Dienstag, 19. Juni 2018

The Pop Group - For How Much Longer Do We Tolerate Mass Murder? (1980)

The Pop Group's second full-length album, 1980's "For How Much Longer Do We Tolerate Mass Murder?", was an even more abrasive and challenging assault upon the listener than their striking debut, "Y", and every bit as urgent and uncompromising as the title would lead one to expect.

Reeling from the first salvos of Margaret Thatcher's reign as British Prime Minister, Mark Stewart's agitprop lyrics became even more direct and filled with purposeful rage on tracks like "Forces of Oppression," "Rob a Bank," "Justice," and "How Much Longer," while the music similarly upped the ante from the debut.

"For How Much Longer Do We Tolerate Mass Murder?" lacks the dubwise tone of Dennis Bovell's production on "Y", but the lean, blunt sound of this album connects with even greater ferocity, starting with a guitar-driven variation on James Brown's primal funk sides of the late '60s and adding elements of free jazz, atonal experimental music, and found noises until the music begins to sound like some sort of riot pouring out of your stereo. New bassist Dan Catsis made it clear he was equal to the Pop Group's aggressive low-end fury, Bruce Smith was capable of holding down the beat on drums while adding color and texture to their unfettered forward charge, and Gareth Sager and John Waddington's guitars cut with the precise yet random impact of a machete. Gang of Four's stellar early work sounds meek and toothless compared to the Molotov cocktail that is "For How Much Longer Do We Tolerate Mass Murder?", and it seems somehow fitting that this would be the Pop Group's last album (at least until they reunited in the 2000s) - it's anyone's guess how they could ever match this album for genuine rancor and chaos.   

Tracklist:

A1 Forces Of Oppression
A2 Feed The Hungry
A3 One Out Of Many
A4 Blind Faith
A5 How Much Longer
B1 Justice
B2 There Are No Spectators
B3 Communicate
B4 Rob A Bank

The Pop Group - For How Much Longer Do We Tolerate Mass Murder? (1980)
(320 kbps, cover art included)

Montag, 18. Juni 2018

Lightnin´ Hopkins - Goin´ Away (1963)

Sam “Lightnin’” Hopkins was a true poet who invented most of his lyrics on the spot and never seemed to run out of new ideas. He was a blues giant of post-war blues whose style was rooted in pre-war Texas traditions. While he cranked up his amp to fierce proportions when performing for his friends at Houston juke joints, producers who recorded him for the so-called folk-blues market usually insisted that he use an acoustic guitar for more “authentic” results.

Either way, Lightnin’ seldom made a bad record, and this June 4, 1963, session on which he played acoustic was among his finest, thanks much to the sensitive support of bassist Leonard Gaskin and drummer Herbie Lovelle, who did a remarkable job of following his irregular bar patterns and abrupt song endings.  They managed to follow his ramshackle, instinctual sense of rhythm quite dexterously, giving Hopkins' skeletal guitar playing some muscle. Still, the spotlight remains Hopkins, who is in fine form here. There are no real classics here, but everything is solid, particularly "Stranger Here" and "You Better Stop Her," making it worth investigation by serious fans of Hopkins' classic material.   

Tracklist:

A1 Wake Up Old Lady 4:24
A2 Don't Embarrass Me, Baby 3:20
A3 Stranger Here 5:49
A4 Little Sister's Boogie 3:30
B1 Goin' Away 5:45
B2 You Better Stop Her 4:39
B3 Business You're Doin' 3:18
B4 I'm Wit' It 3:58

Lightnin´ Hopkins - Goin´ Away (1963)
(320 kbps, cover art included)

Samstag, 16. Juni 2018

Joachim Kühn, Daniel Humair, Jean-François Jenny-Clark - Music from the Threepenny Opera (1994)

While the music of Kurt Weill has been frequently recorded by jazz musicians, most of the songs on this trio date, other than the well-known "Mack the Knife," are not commonly performed in a jazz setting (one early exception was the album by the Sextet of Orchestra, USA).

Pianist Joachim Kuhn is joined by his frequent bandmates, Jean-François Jenny-Clark on bass and drummer Daniel Humair, for this introspective and very entertaining examination of eight songs from Weill's "The Threepenny Opera". "Pirate Jenny" is a driving hard bop performance that becomes quite intense, while the dark "Mr. Peacham's Morning Hymn" begins with a long exchange between Humair and Jenny-Clark, before it slows down for Kuhn's entry. "Solomon's Song" is a delicate waltz with a few dissonant twists added. "Love Song" is a bittersweet ballad made even more poignant by the trio's interpretation.

Kuhn frees himself from the rhythmic boundaries of the original score of "Mack the Knife" almost immediately, turning it into a long free improvisation piece featuring each member of the group in turn before eventually returning to its theme. Fans of post-bop and avant-garde will best appreciate the adventurous music within this highly recommended CD.

Joachim Kühn, Daniel Humair, Jean-Francois Jenny-Clark - Music From The Threepenny Opera
(192 kbps, front cover included)

Donovan - The Universal Soldier (EP, Pye, 1965)

 "The Universal Soldier" was written by Canadian singer-songwriter Buffy Sainte-Marie, who released it on her debut album "It's My Way! "in 1964. The song caught the attention of Donovan, who recorded it with a similar arrangement to the original version.

This song meant a great success for Donovan's early career. Donovan's version of "Universal Soldier" was a hit EP in 1965


Side A:
01. Universal Soldier
02. Ballad Of A Crystal Man

Side B:
03. Do You Hear Me Now
04. The War Drags On

Track 1 by Buffy Sainte-Marie, track 2 by Donovan P. Leitch, track 3 by Bert Jansch, track 4 by Mick Softley.


Donovan - The Universal Soldier EP (Pye, 1965)
(192 kbps, front cover included)

VA - The Gospel Sound (2 CDs)

"This recording documents the changes in Afro-American religious music over a forty-year period. This collection is powerful, filled with vitality, integrity and direct personal communcation.

The best in gospel music from the mid-forties to the late fifties contained moving spirituals by Mahalia Jackson, Marion Williams, The Staple Singers and many other great gospel artists.

Gospel is one of the dominant sounds of our times. In one form or another, gospel has reformed our listening expectations.

The tension between beats, the almost subliminally anticipated climac are straight out of the church. The dance steps that ushered in a new physical freedom were copied form the church dance, the shout. The sit-ins soothed by hymns, the freedom marches powered by shouts, the "brother and sister" fraternity of revolution: the black gospel church gave us all these." - From the liner notes

VA - The Gospel Sound pt 1
VA - The Gospel Sound pt 2
(192 kpbs, front cover included)

Freitag, 15. Juni 2018

Nina Simone - The Amazing Nina Simone (1959)

There is a remarkable amount of variety on this disc, Nina Simone's second recording. Her repertoire ranges from a swinging "Stompin' at the Savoy" and an emotional "It Might as Well Be Spring" to an English folk ballad ("Tomorrow"), spirituals, an R&B song ("You've Been Gone Too Long") and the theme song from the movie "Middle of the Night".

Somehow Simone brings credibility to each of these very different songs. She does not play much piano (just cameos on two songs) and is backed by a subtle orchestra arranged by Bob Mersey that is effective accompanying her vocals. This session finds Nina Simone's voice in top form and with a few exceptions is generally jazz-oriented.                

Tracklist:

01 - Blue Prelude
02 - Children Go Where I Send You
03 - Tomorrow (We Will Meet Once More)
04 - Stompin' at the Savoy
05 - It Might as Well Be Spring
06 - You've Been Gone Too Long
07 - That's Him over There
08 - Chilly Winds Don't Blow
09 - Theme from Middle of the Night
10 - Can't Get Out of This Mood
11 - Willow Weep for Me
12 - Solitaire

Nina Simone - The Amazing Nina Simone (1959)
320 kbps, front cover included)

VA - Cowboy Songs On Folkways





The album features a richly varied set, from Leadbelly to Woody Guthrie, drawn from the vast Folkways archives and dating from the early 40s to the 60s.

VA - Cowboy Songs On Folkways
(192 kbps, front cover and linernotes included)

Max Hansen - Perlen der Kleinkunst

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Max Hansen was born in Mannheim, Germany, but was raised by his step parents in Munich. His mother was a Danish Actress, Eva Haller, his father's name was von Waldheim.

In his school days, he already sang at the Opera House, so he earned the nickname "The Little Caruso" ("Der kleine Caruso"). Later he studied Music and Voice and got a job at the "Simplizissimus Cabaret" in Munich. From 1914 he played operettas in Vienna and became a good friend of Franz Lehár. After that he worked in Berlin at the Metropole Theater and became there a superstar of operettas, revues, cabaret and radio.

He began acting in five silent films, from 1926 to 1928. His first talkie was "Wien, du Stadt der Lieder" (1930) ("Vienna, City of Song") (1930). In 1932 he played opposite Gitta Alpar in "Die - oder keine" (1932) ("She, or Nobody").

His career was brought to an abrupt end because of his Jewish origin but this was only a pretext. He attracted anger of the Nazis above all since he ridiculed Adolf Hitler as homosexual in his hit "Warst Du schon mal in mich verliebt?" in 1932.

Hansen went to Vienna in 1933 and continued to play in theaters. Only before the affiliation of Austria with the Deutsche Reich Hansen moved to Copenhagen. From there he appeared in scandinavian theaters and found work in the Sweden film business. In addition he wrote several songs under the pseudonymous "Sylvester".
In 1951 Max Hansen returned to Germany for occasional stage engagements but he didn't shoot films any longer.
He died in Copenhagen, Denmark in 1961.

Here´s a fine compilation with 40 tunes by Max Hansen:

Max Hansen - Perlen der Kleinkunst CD 1
Max Hansen - Perlen der Kleinkunst CD 2
(192 kbps, cover art included)

Leroy Smart - Let Everyman Survive (1979)

Leroy Smart (born 1952, Kingston, Jamaica) is a reggae singer and producer. He was orphaned at the age of two. He was raised at Maxfield Park Children's Home and educated at Alpha Boys School, where he studied singing, drums and dancing.

Smart recorded his first single, "It Pains Me" in 1969 for a producer called Mr. Caribbean. In 1970 he recorded "Ethiopia" for Joe Gibbs, and the first version of one of his most famous songs, "Pride & Ambition", with producer Gussie Clarke. His breakthrough would come in 1973 with "Mother Liza", produced by Jimmy Radway, which topped the local singles chart, and led to "Pride & Ambition" also becoming a big local hit. After working with Bunny Lee for several years, he recorded another of his best-known songs, "Ballistic Affair" at Channel One, in 1976, and began producing himself in 1977. Smart has continued recording and remains popular, with over 35 albums to his name. He is regarded as one of Jamaica's most outrageous and colourful characters.
Smart appeared in the film Rockers along with contemporaries such as Gregory Isaacs and Jacob Miller.

In 1979, Leroy Smar joined up with producer Alvin "GG" Ranglin to bring out two albums, "Showcase Rub A Dub" and "Let Everyman Survive". It becomes abundantly clear from the ten numbers on this album that besides singing talent, Leroy also possesses original ideas and the ability to convert them into flowing texts.

Tracklist
1Sugar In My Coffee
2Jah Is At Hand
3I Still Pray
4If You Want My Love
5Live Up Right
6Let Everyman Survive
7Collie Give Me Wisdom
8You Are Mine
9Black And White
10You Never Need Me

Leroy Smart - Let Everyman Survive
(192 kbps, front cover included)

Donnerstag, 14. Juni 2018

Buffalo Springfield - The Missing Herd

Buffalo Springfield was a North American rock band renowned both for its music and as a springboard for the careers of Neil Young, Stephen Stills, and Richie Furay. Among the first wave of North American bands to become popular in the wake of the British invasion, the group combined rock, folk, and country music into a sound all its own.

They were very diverse, encompassing all of the country, rock, folk, pop, and psychedelic influences in a strange and unique blend, and while they only were together for a period of about 2 years total, produced many all-time classic tracks and jams.

Here is an excellent bootleg compilation (1 disc of live tracks, 1 disc of outtakes & rarities), titled "The Missing Herd", which was compiled to be a companion to the officially-released 4-CD Buffalo Springfield Box Set, released in 2001.


Tracklist:

1-1Nowadays Clancy Can´t Even Sing (Demo)3:00
1-2Do I Have To Come Right Out And Say It (Alt)3:08
1-3"Raga 1" (Unreleased)1:29
1-4My Kind Of Love (Alt)2:33
1-5Down To The Wire (Alt)2:33
1-6Mr. Soul (Alternative Mix)2:40
1-7Bluebird (Extended Mix)9:11
1-8Sell Out (Demo)2:36
1-9For What It´s Worth2:57
1-10Nowadays Clancy Can´t Even Sing3:33
1-11Rock`N´Roll Woman4:06
1-12Bluebird4:24
1-13A Child´s Claim To Fame2:00
1-14Merry Go Round (45, Alt. Mix)2:07
1-15Uno Mundo (45, Alt. Mix)2:06
1-1649 Reasons (Demo)2:32
1-17Road Of Plenty (Barn Rehearsals 1988)4:22
1-18"Stills Boogie" (Barn Rehearsals 1988)3:29
1-19Bluebrid (Extended Mix, Alt)9:30
2-1Introduction0:41
2-2Go And Say Goodbye2:40
2-3Mr. Soul6:27
2-4Bluebird9:18
2-5Pay The Price5:32
2-6Nobodys Fool4:11
2-7My Kind Of Love4:21
2-8Good Time Boy3:32
2-9For What It's Worth3:30
2-10Rock`N´Roll Woman4:13
2-11A Child´s Claim To Fame2:36
2-12Nowadays Clancy Can´t Even Sing4:50
2-13Uno Mundo2:32
2-14For What It´s Worth3:30
2-15Blue Bird12:13
2-16Epilogue: On The Way Home2:14

CD1: (68:15min)
Tracks 1-8: Studio outtakes.
Tracks 9-13: International Pop Festival, Monterey, CA, USA, 18th June 1967.
Tracks 14-19: Studio outtakes.

CD2: (72:37min)
Tracks 1, 8, 9: Long Beach Arena, Long Beach, CA, USA, 05th May 1968
Tracks 2-7: Teen And Twenty Club, Huntington Beach, CA, USA, 11th&12th August 1967
Tracks 10-15: Market Hall, Dallas, TX, USA, 20th April 1968
Track 16: Fillmore Auditorium, San Francisco, CA, USA, December 1967           


Buffalo Springfield - The Missing Herd pt 1
Buffalo Springfield - The Missing Herd pt 2
(192 kbps, cover art included)

Luis Mariano - Le Chanteur de Mexico

Mariano Eusebio González y García (13 August 1914 – 14 July 1970), also known as Luis Mariano, was a popular tenor of Spanish Basque origin who achieved celebrity in 1946 with « La belle de Cadix » (« The Beautiful Lady of Cadix ») an operetta by Francis Lopez. He appeared in the 1954 film Adventures of the Barber of Seville and Le Chanteur de Mexico (1957) and became popular in France as well as his native Spain.

Luis Mariano was born in Irun, Spain on 13 August 1914, the son of a garagiste and taxi-driver and showed interest in singing as a child. His family moved to France at the start of the Spanish Civil War and settled in Bordeaux where he studied at the Conservatoire, and also sang in cabarets.
Jeanne Lagiscarde, who was in charge of the classical department of a record store in Bordeaux, took Mariano under her wing, and gave up her job to nurture his talent in Paris. To earn a living, he sang in stage shows and appeared in films, starting with 'L'escalier sans fin' in 1943. That year he auditioned for the role of Ernesto in Don Pasquale, and sang in the opera at the Palais de Chaillot and later at the Théâtre des Variétés, with Vina Bovy, recording excerpts from the opera. He also left many recordings of popular song and operetta.

He continued to appear in other films from 1946, including a singing role in Napoléon and a film adaptation of Lehar's Der Zarewitsch.
In his encyclopedia Gänzl describes Mariano as a "svelte singing idol of French operetta of the post-war stage and screen". Mariano died in Paris in 1970.
His music is featured prominently in the 1996 Belgian film Le huitième jour in which he is played by Laszlo Harmati during scenes employing magical realism.

Luis Mariano - Le Chanteur de Mexico
(256 kbps, front cover included)

Mittwoch, 13. Juni 2018

Pablo Milanés - No Me Pidas (1977)

Along with Silvio Rodriguez, Pablo Milanés was one of the crucial figures in Cuba's nueva trova popular-song movement of the late '60s; sponsored by Fidel Castro's government, the collective of nueva trova musicians were essentially supposed to reconfigure and update traditional Cuban folk musics for the nation's new, modern, post-revolutionary society.

Milanés gained renown for his highly poetic lyrics and smooth yet emotional singing, becoming one of the most popular and respected Cuban musicians and songwriters of the late 20th century, and releasing a hefty number of records. He is a controversial figure to some -- exiles despise his staunch support of Castro, while others criticize his musical forays into sentimental, orchestrated jazz-pop -- but his status as one of the most important links between traditional and contemporary Cuban music has remained virtually unassailable into the new millennium.       

Tracklist:

A1 No Me Pidas
A2 Si Morimos
A3 Son De Cuba A Puerto Rico
A4 Años
A5 Ya Ves
A6 Yo No Te Pido
B1 El Manantial
B2 Vamos Al Jugar Al Pasado
B3 Dia De Reyes
B4 Es Rubia, El Cabello Suelto
B5 Havemos De Voltar (Volveremos)


Pablo Milanés - No Me Pidas (1977)
(192 kbps, cover art included)   

Woody Guthrie - Struggle (1941)

This album was originally released by Moses Asch, founder of the Folkways label, on Asch Records in 1941 as "Struggle: Documentary No. 1".

It was re-released by him in 1976 to commemorate the bicentennial of the American Revolution with a special series of liner notes by Asch explaining the importance of Woody Guthrie's history of the working class through song.

Both Guthrie's songs and the liner notes are stuff of supreme cultural importance. In the notes, Asch lays out a theory that the American Revolution has not yet been completed and there is a need for a "continuing struggle for human rights and equality."
As a collection of songs, this is surely one of the best Guthrie collections, especially once it's known how important it was to him personally. In many ways, it seems as if this album was the fulfillment of a very personal vision, which starts with the songs but is only realized in their collectivity.

Included here are such excellent songs as the unsettling "Hang Knot," the elliptic "Union Burying Ground," and the finely spun "Pretty Boy Floyd." These songs define Guthrie at his best, never didactic in tone but supreme in import. The album also features the Cisco Houston (Guthrie's sometime tramping companion) number "Get Along Little Doggies," as well as his vocal accompaniment on several tracks. Sonny Terry guests on "Lost John," lending his harmonica to Guthrie's tale of a chain gang escapee. Both as a historical artifact and as an amazing Guthrie album, this is required listening.

(320 kbps, cover art included)

Dienstag, 12. Juni 2018

Nina Simone - Sings Ellington! (1962)

The album, as the title suggests, showcased 11 songs written by and associated with the great jazz bandleader. The Malcolm Dodds Singers supplied backing vocals to augment Nina and her piano, an unidentified orchestra also present on the 1961 sessions. Her approach was typically unorthodox, ‘Satin Doll’ being tackled as an instrumental and ‘I Got It Bad’ possessing a gospel feel.

The album was released in 1962, and its original sleevenote read in part: ‘It was inevitable that Nina would one day sing Duke Ellington, and that day, much-waited and much-wanted, is happily here… Ellington’s individualistic and timeless music is complemented perfectly by one of the great stylists of our time. Her range, through the Ellington standards and the lesser-known but nonetheless unique creations is nothing short of masterful.’
Tracklist:

1. Do Nothin' Till You Hear From Me
2. I Got It Bad (And That Ain't Good)
3. Hey, Buddy Bolden
4. Merry Mending
5. Something To Live For
6. You Better Know It
7. I Like The Sunrise
8. Solitude
9. The Gal From Joe's
10. Satin Doll
11. It Don't Mean A Thing (If It Ain't Got That Swing)


Nina Simone - Sings Ellington! (1962)
(256 kbps, cover art included)

Varius Artists - Beat Jazz - Pictures From The Gone World (1995)



"Beat Jazz" is a out-of-print 20 track compilation of cool 50s style jazzy beat numbers. Kind of
Beat era recordings from spoken word, to sung poetry, to bebop, to doo-wop, to R&B, to hipster and jive....
It was released on Pesky Serpent Records in 1994.

From the web:
"this is one beautiful collection of beat music,
spoken word and crazed goofballed lyrics. Way out there selections
of many unknown beat artists at their most primitive level spewing
forth underground sounds and styles of a bygone era. No Zane or kitch
here but straight ahead songs that ooze the beat feel! This is a
fantastic selection of music. For me its the beat of this genre..."


Tracklist:

1. FROSTY AND THE DIAMONDS - Destination Mars
2. SLIM GAILLARD - Travelin Blues
3. KENNETH REXROTH - State & 32nd
4. COLEMAN HAWKINS - Picasso
5. GREGORY CORSO - Bomb
6. SCOTTY McKAY - Black Cat
7. JACK HAMMER - Like
8. GIL MELLE - The Gears
9. DOCTOR BOP - Satin & Velvet
10. ANITA ELLIS w/DAVID AMRAM - The Crazy Daisy
11. BOB DOROUGH (by Ferlinghetti) - Dog
12. HARVEY ANDERSON - Monday Night at 8pm
13. JACK KEROUAC - Cockroach
14. THE COSMIC RAYS with SUN RA - Dreaming
15. ROY GLENN - Big High Song For Somebody
16. ADA MOORE - Devil
17. MOONDOG - Up Broadway
18. WOODY LEAFER - Drums In My Typrewriter
19. THE NEW BANGS - Go Go Kitty
20. ELLIE GIRL & THE 7 BEAT SULKS - Let's Make It

VA - Beat Jazz - Pictures From The Gone World

King Size Ska - Original Jamaican Instrumental Ska Sounds 1964-1966 (Trojan)

This album is a collection of original Jamaican instrumental ska sounds, recorded from 1964 to 1966.
This compilation collects some excellent ska tunes, in particular "El Torro" and "The Cat" by Roland Alphonso. Baba Brooks trumpet never sounded better as it does on "First Session", check it out. Well done, Trojan!

Trojan Records was founded in 1967 by Chris Blackwell and Lee Gopthal, as an Island Records subsidiary. The first releases were licensed from Duke Reid's Treasure Isle label, and the company took its name from Reid's sound system - The Trojan. In the 60s and 70s Trojan did a major effort in spreading Reggae over the UK, licensing Jamaican releases as well as pushing their own UK acts.

Tracks:
1 Roland Alphonso -El Torro
2 Baba Brooks & His Recording Band -King Size
3 Granville Williams Orchestra -Hi Life
4 Roland Alphonso -On The Move
5 Sammy Ismay & Baba Brooks Band- Cocktails For Two
6 Raymond Harper & Carib Beats- No Other Love
7 Roland Alphonso -Women Of The World
8 Baba Brooks & His Recording Band- Faberge
9 Granville Williams Orchestra -Old McDonald
10 Roland Alphonso -Nothing For Nothing
11 Tommy McCook & The Supersonics- Riverton City
12 Val Bennett & His Selected Group -Atlas
13 Roland Alphonso -Jungle Bit
14 Baba Brooks & His Recording Band -First Session
15 Granville Williams Orchestra-Popeye Ska
16 Roland Alphonso The Cat
17 Roy Richards & Baba Brooks Band, The Contact
18 Raymond Harper & Carib Beats, The Amour
19 Roland Alphonso Guantanamera
20 Carib Beats, The J.J. Special
21 Granville Williams Orchestra-Honky Tonk (Ska)
22 Roland Alphonso -Song For My Father
23 Baba Brooks & His Recording Orchestra -The Scratch
24 Granville Williams Orchestra -Tear Up
25 Cluett Johnson Orchestra Hot Nosh


King Size Ska - Original Jamaican Instrumental Ska Sounds 1964-1966  (Trojan)

(192 kbps, front cover included)

Mississippi John Hurt‎– Today! (1966)

"Today!" is Mississippi John Hurt's first and finest studio release since his "rediscovery" on his Avalon farm by folklorist Tom Hoskins in 1963.

Eclipsed possibly only by his earlier "1928 Sessions", this album shows a more mature Hurt picking his way through standards and originals after the Depression years and Hurt's fall into obscurity before the folk revival of the 1960s. It shows, however, that all that the great bluesman has lost is years; his voice retains its characteristic Buddha-esque warmth and it is still difficult to believe that there is just one man playing on the seemingly effortless guitar work.

The music on the album comes from a variety of different influences, from the fun and poppy "Hot Time in Old Town Tonight" and "Coffee Blues," to the bluesy standards "Candy Man" (Hurt's most famous song) and "Spike Driver's Blues" to the soulful spirituals "Louis Collins" and "Beulah Land."

Hurt's tranquil guitar work - mixing country, Scottish folk, and Delta blues - strings all of the songs along the same simple and elegant thread. Hurt himself never could explain his guitar playing, as he used to say, "I just make it sound like I think it ought to." Regardless, that sound, along with a mellow and heartfelt voice, wizened here by decades, combine to make "Today!" an unforgettable whole. A truly essential album of the folk revival, unrivaled in its beauty and warmth.    

Tracklist
A1Pay Day4:18
A2I'm Satisfied2:50
A3Candy Man2:53
A4Make Me A Pallet On The Floor4:29
A5Talking Casey5:04
A6Corinna, Corinna1:51
B1Coffee Blues3:43
B2Louis Collins4:04
B3Hot Time In The Old Town Tonight3:03
B4If You Don't Want Me , Baby3:18
B5Spike Driver's Blues3:24
B6Beulah Land3:43

Mississippi John Hurt‎– Today! (1966)  
(192 kbps, cover art included)

Donovan - Summer Day Reflecting Song (EP, Pye, 1965)

Upon his emergence during the mid-'60s, Donovan was anointed "Britain's answer to Bob Dylan," a facile but largely unfounded comparison which compromised the Scottish folk-pop troubadour's own unique vision. Where the thrust of Dylan's music remains its bleak introspection and bitter realism, Donovan fully embraced the wide-eyed optimism of the flower power movement, his ethereal, ornate songs radiating a mystical beauty and childlike wonder; for better or worse, his recordings remain quintessential artifacts of the psychedelic era, capturing the peace and love idealism of their time to perfection. Donovan Leitch was born May 10, 1946 in Glasgow and raised outside of London; at 18 he recorded his first demo, and in 1965 was tapped as a regular on the television pop showcase Ready, Steady, Go! He soon issued his debut single "Catch the Wind," earning the first round of Dylan comparisons with his ramshackle folk sound and ragamuffin look; the single nevertheless reached the U.K. Top Five, with a subsequent meeting between the two singer/songwriters captured in the classic D.A. Pennebaker documentary Don't Look Back.

Donovan's follow-up single, "Colours," was also a hit, and after making his American debut at the 1965 Newport Folk Festival, he issued Fairytale, his second and last LP for the Hickory label. Signing with Epic in 1966, he released his breakthrough album, Sunshine Superman, which in its exotic arrangements and pointedly psychedelic lyrical outlook heralded a major shift from his previous work; the title track topped the charts on both sides of the Atlantic, with the enigmatic "Mellow Yellow" reaching the number two spot a few months later

In 1965, before Donovan's U.S. contract was transferred to Epic, he made 30-plus recordings for Pye in the U.K., all in an acoustic folk mold (with occasional additional instruments and percussion).

Here is the first bunch of these recordings, released on the EP "Summer Day Reflecting Song":

Side A:
01. Summer Day Reflection Song
02. Ballad Of Geraldine

Side B:
03. To Try For The Sun
04. Belated Forgiveness Plea
 

Donovan - Summer Day Reflecting Song (EP, Pye, 1965)

Montag, 11. Juni 2018

Bob Dylan - Folksingers Choice - Cynthia Gooding Radio Show, February 1962

PhotobucketThis is a true not-to-be-missed gem. It belongs in every Bob Dylan fan's collection.

The recording was made in February 1962. The date of March 11, 1962 is listed on the cover, though this is most likely a re-broadcast date. The original radio show broadcast could have been as early as February.

History is a bit fuzzy here. This long lost radio show is in perfect quality. It is complete with wonderful live-on-the-spot renditions of the above traditional and Dylan songs, as well as fascinating conversation with a young, as yet undiscovered talent.

Bob relates, hilariously, the eponymous title of his soon to be released first LP, and so much more. There is conversation in-between each song that is priceless. All in all, one of the best boots ever to emerge.


Tracks:
Lonesome Whistle Blues
Fixin' To Die
Smokestack Lightning
Hard Travelin'
Death Of Emmett Till
Standing On The Highway
Roll On John (Misidentified as "Long John")
Stealin'
Long Time Man Feel Bad
Baby Please Don't Go
Hard Times In New York

Bob Dylan - Folksingers Choice - Cynthia Gooding Radio Show, February 1962

Sonntag, 10. Juni 2018

Ton Steine Scherben - IV ("Die Schwarze")

West Berlin was, for obvious reasons, a city where many political rock bands developed during the late sixties and early seventies.
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The most important artists of this movement were Ton Steine Scherben, along with Lokomotive Kreuzberg. The guiding forces of the band were Ralph Mobius aka Rio Reiser and Ralph Steitz aka R.P.S. Lanrue who first played together in the quartet Degalaxis in 1965. In 1967 Mobius was involved in the foundation of an early beat-rock-opera attempt named "Robinson 2,000". That year Mobius and Steitz also formed a theatre and music group named Hoffmann's Comic Theater. Kai Sichtelmann and Wolfgang Seidel aka Wolf Sequenza also joined this group in 1969 and 1970 respectively. A single "Macht Kaputt Was Euch Kaputt Macht" coupled with "Wir Streiken" was released in 1970.

After this, Hoffmann's Comic Theater changed its' name to Ton Steine Scherben. The single sold surprisingly well and the band appeared on German TV. This, and their constant, aggressive political agitation, quickly established them as leading proponents of the Berlin counter culture. Their concerts often resulted in riots and house occupations. After a concert in Basel, the band promptly organised a demonstration against political injustice in Switzerland. The Swiss authorities honoured this action by declaring the band 'persona non grata'. The band's debut LP appeared in September 1971 on their own David Volksmund label. With very aggressive music and lyrics, partly recorded live at Alte Mensa, the band earned their reputation as the first new wave/punk band in Germany.

A member of the group's living commune once finished a television-broadcasted public discussion by splitting the studio's table with an axe. Wolf Sequenza left the band at the end of 1971. In the late seventies he resurfaced with Conrad Schnitzler, making experimental electronic music. The band's next work was "Keine Macht Für Niemand", a double album which covered a much larger musical span than the debut. Jorg Schlotterer and Jochen Petersen contributed to the album. Indeed, this was a fine collection of progressive political rock, quite different to Floh de Cologne's style. After an early 1972 tour, the band temporarily withdrew from live appearances and in 1973 the only life-sign was (the reinforced) Hoffmann's Comic Theater record for children, entitled "Herr Fressack" (Rothkehlchen 1) (1973). In the Spring of 1974 they attempted a live come-back with mixed results. The audiences expected the band to be aggressive leaders of a desired, forthcoming political revolution, but were met by a band outrageously dressed in satin and velvet, who poured out glitter from the stage. However, after rethinking their stage presentation, Ton Steine Scherben was again met by acclaim. The next album, "Wenn den Nacht am Tiefsten" (1975), was another double one, taking 12 months to complete and including a lot of different musical styles. Their lyrics this time were more resigned. Along with its predecessor, this was their highest achievement.

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For me, their fourth album, simply called "IV" or "Die Schwarze" always was an absolute favourite - maybe the best rock album in german language. It is still a mysterious recording, with deep lyrics and a kind of strange, psychedelic, melancholic and avantgarde sounds, sometimes compared to The Clash´s "Sandinista".

"Alles ist viel und viel ist nichts - luftig zu dir."

Ton Steine Scherben - IV part 1
Ton Steine Scherben - IV part 2
(192 kbps, cover art included)