Singng Principal "Women's Lib" question...
waxjunky
1,848 Posts
What does dude say at the end of the first verse, right after "signify"? I've always wondered and it's time to ask. If SS can't answer, no one can.
Comments
Ehm, that's what I always thought, but I'm sure I'm wrong. I mean seriously, WTF?
who plays on this track? great musicianship all around...
is the third verse "bitch, your lawyer called today..."? does he say bitch? i cant tell.
I did some research just now, and the publisher of "Woman's Lib" is Lu-Pine Production (or Lu-Pine Production Company). The label seems to have originated in Detroit, and the titles in the 50's represent a bit of Detroit doo-wop. The label was was run by Robert West, who also had a string of other labels too (including Contour). Some of his titles were picked up by Atlantic for distribution (which was common for a lot of small indie soul labels in the 60's). Apparently there was some troubles going on with one of his business partners, and was shot, at least according to this link:
http://soulfuldetroit.com/archives/3838/3557.html?1054857956
For whatever reason, that lead him to Las Vegas, and I bring that up because the Singing Principal 45 on Flick is listed as being from Las Vegas. Lupine Records also revived in Las Vegas and both the Lupine and Flick labels shared the same address.
Looking at another site, it states that Robert West was Eddie Floyd's uncle, and not only was responsible for getting Betty Lavett signed to Atlantic, but also released some of the first sides by The Supremes before they became the Supremes.
I only bring this up because I was not aware of a soul scene in Las Vegas, and considering the connections West had, "Woman's Lib" may have been of Detroit origin. Some of it reminds me of Mack Rice.
BMI lists a Larry Woolen as a contact for the music owned by Lupine, so it may be possible (maybe) that he has some documentation of who played on the song, unless his role is just on the publishing side.
Is what I always thought it was.
you're welcome.
Probably the same way they licensed the mysterious Joe S. Maxey 45.
This (on the Action label) from the comments on a blog post I did about the record.
This....
and this...
which are both in actuality this...
...not quite - Ichiban went out of business around '98-99.
I'll let Sampo know when I see him...
Solid. Thank you much.
so the artist is saying, "if you want woman's liberation, I'm going to kill you"? (Metaphorically speaking)?
"as stretch loosens over to the band" ???
i cant pretend to get close on that one
"zulu...gestapo" had me lost for a while
yes, but by the end of the song he's changed his tune and accepted his fate as a typical p-whipped man, even going so far as to serve his woman breakfast in bed. complete with eggs made to order.
It's an old Zulu Nation chant, indicating that they were such bad ass motherfuckers, they were as hard as the Gestapo. It's similar to why a lot of old school biker gangs borrowed iconography from Nazis as well - iron crosses for example - even when they were not "Neo-Nazi" in any sense of the term.
http://www.sendspace.com/file/aebjrt
Yeah, I've always got a kick out of hearing Jamaican (and other)
interpretations of difficult lyrics when covering songs. There are
a ton of amusing/confusing lines in reggae covers. The one that
immediately comes to mind is the Chosen Few version of "Tears of
a Clown" ... when they get to the line where the Miracles said
"... just like Pagliacci, did, I'm gonna keep my sadness hid"
instead the singer says "... juts like Pollyanna did ..."
I always wondered if the Chosen Few were unfamiliar with the
Leoncavallo opera and said what they thought the line was, or if they
were more clever than I gave them credit for, and the story of
Pollyanna was actually comparable to the Pagliacci tale in some way.