A native of Mounds, OK, he moved to Pasadena, CA, as a child, where he attended school with such future jazz musicians as Bobby Hutcherson and Herb Lewis. As a teenager, Wilson began to teach himself to play piano, but his attention was diverted by boxing, which landed him a sparring gig with heavyweight Floyd Patterson, and perhaps more notably, landed him an acting spot in the landmark feature film, Carmen Jones. When he was 17, he moved to Los Angeles and married a nightclub singer, through whom he met a number of professional musicians. Associating with musicians convinced Wilson to return to music. Instead of pursuing the piano, he decided to take up the organ, and it wasn't long before he became a regular at the Caribbean club, where he played with drummer Eddie Williams, guitarist George Freeman, and, eventually, Clifford Scott (of Bill Doggett’s “Honky Tonk” fame). He played the L.A. circuit for several years before deciding to try his luck in Las Vegas. That venture proved unsuccessful, so he moved back to L.A., where he struck up a friendship with Richard "Groove" Holmes, an organist who would greatly influence his own style.
In December 1966, Wilson relocated to New York, New York, where he formed a soul-jazz trio, the Wildare Express, with drummer Tommy Derrick. The Wildare Express lasted about six months, recording one album for Brunswick, and playing venues throughout the East Coast and Detroit, and then Wilson decided to concentrate on more complex variations of hard bop and soul-jazz. Eventually, such respected musicians as Grant Green, Roy Haynes, and Sam Rivers began playing with Wilson. Around the same time, Blue Note offered the organist a contract based on a demo he had sent the label.
On Broadway, Wilson's first album for Blue Note, was a quartet session featuring his old bandmate Derrick and was recorded in October of 1968. It was followed in March of 1969 by Love Bug, which featured contributions from trumpeter Lee Morgan and guitarist Grant Green. His third album, Blue Mode, was cut in December, 1969 and offered some of his hottest playing. With his fourth album, 1970's A Groovy Situation, Wilson moved in a commercial direction, much like many of his Blue Note peers.
In July of 1971, he recorded Set Us Free, his final album for the label. Wilson's contract with Blue Note expired after Set Us Free and he moved to Groove Merchant, where he released three albums – Cisco Kid, Cisco Kid, Bad Stuff, and The Sweet Life – during the mid-'70s. He then recorded a cult club classic for Cadet, And the Cost of Money. Throughout the decade, he also played on sessions by funk, soul, and jazz artists, including a record by the Fatback Band. During the late '70s, he recorded sporadically, eventually retiring from music in the early '80s.
By the late '80s, Wilson's music had been rediscovered by a new generation, listeners who didn't dismiss his records as commercial fluff. Like several of his peers, his late-'60s and '70s records, through sampling, became cornerstones in the newly emerging acid jazz and jazz-rap genres. Soon, his out of print records became collector's items, and his sampled licks were appearing on dancefloors throughout England and parts of New York. Eventually, samples of his records were included on hit albums by A Tribe Called Quest, Us3, Brand New Heavies, and Nas.
In light of all this new attention, Wilson decided to return to performing, and he toured with Guru's Jazzmatazz revue in 1995. He also began writing new material and performing in new groups, including combos he led himself. In 1996, he signed to Hip Bop and recorded Organic Grooves with Dr. Lonnie Smith and Doug Carn. Throughout the last decade he’s continued recording both solo albums as well as funk full-lengths with the group, Godfathers of Groove, which features Grant Green Jr. and Bernard Purdie. He continues to perform in clubs and festivals across the world, from the Montreux and Monterey Jazz festivals to the Jazz Standard and Great American Music Hall.
Inner City Blues
Reuben Wilson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Dah, dah, dah, dah, dah, dah, dah
Dah, dah, dah, dah
Dah, dah, dah, dah, dah, dah, dah
Dah, dah, dah
Rockets, moon shots
Spend it on the have nots
Money, we make itFore we see it you take it
Oh, make you wanna holler
The way they do my life
Make me wanna holler
The way they do my life
This ain't livin', this ain't livin'
No, no baby, this ain't livin'
No, no, no
Inflation no chance
To increase finance
Bills pile up sky high
Send that boy off to die
Make me wanna holler
The way they do my life
Make me wanna holler
The way they do my life
Dah, dah, dah
Dah, dah, dah
Hang ups, let downs
Bad breaks, set backs
Natural fact is
I can't pay my taxes
Oh, make me wanna holler
And throw up both my hands
Yea, it makes me wanna holler
And throw up both my handsCrime is increasing
Trigger happy policing
Panic is spreading
God know where we're heading
Oh, make me wanna holler
They don't understand
Dah, dah, dah
Dah, dah, dah
Dah, dah, dah
Mother, mother
Everybody thinks we're wrong
Who are they to judge us
Simply cause we wear our hair long
The lyrics to Reuben Wilson’s “Inner City Blues” speak about the struggles and injustices that accompany living in impoverished urban areas. The opening lines, “Rockets, moon shots, spend it on the have nots, money, we make it, fore we see it you take it,” highlight the frustration of living in a society that does not prioritize the needs of the less fortunate. The subsequent lines, “Oh, make you wanna holler, the way they do my life, make me wanna holler, the way they do my life,” express the desperation and anger felt by those living in poverty.
The lyrics also address other issues that arise from living in impoverished urban areas, such as the lack of educational and economic opportunities and the prevalence of crime and police brutality. The lines “Inflation no chance, to increase finance, bills pile up sky high, send that boy off to die” point to the economic insecurity and militarism prevalent in many urban areas. The lines “Crime is increasing, trigger happy policing, panic is spreading, God know where we’re heading” speak to the fear and chaos that can arise from a lack of resources and support.
The final lines of the song, “Mother, mother, everybody thinks we’re wrong, who are they to judge us, simply cause we wear our hair long” speak to the larger societal issues of oppression and discrimination faced by minority groups in the United States. Overall, “Inner City Blues” serves as a powerful statement about the need for social and economic justice in impoverished areas.
Line by Line Meaning
Dah, dah, dah, dah
Instrumental intro
Dah, dah, dah, dah, dah, dah, dah
Instrumental bridge
Dah, dah, dah, dah
Instrumental break
Dah, dah, dah, dah, dah, dah, dah
Instrumental bridge
Dah, dah, dah
Instrumental break
Rockets, moon shots
Spending money on space exploration
Spend it on the have nots
Spending money on the underprivileged
Money, we make it
We earn money
Fore we see it you take it
Before we even receive it, taxes are deducted
Oh, make you wanna holler
Causes frustration and anger
The way they do my life
Refers to the injustices faced in society
Make me wanna holler
Causes frustration and anger
The way they do my life
Refers to the injustices faced in society
This ain't livin', this ain't livin'
Life is unbearable
No, no baby, this ain't livin'
Life is unbearable
No, no, no
Reinforcing the negative sentiment
Inflation no chance
No opportunity to keep up with rising prices
To increase finance
To improve financial situation
Bills pile up sky high
Expenses are increasing rapidly
Send that boy off to die
Referring to young soldiers being drafted to wars
Hang ups, let downs
Disappointments and failures
Bad breaks, set backs
Unlucky circumstances and obstacles
Natural fact is
Referring to the reality of the situation
I can't pay my taxes
Unable to afford paying taxes
Oh, make me wanna holler
Causes frustration and anger
And throw up both my hands
Feeling hopeless and helpless
Yea, it makes me wanna holler
Causes frustration and anger
Crime is increasing
Rising crime rates in society
Trigger happy policing
Police using force recklessly
Panic is spreading
People are scared and anxious
God know where we're heading
Uncertain of the future
Oh, make me wanna holler
Causes frustration and anger
They don't understand
The people in power are not empathetic
Mother, mother
Directly addressing mother as a symbol of nurturing
Everybody thinks we're wrong
People often criticize those who are different or rebels
Who are they to judge us
Questioning the authority of the critics
Simply cause we wear our hair long
A reference to the Hippie Movement and counterculture
Dah, dah, dah
Instrumental outro
Dah, dah, dah
Instrumental outro
Dah, dah, dah
Instrumental outro
Lyrics © Sony/ATV Music Publishing LLC, Royalty Network, Kobalt Music Publishing Ltd., Warner Chappell Music, Inc.
Written by: Marvin Gaye, James Nyx
Lyrics Licensed & Provided by LyricFind
@BastiatHayek
Organ – Reuben Wilson
Bass – Mickey Bass
Drums – Thomas Derrick
Guitar – Lloyd Davis
Tenor Saxophone – Ramon Morris
1972
@snr.puente5109
thx!
@kingsofcobra
Phife/Jarobi/ Ali told me/Get force like Wan Kenobi 💯💯💯
@pacrox2
Body's healthy, mind is wealthy, prostate flow that will propel me
@paulhirst1182
Hang ups, let downs, bad breaks, set backs....
@dalemuir1105
Just listened to Living Colour's version and then A Tribe Called Quest's 'Youthful Expression' back-to-back, and it made me look this up
@UBZUKki
Excellence.........Got to give a shout out to Tribe called quest, Sample machines, Dope hip hop producers and old school HIP HOP in general........Love it.
@Ivanselectsongs
"politicians are magicians" thanks Tribe!
@stoist5720
Amazing! Thanks to "Pulp Fusion (The Return Of The Original Ghetto Jazz & Funk Classics)" for bringing me here!
@jean-paulvicente7674
💯💥💥💥