my musical journey.

the tune is based on a local Chi’ cat who was obviously a hit with the ladies.

starting tomorrow it’s male vocal week

musicology #161

vocalgroupaction2 #6

(The Uniques – Lessons Of Love)

day six !! of the vocalgroup selection and the tunes just keep on coming…by now i’m sure you’ve realised that the two genres that feature heaviest on themusicologist are Soul & Reggae and today’s cut is no exception.

courtesy of one of the most ‘important’ of Jamaica’s vocal groups The Uniques whose previous incarnation, (The Techniques), had already played a huge part in shaping the vocal group sound of Jamaica with Duke Reid at Treasure Isle. (for an example of the Techniques work with ‘The Trojan’ take a listen to musicology #44).

but it was as this pivotal line-up, (Roy Shirley, Jimmy Riley, Lloyd ‘Charmers’ Tyrell and Keith ‘Slim’ Smith), produced by the Islands top producer at the time Bunny ‘Striker’ Lee that they rose to the top of Jamaica’s vocal group tree with a string of Rock Steady classics such as ‘Gypsy Woman’, ‘My Conversation’, ‘The Beatitude’, Love & Devotion, ‘Facts Of Life’ (to name a few)

briefly…Bunny Lee was a major figure in the evolution of Jamaican musicology especially during this period. One of the first, (the first being Cecil ‘ Prince Buster’ Campbell), independent producers to challenge Coxsone Dodd and Duke Reid he was instrumental in breaking the hold the two held over the music resulting in the emergence of other notable producers such as Derrick’ One Stop’ Harriott and Lee ‘Scratch’ Perry.

Recorded in Kingston at the Treasure Isle, (or W.I.R.L), studio in 1968.

musicology #160

vocalgroupaction2 #5

(The Emotions – Blind Alley)

first outing on themusicologist for this female vocal group with a tune that never fails to lift my spirits which, today need lifting….not for any specific reason, just one of them days when ‘the pressure drop’

better known for their part in Earth, Wind & Fire’s ‘Boogie Wonderland’ this piece is from their earlier days, (1972), at Stax and has formed the foundation for many a ‘version’ since from Big Daddy Kane and Pharcyde to Mariah Carey, (one listen should explain why)

musicology #159

vocalgroupaction #4

(Link – Whatcha Gone Do)

today’s cut is a little bit more up to date than the previous three. not easy considering the vocalgroup has almost dissapeared from urban music. I know almost nothing about these cats, not even how many of them are in the group.

but I do know that it was recorded in the Big Apple, (Allien Flyers Studio), at the end of the 20th century, (1998), produced by Darrell ‘Delite’ Allamby, engineered by Ben Arrindell and it’s on the Relativity label…and finally, for me, it hit the right spot ten years ago and still does today..

keeping it brief as I’m helping my good friend ‘Dready 10 Eyes’ load up a container for his emigration to Cyprus and we’ve only got 3 hours to do it!!

musicology #158

vocalgroupaction2 #3

(The Drifters – Oh My Love)

while scouring the vaults looking for vocalgroup cuts it occured to me that there are many practitioners of the art that deserve a musicologist representation…but there are two who are essential. The Miracles..and this group who epitomise the genre.

originally formed in 1954 by Clyde McPhatter, the Drifters have been through many line up changes, first it was Clyde singing lead followed by Johnny Moore and then Bobby Hendricks.

in 1958 the whole group was fired and replaced with one that was going under the name of the Five Crowns, (featuring the unmistakable pipes of Ben E King), who soon delivered national success in 1959 with ‘There Goes My Baby’ true to form the line up didnt last and after an altercation between the two managers Ben E King, (eventually), went solo.

this is the B side to the aforementioned hit from 1959 featuring Ben E King singing lead in the year that ‘doo wop’ was being challenged by the emerging sound that became known as Soul.

musicology #157

vocalgroupaction2 #2

(The Royals – Make Believe)

day two of the vocalgroup selection finds us tuning into some ‘sufferers’ courtesy of Jamaican vocal group The Royals with a mid 70’s piece on Roy Cousins’ Wambesi Label.

Roy Cousins was not only the producer and Wambesi label owner he was also the Royals lead singer. forming his first vocal group in 1962, (pivotol year for musicology), he went on to form the Royals, (originally called the Tempests), in 1965…recording for, (among others), Coxsone Dodd’s Studio 1.

sick of being ‘skanked’ by producers and label bosses he set up his own in 1971 and this one (Wambesi), in 1974 which attracted many a fine singer, vocal group and deejay evolving into a major force in the 70’s and 80’s.

the cat at the ‘controls’ on the dub is none other than Lloyd James. better known as..Prince Jammy…

musicology #156

vocalgroupaction2 #1

(The 5 Keys – The Glory Of Love)

it’s been a challenge keeping on top of themusicologist these last few days, (and weeks), especially as ‘the project’ has been taking up most of my, (physical and mental), time.

on top of that I have also been tied up with the selling of the family drum. as a result themusicologist has suffered a drop in quantity, (the quality I am very happy with)

all I can do is apologize for not ‘taking care of business’ and hope that the quality is enough for you to stand by themusicologist….

this week it’s round 2 of the vocalgroupaction theme and I’m kicking off with this seminal cut from the dawn of doo wop courtesy of one of the greatest of the vocal groups ‘The 5 Keys’. it’s from their second recording session for LA label Aladdin, recorded in New York’s RCA Studio on March 22nd 1951. The song, (written by Billy Hill), had already been a #1 for Benny Goodman in 1936 but, (as much as I rate brother Goodman), performed by the 5 Keys it reached new heights.

the lineup..

Rudy West (first tenor), Maryland Pierce (second tenor), Ripley Ingram (octave tenor), Dickie Smith (baritone/second tenor), Bernie West (bass) and the group’s regular accompanist Joe Jones on Piano…

what a tune…

musicology #155

duets2 # 4

(Loe & Joe – Little Ole Boy, Little Ole Girl)

slipping out of the Jamaican selection into some Detroit action with a piece from one of post war urban music’s great innovators Harvey Fuqua…original lead singer of the Moonglows, (musicology #46), and Soul legend. influential in moulding the new sound that sprung out of the wells of Rhythm & Blues and Gospel, Harvey Fuqua helped, (along with Berry Gordy, Smokey Robinson, Marv Johnson…), to ‘create’ the Detroit sound as head of artistic development at Motown after tiring of the effort required to run his own label, (which this one is on),

the duet is courtesy of almost unknown pairing, Lorrie Rudolph and Joe Murphy, who certainly do the song justice. more than that I can only add that it’s a 45 from 1961 and it’s on the ‘Harvey’ label.