60’s soul mp3

musicology #387

Modernist #15

(Barbara Lewis – Hello Stranger)

Laszlo Moholy-Nagy, a pioneer typographer, photographer, and designer of the modern movement and a master at the Bauhaus in Weimar, may have come closest to defining the Modernist who in his opinion was;

“an idealist and a realist using the language of the poet and the businessman. He thinks in terms of need and function. He is able to analyze his problems, but his fantasy is boundless.”

“The basis of style is the appropriation and reorganisation by the subject of elements in the objective world which would otherwise determine and constrict him. The Mod/ernist combined previously disparate elements to create himself into a metaphor, the appropriateness of which was apparent only to themselves. Like the surrealists they underestimated the ability of the dominant culture to absorb the subversive image and sustain the impact of the anarchic imagination. The magical transformations of the commodities had been mysterious and were often invisible to the neutral observer and no amount of stylistic incantation could possibly effect the oppresive economic mode by which they had been produced”.

Today’s 1963 cut is another Mod/ernist classic but this time courtesy of female vocalist Barbara Lewis..BIG tune on the scene and one of themusicologist’s earliest musical memories. Ranking tune that never fails to hit the spot.

musicology #378

Modernist #6

(The Impressions – Say It’s Alright)

I was going to end this theme tomorrow but on reflection there’s too much music yet to be featured and such is the quality of the dialogue from the commentators I’m letting it run for another week.

A large part of the debate has been the use of the word ‘Modernist’ and whether it was in fact used by anyone at the time? with that in mind hold this quote from the book ‘Soul Stylists’ compiled by Paolo Hewitt which is full of anectodes from Cats who claim, (and I see no reason to believe they are lying), to have participated in the ‘nameless thing’ of the early 1960’s.

“The bands from our youth club in Hastings were dressed like The Shadows on the cover of their first album; very neat red jackets, dark ties and white shirts. Then I spotted these strangely dressed guys from another school. They had short Italian haircuts and they wore bum freezer jackets with cut away collars and half belts on the back, narrow ties, tapered trousers with slits up the sides and side laced winklepickers. I went up to one of them and asked;
“Why are you dressed like that?” and he spoke the immortal words;
“Because I’m a Modernist”

The cat’s name is Lloyd Johnson and no date is mentioned but from the sounds of the ‘clobber’ it’s likely to have been before 1964

From themusicologist’s perspective what is beyond doubt are the release dates of the music contained on the theme which is obviously, (in almost all cases), not subjective and delivers insight into the most important aspect of any ‘scene’..the music and today’s cut is, in my mind, one of the greatest pieces of mod/ernist musicology of the period from quite possibly the driving force behind the winds of change none other than Curtis Mayfield who has featured heavily on themusiciologist over the last few years but also in my life since babe in arms.

hold this next quote on today’s cut from a book on the legend by author Peter Burns.

“Recorded in August 1963 the horn arrangement, a suggestion of Mayfield’s, took it’s inspiration from a Bobby Bland single but the idea for the song itself had come from a conversation between Curtis and Fred, (Cash, member of ‘the holy trinity’), one night when the Impressions were on tour in Nashville. Mayfield was effusively expounding some ideas and future plans and Cash was interjecting from time to time and concurred with “Right” and “Well that’s allright”, suddenly Curtis had a hook line ‘Say It’s Alright’. They cut this historic track at Universal studios in Chicago just two months after Curtis’s hit production of Major Lance’s ‘The Monkey Time’ which was still riding high on the charts. All the vital elements came together and this modern classic brought The Impressions back even stronger than before”.

Released on ABC-Paramount and arranged by Johnny Pate

“Say It’s alright, (it’s alright), say it’s alright, (it’s alright),
It’s alright have a good time cause it’s alright wooohh it’s alright,
We’re gonna move it slow, when lights are low,
When you move it slow it sounds like a moan and it’s alright wooohh it’s alright
Now listen to the beat, trying to catch your feet,
You got Soul and everybody know that it’s alright wooohhh it’s alright,

When you wake up early in the morning feeling sad like so many of us do,
Hum a little Soul make life your goal and surely something’s gotta come to you,
And say it’s alright, say it’s alright…it’s alright have a good time cause it’s alright woohhh it’s alright,
Now everybody clap your hands give yourself a chance,
You got Soul and everybody know that it’s alright wooohh it’s alright,

Some day I’ll find me a woman who will love and treat me real nice,
Then my roams? gotta go and my love she will know from morning noon and night,
And she’s gotta say it’s alright..say it’s alright,
It’s alright have a good time cause it’s alright woohhh it’s alright,
Now everybody clap your hands, now give yourself a chance…you got Soul now baby..”

musicology #376

Modernist #4

(Mary Wells – You Beat Me To The Punch)

As the the theme moves into the second half I would just like to add that as far as the music is concerned I am resisting the urge top throw down obscure cuts from the period in question purely because the chances of them being played back in the day were almost non existent. The fact is that the rare pieces that have come to light over the last 20 years would NOT have been available to the cats who were exposing the music of America and even Jamaica in and around London’s clubs and venues. Not even Guy Stevens or Sammy Samwell would have had access to pieces on such labels as One-Derful, Butane, Witch, Cortland, Sar and the like so as much as I would LOVE to expose them here It’s not my intention to impress anyone with the lesser known cuts rather it’s to lay down pieces that were actually played in places like The ‘Ly, Scene, Disc, Flamingo, Disc, Tottenham Royal, Streatham Locarno etc so if that’s a dissapointment to some then, (in the words of Lord Creator), ‘Such Is Life’…..

With that in mind today’s slice of the Modernist pie is another classic from the Tamla Motown stable that shook up some of the London venues mentioned above. A response to Gene Chandler’s majestic ‘You Threw A Lucky Punch’ from yet another ‘Mod/ernist’ Icon Mary Wells who went on to feature heavily between 1962-1964 and along with The Marvelettes blazed the trail for the inclusion of the ladies in the male dominated world of Modernist musicology.

musicology #374

Modernist #2

(The Miracles – Way Over There)

Today I would like to take the opportunity and quote from a top ranking piece of critique on the subject of Modernist by a Cat named Johnny Spencer who lived through as well as observed the changing face of London during the early Sixties.

“In London during the early sixties as in other parts of the British Isles a tiny minority of young, (mostly working class), boys and girls known only to themselves as ‘Modernists’ were walking, talking, dressing and dancing to a different song. These youngsters who were conceived in the heady and delirious optimism that marked the end of WW II had passed onto them in their genes a very real sense of supremecy, invincibility and confidence, a confidence that was fuelled and underpinned by the meta narrative of the western world, the concept of modernity, then at it’s zenith. By the early 1960’s the social fabric of cities in England had changed radically from the period before 1945, the war had dealt attitudes of authority and deference a mortal blow, conscription had ended, and the young en masse for the first time found themselves with a realistic disposable income. With history on their side this generation of independently minded teenagers felt able to think and act for themselves, not in a quasi-intellectual way as the ‘beatnicks’ had done, or to have to rebel, like the ‘Teddy Boys’, but as a truly autonomous entity.”

The musicology is courtesy of modernist icons ‘The Miracles’, (Smokey Robinson, Bobby Rogers, Marv Tarplin, Ronald White and Claudette Rogers), whose unique and distinctive sound epitomised the emerging sound that became known as Soul. The cut that was BIG on the London scene was in fact the second version, (with strings), but in the essence of ‘Modernist’ I had to lay this, (regional) one, (without strings), on you. Recorded for and released in 1960 on Motown.

musicology #371

SuchIsLife #5

(Jackie Wilson – Love Is Funny That Way)

Day five..bit later than intended but Such Is Life..

Today’s cut is from one of the greatest singers to have ever recorded….Jack Leroy Wilson Jr known simply as ‘Jackie’ who ranks right up there with the best. Jackie, Sam Cooke and Curtis Mayfield were instrumental in fusing Rhythm & Blues, Gospel and ‘Popular’ music into what became known as Soul. Of course there were others who deserve recognition but without these three it wouldn’t be the same.

Jackie’s recording career begun in 1951 but really begun to take off after replacing Clyde McPhatter, (who left to form the Drifters),  in Billy Ward’s Dominoes. In 1957 Jackie, (possibly inspired by his greatest ‘rival’ Sam Cooke), went Solo and begun his unfortunate lifelong ‘bondage’ with ‘manager’ Nat Tarnapol who is reported to be the one most responsible for robbing Jackie blind for his whole career. But the least said about him the better. Jackie racked up many hits and was quite possibly the world’s greatest performer whose stage shows are the stuff of legend. He could dance and almost sing anyone under the table but as so often seems the case died broke due to his manager’s ruthless greed and exploitation. This one from 1971, (no idea who is sharing the mic with him), was recorded and released on the Brunswick label.

Listen Tune

musicology #369

SuchIsLife #3

(The Soul Stirrers – Looking Back)

Slipping and sliding from Paul Weller into a slice from the greatest Gospel, (and possibly vocal), group to have ever stepped up to the M.I.C, into the studio or onto the stage, the Soul Stirrers with a fine piece on Sam Cooke and J.W Alexander’s groundbreaking Sar label. I think it’s the majestic Jimmy Outer singing lead on this one backed by Paul Foster, Richard Gibbs, Leroy Crume and J.J Farley. Recorded and released in 1964.

musicology #348

AlternativeSoundtrack4 #15

(Etta James & Harvey Fuqua – My Heart Cries)

Today’s dialogue is especially poignant in as much as it offers an insight into not only the two characters, (Eddie & Sarah), but also a fundamental difference in the sexes. Don’t forget that this is 1961 and the dawn of a new era in the dialogue between man and woman. Sarah makes it as clear as crystal how she feels about Eddie leaving no ambiguity and he, (in time honoured fashion), tries to sidestep the issue but she reiterates her feelings and lets him know in no uncertain terms what she wants to hear him say.

The music is a beautiful piece of Soul from two great singers both of whom have already featured on themusicologist, Etta James and, (her husband at the time), Harvey Fuqua with yet another slice of the Chess records pie, (as influential as any label in the development of what is now known as ‘Urban’ music). Recorded and released in, yep you guessed it, 1961 and featured on Etta’s fantastic album ‘At Last’. Arranged by musicologist Riley Hampton.

musicology #238

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.

musicology #199

teachings of billionaire YenTzu #9

(Bobby Bland – Share Your Love With Me)

Seeing The Snake (raising awareness and concentration)

After twenty years in the service of a provincial overlord, a loyal soldier was rewarded. With enough money now to buy some acres of land, he was excited at being able to realise his dream of building his own home. For three whole months the soldier totally absorbed himself in preparing the land, clearing it of boulders and levelling the ground. He made sure that any wild bushes and neglected growth removed were replaced with trees and flowers. The work was long and hard but the soldier felt richly rewarded by thinking how pleasent his home would be.

While engrossed in what he was doing, a man came up to him and introduced himself as the land agent in the service of the local registrar.

‘What so,’ said the soldier taking the opportunity to rest, ‘How can I be of service to you. All is well I trust?’

‘I’m not sure,’ said the man looking puzzled. ‘Might I please enquire as to who has employed you on such obvious land improvement?’

‘I am now in the service of my own,’ replied the soldier proudly. ‘I am the owner of this land and I am preparing it for building.’

‘There seems to have been some mistake,’ said the land agent holding out some papers with some consternation. ‘This is not your land, i’m afraid. Your land comprises the acres actually adjoining this.’

‘Ah,’ sighed the soldier. ‘So despite my endeavours I have not done a single thing to improve my own property.’ And with that he immediately set to gathering his tools. The soldier took the mistake in good spirits and after making sure that he was on his own land, he once more earnestly set about making his dream come true.

musicology #198

teachings of billionaire YenTzu #8

(Otis Redding – I’ve Been Loving You Too Long To Stop Now)

Fighting The Rat, (harnessing conscience power)

‘Yao Kou, you promised last week that you would be here on time.’ Tan Lee said to his partner. ‘Yet, you let me down again.’

‘How so?’ the astonished partner replied. ‘Me, late? Well, I may not always be punctual, but I am never late! Anyway, it is not my fault. I had every intention of getting up earlier this morning but, upon awaking, I noticed it was raining so I decided to wait awhile before leaving, as the market road would probably be awash. As it turned out it wasn’t, so I am able to be here now as I said I would be, though I can’t remember promising.’

‘It is said that if you find it difficult to be sincere with yourself,’ Tan Lee returned, ‘it is not possible to be sincere with others.’

‘Your trouble is that you always speak in riddles,’ replied Yao Kou. ‘What has sincerity got to do with it? It is simply that sometimes I find that the ‘I’ that declares that it will rise early in the morning is different from the ‘I’ that exists in the morning, who refuses to co-operate. Having so many different parts of him must be why a man, for instance, finds it so hard to keep something secret. First one ‘I’ makes a promise, believing that he wants to keep the secret. Then, tomorrow another ‘I’ in him prompts him to tell his friend over a bottle of rice wine. With a different ‘I’ in command, a clever person may question a man in such a way that he himself is unaware of what he is saying.’

‘You’re not trying to say that you have revealed what we discussed together last week are you?’ enquired Tan Lee. ‘We agreed that would remain between ourselves only for the moment.’

‘I met with the trader Fu’li, we drank and I couldnt help it. But I can’t say I’m sorry because it has been worth it. Fu’li raised doubts which I believe we should seriously consider. Anyway, it’s hardly my fault. You should have made it clearer or at least given me all the facts.’

‘I could not have made it clearer,’ said Tan Lee. ‘Yet, listening to you reminds me of the teachings of that great sage who visited us from the west:

“If one of thine ‘I’s’ offends thee, pluck it out.” For without unity in your thinking you will continue to justify your own actions through blaming other people or things. It is clear that my “I” met with your wrong “I” last week, so, all of me tells me I must depart…Goodbye’

musicology #193

teachings of billionaire YenTzu #3

(James Carr – Life Turned Her That Way)

Stalking The Heron, (infinite patience, immediate results)

‘So his obsession for not leting go of anything finally caught up with him,’ commented Yan Kan to himself, on hearing news that the Emperor had met with an untimely end.

It had been several years now since Yan Kan had fortuitously escaped the Emperor’s wrath. It had been his experience of stalking the heron that had led him to see things in a different light. When water accumulates, it breeds predatory fish. And when rites and duties become decorations, they breed artificial and hypocritical people. The title that the Emperor had quickly invented and thrown to him that day, and which he had so obsequiously caught, were now empty and meaningless to him.

He had decided at that moment to apply his new found virtue of patience to more meaningful pursuits and departed the Court.

He would no more attach such importance to such false things. And he would no more suggest solutions that sought reward by pandering to the whims of another in authority. Any leader who demanded, needed or revelled in such bolstering was an insecure leader. How strange it is that when rulers have obsessions, thier subjects do a lot of posturing; when a ruler is crafty, their subjects are devious; and when a ruler is demanding, their subjects are contentious. Any ruler who blamed ill luck for the state of his kingdom and sought to determine outcomes by using his strength to hold on to something weaker, was bound to fall sooner or later.

Yan Kan felt no surprise that the Emperor had lost his life through his rigid attachment to his policy for growth and recognition. His wise friend Cai Tok had ben right: ‘When political leaders ruin their countries and wreck their lands, themselves to die at others hands, it is always because of their impatient desires.’

Since becoming a merchant, Yan Kan had determined to himself that he would follow the sage-like philosophy he now knew to be true: ‘To be able to use the power of other people, it is necessary to win people’s hearts. To be able to win people’s hearts, it is necessary to have self mastery. To be capable of self mastery, it is necessary to have patience.’

Yan Kan resolved to apply patience in everything, particularly when he encountered the obstacles which he had discovered were as much a part of business as they were of life.

‘The ancients were certainly wise in creating writing symbols that contained the meanings of both crisis and opportunity. I will see every obstacle as a further reminder to be infinitely patient and unattached to any particular schedule. For in such flexibility lies the power to cultivate the hidden pearl of opportunity from the grit of adversity.’

musicology #180

soulsearching #2

(Major Lance – Sweet Music)

day two finds us sliding out of the downbeat, (Yin), and countering with one from the upbeat, (Yang), selection. a fine piece of 1964 Soul from, as far as I’m concerned, the premier record label of the period, OKeh. big shout I know but one I’m sticking with.

part of my reasoning behind that shout is that OKeh was the label where the combined talents of Curtis Mayfield, Carl Davis, Johnny Pate and Gerald Sims came together to deliver a musical style that became the benchmark for a lot of the Soul that followed. of course there was Tamla, Chess and Atlantic, (as well as many smaller labels), and there are many fine cuts on these but of them, it can be debated, that only Tamla – Motown exerted as much influence as OKeh on the direction Soul was to take.

listen tune…

musicology #11

(Darryl Banks – Open The Door To Your Heart)

taking a detour from the 80’s boogie and providing themusicologists first
service of product. requested by the agingmod, this piece needs no introduction.

two minutes 20 seconds of pure bliss that every time it’s heard warms the cockles of ones heart.

according to a foundation musicologist…this was a BIG tune at ‘the apples’ in deepest, darkest SouthEast London back in ’66 and a genuine Mod classic.

what is Mod? in essence a London born street style from 1962-1966 which has since gone on to be not only internationally known, but also extremely influential both in fashion and attitude. Mod was and continues to be a working class kick up the establishment arse….