In 1975, Welsh singer Tom Jones released his 20th studio album, and the second single from that release was the album's title track, Memories Don't Leave Like People Do. like people do. This recording was produced by

Mowtown singer-songwriter Johnny, who co-wrote the track as well as released his own version of it just one year earlier.

But to find the origin of memories don't leave like people do, we have to back up even further because Bristol co-wrote the

track with Jerry Butler, who recorded and released his own version of the song

first in 1973. The song would more or less go dormant after this string of releases in the 1970s.

But some 20 years later, a portion of the track would unexpectedly resurface on a disc track by

Jamaican dance-all artist Beanie Man. What a long strange trip this song took from the early R&B tones of Jerry Butler to

the Motown sounds of Johnny Bristol to the robust baritone of Tom Jones to the dance

all vibes of Beanie Man.

Still, the song's journey doesn't end here.

Because some 20 years later, Connie West would resurrect Beanie Man's rendition for the second to last track of Jesus. More than a simple sample for aesthetic purposes. The well-traveled song

Memories Don't Leave Like People Do, represents one of the last major plot points in the Jesus narrative, and in my opinion is one of the most brilliant uses of a sample in Connie's entire catalog.

From Spotify, I'm Cole Kushna, and this is Disseg, long-form musical analysis broken into short

digestible episodes. Today we continue our serialized examination of Kaniy-West Yizizes with its penultimate track, Send It Up. So, Spark your creativity with the Sims. Sometimes you might feel like you're not

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Last time I dissect, we examined Yesus's 8th track, Guilt Trip.

The song began as a somber continuation of blood on the leaves, where the fallout from a relationship resulted in Yesus being torn into of But beneath that is a well of vulnerability full of pain, loneliness, and longing.

It's the tension between these two conflicting sides that makes up most of the album's

central conflict. In Gil trip, that clash between vulnerability and ego reverses its paradigm.

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