Freitag, 12. August 2016

Ramblin' Jack Elliott - Ramblin' Jack Elliott Sings Woody Guthrie And Jimmie Rodgers & Cowboy Songs

This 24-song CD is spellbinding for the different styles and approaches that Elliott takes to the three distinct bodies of work (drawn from two separate LPs) contained within.
His covers of a half-dozen Woody Guthrie songs emphasize his vocals and their expressiveness, with the accompaniment subordinate to the singing.
The Jimmie Rodgers stuff, by contrast, shows off some very attractive playing by all concerned, with wonderfully smooth guitar and fiddle work, and a very fine produced sound. The two sets of six songs sound very dissimilar to each other -- Elliott has more of a drawl on the Guthrie material and a fine yodel on the Rodgers songs. And then the Western songs show off another, more rudimentary sound -- Elliott's voice has more of a twang here, and the playing is, once again, usually somewhat subordinate to the singing. Elliott and his producers were careful to juxtapose contrasting songs, so that the bracing Western swing-style number "Sadie Brown," with its jaunty fiddle, is followed by the haunting, unaccompanied "Night Herding Song," highlighted by Elliott's glorious near-falsetto yodel.
Also in contrast to the Rodgers and Guthrie songs, the cowboy songs show almost no use of stereo separation. These versions have a beguiling air of authenticity despite their being recorded long after the point they were written -- on "Jack O' Diamonds," in particular, Elliott compares favorably with Tex Ritter (who turned the song into a hit as "Rye Whiskey"), complete with the alcoholic whooping and hollering that helped make Ritter's version so beguiling and endearing. Elliott covers at least three styles here, with little overlap; it's more than one hour of excellent material that's the equal of any of his various best-of compilations from different labels.     

Ramblin' Jack Elliott - Ramblin' Jack Elliott Sings Woody Guthrie And Jimmie Rodgers & Cowboy Songs
(160 kbps, front cover & booklet included)  

Donnerstag, 11. August 2016

Neil Young & Crazy Horse - Danny By The River (Bootleg, Cincinnati, February, 25, 1970)

"Danny By The River" presents an almost complete soundboard from the first show on one of Neil Young’s early tours with Crazy Horse.

Recordings from this show have been released before on the two LP vinyl release "Winterlong". The acoustic set has been released on "Acoustic Tokens" and "The Loner" (along with tracks from the January 21st, 1971 Boulder, Colorado tape). The electric set has been issued as "Electric Prayers". This recording is listenable and considered one of the better tapes from this tour, but it is incomplete with only a fragment of “Don’t Let It Bring You Down” and “The Old Laughing Lady” missing from the first half.

This soundboard tape has been issued before on the two cdr set "Winterlong" on The Swingin’ Pig (TSP-CD-042-2) but the master reel-to-reel surfaced recently with much better sound. Seymour was the first to press it on to silver disc with "Danny By The River". There are faint traces of hiss during the acoustic set and the emphasis is upon the middle frequencies with an overall dull and quality. The mix of the instruments is very good in the electric set with only a cut eighteen minutes into “Down By The River” eliminating some words of the final verse of the song. The sound quality is very good to almost excellent and, compared to the audience recordings circulating, offers the best sounding document.

Young played six shows with Crazy Horse in February 1969 at The Bitter End in New York, but Cincinnati is the first show on the first proper tour with his band as he explains before “Broken Arrow”, “This is the first of a series of concerts with Crazy Horse, mostly in the east. Only one west coast gig. Even though we live there we play here.” They played ten shows over a month and this is one of the longest with sixteen different songs performed over an acoustic solo set at the beginning and a full band electric set in the second half. “On The Way Home” opens the show and is followed by the Buffalo Springfield tune “Broken Arrow”, which Neil sings in a very shaky and out-of-tune voice. Before “Dance Dance Dance” he becomes very chatty and asks, “should I play one of those up temp ones for you? I don’t have many up-tempo ones. I live up tempo but play down tempo. This is a new song. It’s going to be on the next Crazy Horse album… It could have been a big hit by Tommy Roe” which ends abruptly after two verses with Neil saying “this is where the chicks start singing and I can’t do anymore”. Only a minute and a half of the new song “Don’t Let It Bring You Down”, making its stage debut, is played before segueing into “The Old Laughing Lady”. Whenever Young plays a solo acoustic set he brings warmth that add a lot. The electric set comprises is the bulk of the show. What warmth is lost is balanced by the intensity of the band playing together. “It Might Have Been” makes its live debut and is introduced as a song Young learned at a church dance and “kinda hokey”.

“Down By The River”, which reached thirty minutes in the Philadelphia show following this one, reaches a mere twenty in Cincinnati and is the only epic performed. It isn’t noted on the liner notes, but the post show talking is tracked separately. It is three and a half minutes of the audience calling for an encore and an announcer saying that the band are finished playing since they’ve gone past their contract.

Thanks to for informations.


1-1On The Way Home3:39
1-2Broken Arrow5:48
1-3I Am A Child3:43
1-5Dance, Dance, Dance3:30
1-6Sugar Mountain6:04
1-7Don't Let It Bring You Down2:27
1-8The Old Laughing Lady5:50
1-9The Loner5:29
1-10Everybody Knows This Is Nowhere4:23
1-12Come On Baby Let's Go Downtown4:36
2-1It Might Have Been6:10
2-2Down By The River19:40
2-3Cinnamon Girl4:43
Bonus Track : Philadelphia, February 28, 1970
2-5Down By The River31:49

Neil Young - Danny By The River (Cincinnati, February, 25, 1970) - CD 1
Neil Young - Danny By The River (Cincinnati, February, 25, 1970) - CD 2
(320 kbps, cover art included)

VA - The Early Blues Roots Of Bob Dylan

"The Early Blues Roots of Bob Dylan" collects Dylan's early heroes of the genre, including Sleepy John Estes, Blind Willie McTell, Mississippi John Hurt, Leadbelly, and Bo Carter. These 20 remastered tracks are an excellent sampling of predominantly country blues from the '30s. While listening to these originals, it becomes obvious that Dylan didn't change much, wisely capturing the honest grittiness found on this set. Whether a fan of Dylan or the original blues masters, this is a recommended compilation that will more than satisfy both.        

Bob Dylan is an icon of popular American culture who transformed the folk music world in the 1960's. What many pop fans didn't realize was that he drew heavily from artists of over 4 decades of Blues and popular music. This collection brings together the original versions of songs that he either recorded or songs that greatly influenced him.

1Sleepy John Estes Broken Hearted, Ragged & Dirty Too
2Mississippi Sheiks I've Got Blood In My Eyes For You
3Blind Willie McTell Broke Down Engine
4Mississippi John Hurt Stack O'Lee Blues
5Rev. J.C. Burnett                                        Will The Circle Be Unbroken?
6Mississippi John Hurt Frankie (And Albert)
7Mississippi Sheiks Sittin' On Top Of The World
8Blind Boy Fuller Step It Up And Go
9Bo Carter Corrina Corrina
10Henry Thomas Honey Won't You Allow Me One More Chance
11Bukka White Fixin' To Die
12Blind Lemon Jefferson See That My Grave Is Kept Clean
13Will Bennett Railroad Bill
14Blind Willie Johnson Motherless Children
15Leadbelly Grasshoppers In My Pillow
16Booker T. Sapps Po' Lazarus
17Blind Lemon Jefferson Matchbox Blues
18Mississippi John Hurt Candyman Blues
19Bukka White Po' Boy
20Blind Willie Johnson Jesus Gonna Make Up My Dyin' Bed

VA - The Early Blues Roots Of Bob Dylan
(256 kbps, cover art included)

Bobby Darin - Golden Folk Hits (1963)

"Golden Folk Hits" was Bobby Darin's second collection of folk songs. Guest musicians included Glen Campbell, Phil Ochs, and Roger McGuinn of the Byrds. The songs Darin selected include many popularized by some of the most popular folk artists of the time: Pete Seeger's "Mary Don't You Weep," "If I Had a Hammer," and "Where Have All the Flowers Gone"; Bob Dylan's "Don't Think Twice" and "Blowin' in the Wind"; the Kingston Trio's "Greenback Dollar"; the New Christy Minstrels' "Green, Green"; and Peter, Paul & Mary's "Settle Down (Goin' Down That Highway)."

"Golden Folk Hits" was not a commercial success at all when it was released. Time has revealed Bobby Darin to be a profoundly thoughtful artist and this album deserves to be reconsidered. Important insight can be gained by examining the music a man makes when eschewing commercial pressures. In Darin's case, his music became more organic, thoughtful, and political, and less flashy, glitzy, and (yes) entertaining. "Golden Folk Hits" showcases impressive guitar work in "Abilene," powerful vocals in "Greenback Dollar," and touching reflection in "Why Daddy Why." "Golden Folk Hits" shows an artist looking to communicate on an emotional and social level. It finds Darin daring to let the music speak for itself. (His photo does not appear on the front cover, a strong statement for 1963.) 

"Golden Folk Hits" is an essential Bobby Darin album for anyone who hopes to further understand the aesthetic and political motivations of an inductee to the Rock and Roll Hall of Fame and the Songwriter's Hall of Fame. One of the most underappreciated Bobby Darin albums and one of the most exciting to revisit.       

  1. "Mary Don't You Weep" (Traditional)
  2. "Where Have All the Flowers Gone?" (Pete Seeger)
  3. "If I Had a Hammer" (Lee Hays, Seeger)
  4. "Don't Think Twice, It's All Right" (Bob Dylan)
  5. "Greenback Dollar" (Hoyt Axton, Kennard Ramsey)
  6. "Why, Daddy, Why" (Bobby Scott)
  7. "Michael Row the Boat Ashore" (Traditional)
  8. "Abilene" (Les Brown, John D. Loudermilk)
  9. "Green, Green" (Barry McGuire, Randy Sparks)
  10. "Settle Down (Goin' Down That Highway)" (Mike Settle)
  11. "Blowin' in the Wind" (Dylan)
  12. "Train to the Sky" (Ben Raleigh)

Bobby Darin - Golden Folk Hits (1963)
(320 kbps, cover art included)

Ramblin´ Jack Elliott - Jack Elliott (1964)

"Nobody I know—and I mean nobody—has covered more ground and made more friends and sung more songs than the fellow you're about to meet right now. He's got a song and a friend for every mile behind him. Say hello to my good buddy, Ramblin' Jack Elliott."- Johnny Cash, The Johnny Cash Television Show, 1969.
"Jack Elliott" was Ramblin' Jack's Vanguard debut, notable also for the appearance of Bob Dylan (credited as Tedham Porterhouse) on harmonica.

When Ramblin' Jack Elliott's name comes up in folk magazines, he's usually identified as a Guthrie copy who later passed on his skills of impersonation to Bob Dylan. This is true to a point, but a listener doesn't have to check out but three or four tracks on Jack Elliott to find out what an original oddball he is.

It's true, he does cover Guthrie's "1913 Massacre" here, and he tends to prefer traditional material like "Will the Circle Be Unbroken" and "More Pretty Girls" over originals. But his extravagant vocals deliver this material in the strangest, most startling manner. The listener can never be sure whether he's sending up a song like "Roll on Buddy" or just determined to turn tradition on its head. The most fun and fascinating piece here is "Guabi Guabi," an African folk song that Elliott learned by copying the vocal inflections. Of course, in his typical fashion, he talks through part of song explaining that he couldn't understand a certain section of the original. In his off the cuff, just for the hell of it way, Elliott has more in common with the Holy Modal Rounders than traditionalists like Pete Seeger or the New Lost City Ramblers. "Jack Elliott" manages to pay its respects to public domain material while still being entertaining.    

Roving Gambler
Will The Circle Be Unbroken
Diamond Joe
Guabi Guabi
Sowing On The Mountain
Roll On Buddy
1913 Massacre
House Of The Rising Sun
Shade Of The Old Apple Tree
Black Snake Moan
Portland Town
More Pretty Girls

Ramblin´ Jack Elliott - Jack Elliott (1964)
(192 kbps, cover art included)        

Mittwoch, 10. August 2016

Bertolt Brecht - Galileo Galilei (Audiobook, Ernst Schnabel)

Life of Galileo (German: Leben des Galilei), also known as Galileo, is a play by the twentieth-century German dramatist Bertolt Brecht with incidental music by Hanns Eisler. The play was written in 1938 and received its first theatrical production (in German) at the Zurich Schauspielhaus, opening on 9 September 1943. This production was directed by Leonard Steckel, with set-design by Teo Otto. The cast included Steckel himself (as Galileo), Karl Paryla and Wolfgang Langhoff.
The second (or 'American') version was written in English between 1945–1947 in collaboration with Charles Laughton, and opened at the Coronet Theatre in Los Angeles on 30 July 1947. It was directed by Joseph Losey and Brecht, with musical direction by Serge Hovey and set-design by Robert Davison. Laughton played Galileo, with Hugo Haas as Barberini and Frances Heflin as Virginia. This production opened at the Maxine Elliott's Theatre in New York on 7 December of the same year.
In 1955, in the wake of the Manhattan Project, Brecht prepared a third version. A production, by the Berliner Ensemble with Ernst Busch in the title role, opened in January 1957 at the Theater am Schiffbauerdamm and was directed by Erich Engel, with set-design by Caspar Neher. The play was first published in 1940.

The action of the play follows the career of the great Italian natural philosopher Galileo Galilei and the Galileo affair, in which he was tried by the Roman Catholic Church for the promulgation of his scientific discoveries. The play embraces such themes as the conflict between dogmatism and scientific evidence, as well as interrogating the values of constancy in the face of oppression.

This audiobook was directed by Ernst Schnabel with Friedrich Valk, Renate Densow, Manfred Lotsch, Manfred Steffen, Wilhelm Kürten and others for a radio broadcast station in Germany in 1947. It is based on the first version of the play.

Bertolt Brecht - Galileo Galilei (Audiobook, Ernst Schnabel, German language)
(256 kbps, small front cover included)

Lightnin Hopkins - Free Form Patterns (1968)

Lightnin' Hopkins originally recorded the ten tracks that make up "Free Form Patterns" on February 1, 1968, for the International Artists label. Also on that label's roster was the psychedelic group 13th Floor Elevators, which, by 1968, had basically disbanded.

For this session, producer Lelan Rogers (Kenny's brother) teamed Hopkins up with Elevators drummer Danny Thomas and bassist Duke Davis. While not as revolutionary as John Lee Hooker's sessions with Canned Heat, "Free Form Patterns" steers clear of the late-'60s psychedelic trappings that screwed up such similar sessions as Electric Mud. No one tried to bend Hopkins to fit a foreign musical approach on "Free Form Patterns"; he made the music bend to him.


1. Mr Charlie
2. Give Me Time To Think
3. Fox Chase
4. Mr Ditta's Grocery Store
5. Open Up Your Door
6. Baby Child
7. Cookings Done
8. Got Her Letter This Morning
9. Rain Falling
10. Mini Skirt

Lightnin Hopkins - Free Form Patterns (1968)
(320 kbps, cover art included)

Dienstag, 9. August 2016

Maria Tănase - Vol. 1 (Electrecord)

Maria Tănase ( 25 September 1913 – 22 June 1963) was a celebrated Romanian singer and actress. Her music ranged from traditional Romanian music to romance, tango, chanson and operetta.
Maria Tănase has a similar importance in Romania to that of Édith Piaf in France or Amália Rodrigues in Portugal.

In her nearly three-decade-long career, she became widely regarded as Romania's national diva, being admired for her originality, voice, physical beauty and charisma. In Romania, she is still regarded as a major cultural icon of the 20th century.

Among her songs are Cine iubește și lasă (1937), Leliță cârciumăreasă (1939), Bun îi vinul ghiurghiuliu (1938), Doina din Maramureş (1956), Ciuleandra (1956) and Până când nu te iubeam.

This is the first volume of her songs recorded for the Electrecord Recording Studios, Bucharest.

1. Dragi mi-s cantecele mele
2. Aseara ti-am luat basma
3. Lung ii drumul Gorjului
4. Pe vale, tato, pe vale
5. Bun ii vinul ghiurghiuliu
6. Aseara vantul batea
7. Ciuleandra
8. Marie si Marioara
9. Hai, iu,iu
10. Trenule, masina mica
11. Batranete, haine grele
12. Butelcuta mea
13. Mi-am pus busuioc in par
14. Marioara
15. Colo-n vale-n gradinita
16. Pe deal pe la Cornatel
17. Cantec din Oas
18. Tien, tien, tien et na!
19. La malediction d’amour
20. Danse montagnarde
21. Doina din Dolj
22. Doda, doda
23. Toderel
24. Ma dusei sa trec la Olt

Maria Tănase - Vol. 1 (Electrecord)
(256 kbps, cover art included)

John Hartford - Morning Bugle (1972)

John Hartford remains best known for the country-pop standard "Gentle on My Mind," a major hit for Glen Campbell and subsequently covered by vocalists ranging from Frank Sinatra to Aretha Franklin. The song remains among the most often recorded in the history of popular music, its copyright netting Hartford well over a hundred thousand dollars annually for many years. But there was more to Hartford than that curious mix of highly literary folk music and MOR romantic nostalgia, told from the perspective of a homeless man remembering days of perfect love. Hartford was a multi-talented old-time musician, a riverboat captain, a satirical songwriter, a one-man showman of exceptional talents, and one of the founders of both progressive country music and old-time string music revivalism.

"Morning Bugle" is one of Hartford's finest records. Done mostly live in the studio with virtually no over-dubs, this is a fine collection of song covering a variety of subjects. Two of the most poignant are "Howard Hughes Blues" and "Nobody Eats at Linebaugh's," which addresses country music's abandonment of the Ryman and downtown Nashville in favor of "the park." The album features jazz double bassist Dave Holland, who performs with both Hartford and Norman Blake for the very first time. It was recorded at Bearsville Sound in Bearsville, New York and released in June, 1972. The music was all written by Hartford, except for two traditional tunes.

John Hartford - Morning Bugle (1972)
(192 kbps, cover art included)

VA - Rote Lieder 70-76 (AMIGA, 1977)

The Festival of Political Song took place in East Berlin from 1970 to 1990, held annually in February (except during the Tenth World Festival in the summer of 1973). It was one of the biggest music events in the DDR (GDR) and an "international institution" (Mikis Theodorakis, 1983).

The album "Rote Lieder `70 - `76" features original recordings from the first to the 6th "Festival of Political Song" in East Berlin and the Festival PLX 1973 (Political Songs of the 10th World Festival, East Berlin). Artists from Ireland, Chile, Italy, Russia, India, France, Uruguay, South Africa, Greece, Cuba and the GDR represent the internatinal communist movement.

A1: The winds are singing freedom - The Sands Family
A2: Comienza la vida nueva (Das neue Leben beginnt) - Quilapayun
A3: Alla mattina con la luna - Canzoniere Internationale und Duo Di Piadena
A4: Konzertierte Aktion - Dieter Süverkrüp
A5: Optimistisches Lied - Gruppe Schicht
A6: Baikal-Amur-Magistrale - Gruppe Lingua
A7: Lang lebe Bangladesh - Dr. Bhupen Hazarika
A8: Cancion del poder popular - Inti Illimani

B1: Kenen joukoissa seisot - Gruppe Agitprop
B2: Grandola, vila morena - José Afonso
B3: Les Communistes - Pia Colombo
B4: A desalambrar - Daniel Viglietti
B5: Afrika - Miriam Makeba
B6: Das Meer braust weiter - Muszty & Dobay
B7: Eviva Liberta - Gruppe Xasteria
B8: Guantanamera - Manguaré
B9: Wir sind überall - Oktoberklub

VA - Rote Lieder `70 - `76 (Amiga, 1977)
(320 kbps, front cover included)

Tighten Up - Volume 5 & 6

PhotobucketTrojan's Tighten Up series had always gone for variety, but Volume 5, released in 1971, hot on the heels of its predecessor, was positively anarchic.

From the sublime, "In Paradise", to the surreal, "Hello Mother", the sweet, "It's You", to the savage, "Rod of Correction", this compilation careened madly through the reggae landscape.

For the uninitiated, reggae may appear a monolithic musical style, defined merely by its emphasis on the offbeat, but like any other generic label, the term sheltered myriad sub-styles under its umbrella. And all of them feature on this set.

Jamaicans always had a penchant for reggae-fied pop covers, and a pair appear hear. Instrumental versions of chart hits were equally popular, and once again three were included, although this time only one, "Ripe Cherry", boasts a DJ on top. Medleys were also all the rage, normally melding three of an artist's hits together, thus the proliferation of singles simply titled "Three in One".
Here it's a hat trick of sweet hits from young singing star Errol Dunkley. There's also a trio of cultural numbers, including Delroy Wilson's masterful "Better Must Come".
And in a broad hint of what was to come, The Wailers's make their sole appearance in the series with their classic "Duppy Conqueror".
Volume 6 was to be the final album in the series, with vocal groups once again coming to the fore, alongside solo singers and DJs. The Maytals's "Redemption Song" bears no relationship to Bob Marley's own similarly titled masterpiece, bar Toots Hibbert's equally heartfelt delivery. The Chosen Few showcase their soulful side, while The Maytones are all sweet ache.

Elsewhere Ernie Smith herded reggae out on the range, Clancy Eccles was submerged under strings, Mikey Chung took his guitar surfing, The Cimarons's (sic) organist headed for outer space, while Dandy Livingstone shot up the UK chart with his hit "Suzanne Beware of the Devil". Representing the DJs, Shortie suavely mashed up The Uniques's sublime "My Conversation", and I-Roy exploded across The Jumpers's "The Bomb". They were the future, as toasters ran rampart across the Jamaican scene. But Jackie Edwards's offered an escape, at least for Britain, with his fabulous performance on "Who Told You So", which tells one everything they need to know about lover's rock.

It was a wild ride, and across it this seminal series defined the reggae age, bringing hits and misses to the masses, and leaving its mark on a host of future British artists and bands.

Tighten Up - Volume 5 & 6

Harry Belafonte - Belafonte At Carnegie Hall (1959)

An actor, humanitarian, and the acknowledged "King of Calypso," Harry Belafonte ranked among the most seminal performers of the postwar era. One of the most successful African-American pop stars in history, Belafonte's staggering talent, good looks, and masterful assimilation of folk, jazz, and worldbeat rhythms allowed him to achieve a level of mainstream eminence and crossover popularity virtually unparalleled in the days before the advent of the civil rights movement - a cultural uprising which he himself helped spearhead.

"Belafonte at Carnegie Hall" is a live double album by Harry Belafonte. It is the first of two Belafonte Carnegie Hall albums, and was recorded on April 19 and April 20, 1959. The stereo version of the album was released on the RCA Victor label, in the "Living Stereo" series. The concerts were benefits for The New Lincoln School and Wiltwyck School, respectively.



 Side one:"Introduction/Darlin' Cora"
"Cotton Fields"
"John Henry"
"Take My Mother Home"

 Side two:"The Marching Saints"


"The Banana Boat Song (Day-O)"
"Jamaica Farewell"
"Man Piaba"
"All My Trials"

Side three:"Mama Look a Boo Boo"
"Come Back Liza"
"Man Smart (Woman Smarter)"


"Hava Nagila"
"Danny Boy"
"Merci Bon Dieu"

 Side four:"Cucurrucucu Paloma"

Harry Belafonte - Belafonte At Carnegie Hall (1959)
(192 kbps, cover art included)

Kurt Weill - The Threepenny Opera (Ute Lemper, René Kollo, Milva)

For all the Kurt Weill completists here´s another release of the "Threepenny Opera" recordings from RIAS Berlin, November 1988, posted in an older version on this blog some minutes ago.

Ute Lemper shows with her interpretation of "The Threepenny Opera" her understanding of Weill's vital irreverence. Her star performance within this ensemble cast is a pleasure to behold.

John Mauceri, a passionate advocate of Weill's less well-known works for the Broadway stage, achieves a tight sense of ensemble from the composer's iconoclastic scoring and gives the abrupt transitions of the piece a highly effective, jagged-edged quality. The spoken part of the text is drastically cut, and on the issue of which musical direction to pursue - operatic technique or cabaret campiness - this version sensibly recognizes the diversity of authentic Weill performing styles, making room in its cast for the classically trained Helga Dernesch and René Kollo as well as Ute Lemper's cabaret smarts. The result is engrossing and gives the spotlight to "Threepenny Opera's" subversive blend of irony and humor.

Performers: Ute Lemper (Soprano); René Kollo (Tenor); Helga Dernesch (Mezzo Soprano); Milva (Soprano); Wolfgang Reichmann (Spoken Vocals); Susanne Tremper (Soprano); Rolf Boysen (Bass); Mario Adorf (Voice)

VA - Blues at Newport - Newport Folk Festival 1959 - 1964

"Blues at Newport - Newport Folk Festival 1959-64" offers fine performances by John Hurt, Skip James, Rev. Gary Davis, Robert Wilkins, and others. It is a compliation of blues performances recorded live at the Newport Folk Festivals, 1959-1964, produced by Samuel Charters for the Vanguard Records label.

"You have so many memories, if you were old enough and lived close enough and knew enough to get to the Newport Folk Festival in its great days in the 1960s….And, just as certainly, you remember the blues, which was one of the richest strands in the rich weave of music and culture that was the Festival….Part of the emotional response to the blues singers was that most of them had been forgotten in the years since they’d made their handfuls of recordings for the old ‘race’ labels of the 1920s….It’s true that memories can sometimes be insubstantial, or that time can change what you heard or saw, and maybe you’ve romanticized the playing you remember or the singers you shouted for — but here on this collection of live recordings from the Newport Festival blues concerts you can hear that the music was as great as you remember it was. And if you’re hearing it for the first time — this is what it was like to be there." — Sam Charters

(320 kbps, front cover included)

Montag, 8. August 2016

The Last Poets - Right On! (Soundtrack, 1971)

The soundtrack to "Right On!", the documentary from 1971 that followed a day in the life of The Last Poets - the group of New York City black poets/musicians that were born from the late 1960s African American civil rights movement. As can be expected, you get some interesting and thought-provoking performance poetry alongside the sparse beats of the conga drum.

Apparently, a lot of the poetry performed for the camera was lost because of faulty sound equipment. The liner notes on this LP read "All poems recorded at The Cubicolo Theatre, New York City except Soul which is from the movie soundtrack."         

The foundation work for latter-day rappers - Afro-centric themes, improvisational vocal styles, obscenity, and a political slant.           

Da Mirra wrote: "Never have words and voice been so dramatic to my ears. African beats and jazz instrumentals filter throughout the cd with the voices of anger, intellectualism, passion, and love exploding meaningfully like an adrenalin/steriod- induced beatnik meeting. Strong as a fist and smart as an Encyclopedia, this cd smarts. Beautiful poetry..."

Pachamama wrote: "Right On is the soundtrack to the film of the same name which was shot in 1968 and released two years later. The film Right On had beem lost for many years except for a rough cut of it released in the mid 90's. The soundtrack however is intact and clear as if it were performed today. It's content is as true now as it was then. The Last Poets performances are powerfull and charged through out the recording. Right On is for those who seek true consciousnes in spoken word poetry and a must for those other 95 percent who snooz."

A1Jibaro / My Pretty Nigger
A2Been Done Already
A3Hey Now
A4Die Nigga!!!
A5Un Rifle / Oracion Rifle Prayer
A6Tell Me Brother
A7Black Woman
A8James Brown
A10Today Is A Killer
B1Willie Armstrong Jones
B2Puerto Rican Rhythms
B3Poetry Is Black
B5The Shalimar
B6Into The Streets
B8The Library

The Last Poets - Right On! (Soundtrack, 1971)
(320 kbps, cover art included)

Kurt Weill, John Mauceri, Ute Lemper Weill - The Seven Deadly Sins · Mahagonny Songspiel Ute Lemper · RIAS Berlin Sinfonietta

Ute Lemper at the late eighties, made a marvelous, dazzling idiomatic and if you may, historical collaboration with John Mauceri at the front of the RIAS Berlin Sinfonietta, remarking with major possible fidelity, the anger, hopeless, depravation and existential bitterness of Weimar Republic.

Of course, Lotte Lenya was always the supreme cornerstone of this piece, impossible to surmount and even beat. But Lemper adds freshness, vitality and a new interpretative perspective. The rest of the cast is terrific too in honor to the truth and the quality of sound is another high aspect to remark in this fabulous recording.
This album "includes both works performed in their original German. After having listened to `The Seven Deadly Sins' done by several different artists, and having just reviewed a CD on which Anne Sofie von Otter does this work, I discover for the first time that the piece was written in two versions, one for a low voice and one for a high voice. Von Otter does the version for high voice and Lemper does the version for low voice that, I suspect, is the way it was originally performed by Fraulein Lenya. One service done by comparing Lemper and von Otter's performance is to see how much closer Lemper is to the original spirit of the work than is von Otter. Weill's venue was not the opera stages of Berlin or Vienna, it was the popular stage, actually much closer to what we see in the movie `Cabaret' than what we see in `Amadeus'. I enjoy von Otter's rendition, but Lemper stirs my heart where von Otter does not. Lemper also seems to have the benefit of a much better cast of supporting voices on the two works on Volume 1.

All albums are done with the backing of the RIAS Berlin Sinfonietta, conducted by John Mauceri who seems to get just the right tone of sleaze out of his ensemble to match the tone of the composition and lyrics by Weill and his various librettists, especially Berthold Brecht.
Lemper is a vocalist in that great European femme fatale tradition of Lenya, Piaf, and Dietrich and certainly to my lights the leading interpreter today of Weill's songs plus works by other European composers for the musical and cabaret (See her album `City of Strangers'). Compared to even some of the greatest contemporary American female vocalists on the stage such as Streisand and Minelli, both Yanks have their strength, but they can't or don't try to achieve the same depth of feeling behind the European `Weltschmertz' you hear from Lemper and her forerunners." - B. Marold

1. Seven Deadly Sins: Prologue: Andante sostenuto
2. Seven Deadly Sins: Sloth: Allegro vivace
3. Seven Deadly Sins: Pride: Allegretto, quasi andantino
4. Seven Deadly Sins: Anger: Molto agitato
5. Seven Deadly Sins: Gluttony: Largo
6. Seven Deadly Sins: Lust: Moderato
7. Seven Deadly Sins: Avarice: Allegro giusto
8. Seven Deadly Sins: Envy: Allegro non troppo
9. Seven Deadly Sins: Epilogue: Andante sostenuto
10. Mahagonny Songspiel, Part One: Prologue: No.1: Allegro non troppo
11. Mahagonny Songspiel, Part One: Prologue: Kleiner March: Poco meno
12. Mahagonny Songspiel, Part One: Prologue: No.2: Moderato
13. Mahagonny Songspiel, Part Two: Life in Mahagonny: No.3a: Vivace
14. Mahagonny Songspiel, Part Two: Life in Mahagonny: No.3: Allegro un poco moderato
15. Mahagonny Songspiel, Part Two: Life in Mahagonny: No.4a: Vivace assai
16. Mahagonny Songspiel, Part Two: Life in Mahagonny: No.4: Moderato assai
17. Mahagonny Songspiel, Part Two: Life in Mahagonny: No.5a: Sostenuto
18. Mahagonny Songspiel, Part Two: Life in Mahagonny: No.5: Lento
19. Mahagonny Songspiel, Part Three: Finale: No.6: Largo

Kurt Weill, John Mauceri, Ute Lemper  Weill - The Seven Deadly Sins · Mahagonny Songspiel  Ute Lemper · RIAS Berlin Sinfonietta
(256 kbps, front cover included)

King Tubbys, Prince Jammy´s, Scientist - Dubwise Revolution

King Tubby is to this day synonymous with dub. He was a man who had a passion for fiddling with sound equipment, and turned that passion into a new musical genre and a veritable art form. He may have started his career as a repairman, but before he was done, his name was one of the most respected around the world. He worked with virtually every artist in Jamaica, and his name on a remix was like gold, a seal of quality that was never questioned.

A member of dub's royal family, Lloyd James (aka Prince Jammy, aka King Jammy) began his career as an apprentice mixer under the late great King Tubby.

Scientist was an employee of Tubby's, fixing transformers and televisions, when one day, after an animated conversation about mixing records, Tubby challenged the Scientist to take a shot at remixing a record.

Guess "Dubwise Revolution" is a 1970s dub album, produced by Prince Jammy and mixed by Scientist nd King Tubby.


Come Dub
Iniquity Dub
Just One Dub
Late Night Dub
Ants Nest
Holy Dub
Crisp Dub
Echo Chamber
Better Must Dub
Big Dub
Vanity Dub
Bell The Cat Dub
Rock A Dub
Play On Dub

King Tubbys, Prince Jammys, Scientist - Dubwise Revolution
(192 kbps, front cover included)

The Fugs - Golden Filth (1970)

By the time of this recording on June 1, 1968 at the Fillmore East, the Fugs had evolved from their primitive beginnings into a pretty full and tight rock band. They'd also grown into a pretty large group, in fact, with ten musicians, including two drummers.

However, most of the material was initially recorded between 1965 and 1966, ESP era. While some listeners might be disappointed by the absence of live versions of highlights from their Reprise records, this release actually has more value than the typical live album because it has notably different arrangements of well-known songs.

On the Fugs' first recordings in particular, the sound and execution was pretty primitive, and it's good to have full, together rock versions of notable songs like "Slum Goddess," "Supergirl," "Nothing," "I Couldn't Get High," "Coca-Cola Douche," and "How Sweet I Roamed." The spoken intros haven't dated as well, with Sanders' monologues about lesbian dwarfs and zebra puke, and Kupferberg moaning at one point, "I want a titty"; what was once a shocking and taboo-breaking is now superfluous to the music. 

A1Slum Goddess
A3How Sweet I Roamed
A4I Couldn't Get High
A5Saran Wrap
B1I Want To Know

The Fugs - Golden Filth (1970)  
(320 kbps, cover art included)       

Samstag, 6. August 2016

Audio Active - Happy Shopper In Europe EP

This is another fine release by the UK based experimental reggae/dub label "On-U Sound" run by Adrian Sherwood.

On-U Sound's following in Japan has been strong for many years, helped considerably by the success of Sherwood's early 1990's production work for the then recently-formed "Audio Active".
Here then is the story of the 'Japan connection':
Tokyo-based "Audio Active", led by shinehead Masa, got together through a mutual appreciation of reggae. These guys, however, got further than playing Bob Marley covers. That they were drawn towards dub and roots reggae, and later sometimes fusing it with hard techno beats and screaming guitars is something for which we should be truly grateful.
United by a shared love of dub, vocalist Masa and keyboardist / programmer 2DD (pronounced "nee dee dee"), who got their start in a 10-piece ska band called "Vital Connection", formed "Audio Active" with drummer Shigemoto Nanao and bassist Takeshi Akimoto in 1991, naming themselves after an album by Jamaican reggae star Dennis Bovell. Guitarist Kasai joined later after the departure of Akimoto from the collective.

Their big break came when Adrian Sherwood took the band under his wing in the 1992 - 93, producing some of their earliest recordings and releasing them in Britain via On-U Sound. With Bim Sherman guesting on the subsequent single "Free The Marijuana" they were already in heady company indeed!
An occasional musician himself, Sherwood also took them with him on a tour of the United States. The band has also toured in Europe, as headliners and with "Asian Dub Foundation". On their own Beat Records label in Japan they released several singles that maybe never were heard of in Europe. They are also quite big in Australia how many can claim this for themselves?!

Using a mix of programming and live instrumentation "Audio Active" create a dense, dub-inspired world of sound. References to outer space and time travel-interests fostered by sci-fi films and animated TV shows like Taimu Bokan abound in their English lyrics. But it's their love of the 'erb that is impossible to ignore and sets them apart on the Japanese music scene, where controversy is anathema. Titles such as "Weed Specialist", "Kick The Bong Around", "Psycho Buds", and the "Hempire Strikes Back" are just some of the many tributes to their favourite medicine contained in their back catalogue.

"Audio Active" released the fantastic "Happy Shopper In Europe EP" in 1995.

1Happy Shopper (Main Mix)
2Happy Shopper (Dub Mix)
3Happy Shopper (Live Mix)
4Electric Bombardment (Remix)
5Electric Bombardment (LP Mix)
6Frog In The Well
7Free The Marijuana (Version)
8Mammoth Galactica

Audio Active - Happy Shopper In Europe EP
(256 kbps, cover art included)

African Head Charge - Songs Of Praise (1990, On U Sound)

Led by percussionist Bonjo I, African Head Charge formed in the early '80s and has released seven albums with a shifting lineup that also includes Prisoner, Crocodile, Junior Moses and Sunny Akpan. The band works in the same dub psychedelia territory as Adrian Sherwood's work, which isn't surprising since most of African Head Charge's albums have been released through - and produced by - Sherwood and his On-U Sound label.
Not very many reggae albums acknowledge Alan Lomax in the credits. But then, African Head Charge (a band with a constantly changing membership led by percussionist Bonjo Iyabinghi Noah) doesn't really make typical reggae albums.

Although the one-drop beat (provided on this album by Lincoln "Style" Scott) influences everything and the basslines have a typical tidal undertow, the stuff that Noah layers on top of the mix has more to do with ethnomusicology than the dancehall.
The song titles say it all: "Cattle Herders Chant," a field recording of call-and-response chanting overlaid with Nyahbinghi drums and highlife guitar; "My God," eerie, minor-key African-American church singing supported by a chugging reggae bassline, bare-bones drumming, and the sound of running water; "Deer Spirit Song," an unidentifiable indigenous song in 9/8 meter with a gently driving rockers beat and occasional sound effects thrown in.

This is an exceptionally beautiful album, but in a deeply strange way.


1Free Chant (Churchical Chant Of The Iyabinghi)3:30
2Orderliness, Godliness, Discipline And Dignity3:16
4Dervish Chant7:50
5Hold Some More6:18
6Healing Father4:46
7Healing Ceremony3:48
8Cattle Herders Chant4:15
9Ethiopian Praises1:28
10My God4:11
11Gospel Train3:02
12Chant For The Spirits4:08
13God Is Great4:16
14Deer Spirit Song2:22

African Head Charge - Songs Of Praise (1990)
(256 kbps, cover art included)