Sonntag, 24. Juni 2018

The Almanac Singers - Songs Of Protest

Protest Music is a long-standing part of American culture, but it wasn't always considered to be part of the folk music tradition. There was a certain consensus among some of the earliest folklorists and song collectors that songs of protest weren't universal enough to fit under the folk music umbrella. Then came the Almanac Singers, who sought out the songs of the labor movement and other traditional tunes of the working class - along with their own original compositions - hoping to use folk music as a tool to organize communities. It's was kind of an experiment with folk songs and, as the mid-century protest song movement can attest, it sort of caught on.

The Almanac Singers were one of the first, most influential groups of protest singers in the history of contemporary American folk music. Singing labor songs in union halls and daring to use music to speak out against oppression, the Almanacs have moved generations of topical singers to action. The Almanacs used songs to organize people, to inspire action, and to nurture communities around the notion of standing up to injustice. Their "Songs of Protest" is easily one of the best recordings in the history of folk music.

The Almanac Singers' Songs of Protest also included what was, arguably, one of Woody Guthrie's greatest topical story-songs, "The Sinking of the Reuben James." The song tells the story of a U.S. Naval ship which was attacked by the Nazi military in 1941, killing 86 people. In Guthrie's quintessential empathetic songwriting style, he created a song that humanized the large number of deaths in the tragedy. It was Guthrie's gift of humanizing history that inspired so many of the political folksingers that followed, and this song was one of the Almanac Singers' greatest efforts (its chorus was actually written by Seeger and Lampell).
Other great highlights from this recording include the traditional "Blow the Man Down" and "The Dodger Song", both of which sung to a suspicion against the government and those who seek to abuse the system. Overall, Songs of Protest is not only an excellent introduction to the work of the Almanac Singers - and, in turn, that of Seeger, Guthrie, and the others - but is also an excellent primer on the history of the American protest song.


1. I Ride an Old Paint (WG)
2. The Dodger Song (LH)
3. The Golden Vanity (PS)
4. House of the Rising Sun (WG)
5. Blow Ye Winds, Heigh Ho (PS)
6. Haul Away Joe (PH)
7. Blow the Man Down (WG)
8. Ground Hog (PS)
9. State of Arkansas (LH)
10. The Coast of High Barbary (PS)
11. Hard, Ain't It Hard (WG)
12. Away, Rio (LH)
13. Billy Boy (JW/ML)
14. Ballad of October 16 (PS)
15. Plow Under (PS)
16. Get Thee Behind Me Satan (PH)
17. The Strange Death of John Doe (PS)
18. Round and Round Hitler's Grave (PS)
19. The Sinking of the Reuben James (PS)
20. Liza Jane (PS/WG/JW)
21. All I Want (PS)
22. Union Maid (PS)
23. Talking Union (PS)
24. Which Side Are You On? (PS)
25. Deliver the Goods (PS)
26. C for Conscription (PS)
27. Washington Breakdown (PS)
28. Dear Mr President (PS)
29. Round and Round Hitler's Grave - Radio Broadcast (PS)

The Almanac Singers - Songs Of Protest
(320 kbps, front cover included)

This European compilation contains 28 of the 35 studio recordings made by the Almanac Singers in 1941-1942, plus an aircheck of "Round and Round Hitler's Grave." The recordings were released originally on five albums of 78s. The CD gathers all seven tracks from the group's debut album, "Songs for John Doe", five of the six from "Talking Union" (not including "The Union Train"), all six from "Deep Sea Chanteys and Whaling Ballads", all six from "Sod Buster Ballads", and four of six from "Dear Mr. President" (not including "Beltline Girl" and "Side by Side"). But the first-time listener is bound to be surprised by the album's title, "Songs of Protest", at least while listening to the first 12 tracks, all of which are drawn from the non-political third and fourth albums. The compilers have decided against chronological sequencing, which is a big mistake when it comes to the Almanac Singers. The group changed their view radically during the course of their career. "Songs for John Doe", recorded prior to American involvement in World War II, was scathingly anti-war, while "Dear Mr. President", recorded after Pearl Harbor, was just as scathingly pro-war (as a title like "Round and Round Hitler's Grave" suggests). Even 60 years later, sequencing songs from these two albums beside each other creates considerable confusion. Aside from this gaffe, folk fans should welcome having these historical recordings on a single disc.

Sun Ra - The Magic City (1965)

The boundaries of Sun Ra's self-proclaimed "space jazz" underwent a transformation in the mid-'60s. "The Magic City" is an aural snapshot of that metamorphic process. Many enthusiasts and scholars consider this to be among Ra's most definitive studio recordings.

Although the "city" in the album's title was thought to have been New York - where the disc was recorded - it is actually Ra's earthly birthplace of Birmingham, AL. "The Magic City" consists of four free jazz compositions: the album side-length title track, "The Shadow World," "Abstract Eye," and "Abstract I" - two variants of a common work. These pieces are essentially ensemble improvisations recorded live. Any direction from Ra, indicating the order of soloists for instance, would be given either through his playing or with hand signals.

Sun Ra & His Solar Myth Arkestra took up residency in Manhattan's East Village in the early to mid-'60s. Their neighbors included Pharaoh Sanders as well as Babatunde Olatunji. In fact, "The Shadow World," "Abstract Eye," and "Abstract I" were actually recorded in Olatunji's loft. The title track begins with weaving distant and frenetic lines from Ronnie Boykins (bass) and Ra (piano, clavoline), connected by intermittent eruptions from Roger Blank (drums). All the while, Marshall Allen's dreamlike piccolo randomly maneuvers through the sonic haze. The piece also contains an ensemble onslaught that abruptly contrasts with everything experienced up through that point. In the wake of the innately earthbound "Magic City" are three comparatively shorter pieces with subtle undercurrents that return Ra to space motifs. For example, the importance of sonic contrast defines "The Shadow World" by juxtaposing the lightly churning bass and cymbal into some surreal keyboard interjections from Ra. The Magic City also comes with an insightful liner notes essay from Ra scholar John F. Szwed, aiding in understanding the circumstances surrounding this piece of free jazz genius.

John F. Szwed explains in the Village Voice:
"[Birmingham was] the earthly birthplace he steadfastly denied, and in the recording he reimagines the city without its grim, racist, smoke-choked past. By simply pointing to musicians when he wanted them to play, he proved it possible to collectively improvise an entire album on the strength of nothing more than a shared belief. 

AThe Magic City27:24
B1The Shadow World10:59
B2Abstract Eye2:45
B3Abstract "I"4:01

Sun Ra - The Magic City (1965)
(320 kbps, cover art included)     

Samstag, 23. Juni 2018

The Almanac Singers ‎– Songs For John Doe (1941)

Songs for John Doe is the 1941 debut album and first released product of the Almanac Singers, an influential early folk music group.

The album was released in May 1941, at a time when World War II was raging but the United States remained neutral. The Soviet Union and Nazi Germany were still at peace, as provided by the Molotov-Ribbentrop Pact. American Communists and "fellow travelers", including the Almanacs, followed the anti-interventionist stance dictated by the Soviet Union through the Comintern, which accounts for the appearance of anti-war songs on the album.

However, on June 22, Germany invaded the Soviet Union. The Almanacs changed direction and began agitating for U.S. intervention in Europe. Songs for John Doe was quickly pulled from distribution, and those who had already purchased copies were asked to return them. After the Japanese attacks on Pearl Harbor, in February 1942 the Almanacs went into the studio to record a set of songs supporting the American war effort. The new political line was evident on the group's 1942 album, "Dear Mr. President".

For the album, six masters were recorded in a two- or three-hour session. "'C' For Conscription" and "Washington Breakdown" were recorded as a single take.


A Strange Death Of John Doe
B Billy Boy
C Ballad Of October 16th
D Plow Under
E1 C For Conscription
E2 Washington Breakdown
F Liza Jane

(320 kbps, cover art included)

Frankie Armstrong & Dave Van Ronk - Let No One Deceive You - Songs Of Bertolt Brecht (1989)

British folksinger Frankie Armstrong and American folksinger Dave Van Ronk, recording in Vancouver, Canada, sing songs with lyrics by Bertolt Brecht in English over acoustic guitar and piano accompaniments on this collection.

Van Ronk's voice, which annotator Roy Bailey says has been described as a "blend of rasp-wheeze-growl-slide-and-shout," is a good vehicle for these sometimes harsh statements, starting with his version of "Mack the Knife." Armstrong is less abrasive, but equally versatile, turning in an arch and threatening version of "Pirate Jenny," for instance, but a gentler one of "The Love Market." The two singers perform separately, alternating tracks until the end when they sing a duet on "Tango Ballad" from The Threepenny Opera, which was written for male and female voices.

These are songs that have been translated from the original German many times, and listeners familiar with them will recognize minor variations from, for example, Marc Blitzstein's English adaptations for The Threepenny Opera. It's actually some of the more obscure songs with music by Hanns Eisler (who worked more extensively with Brecht than did Kurt Weill, who composed The Threepenny Opera) that are more interesting, since, while often recorded, they are rarely performed in English. This is also true of the recitations of Brecht's poetry, such as "Lullabies I, II, III."  

The album was originally released in 1989 on the Vancouver non-profit label "Aural Tradition".

  1. Mack the Knife (2.30)
  2. The Love Market (2.40)
  3. We All Make the Bed That We Lie in (3.37)
  4. Lullabies I, II, III / To My Countrymen / Lullaby IV (3.30)
  5. A Man Is a Man (3.20)
  6. The Song of the Little Wind (2.04)
  7. Let No One Deceive You (1.56)
  8. Song of the Moldau (1.16)
  9. The Legend of the Dead Soldier (3.30)
  10. Pirate Jenny(4.03)
  11. Alabama Song (5.10)
  12. What Keeps a Man Alive? (2.47)
  13. Tango Ballad (4.37)
Tracks 1, 10, 12, 13 from Bertolt Brecht / Kurt Weill, The Threepenny Opera;
Track 2 from Bertolt Brecht / Hanns Eisler, Roundbeads & Painted Heads;
Tracks 3, 7, 11 from Bertolt Brecht / Kurt Weill, The Rise and Fall of the City of Mahagonny;
Track 4 Bertolt Brecht / Hanns Eisler;
Tracks 5, 9 Bertolt Brecht;
Tracks 6, 8 from Bertolt Brecht / Hanns Eisler, Schwejk in the Second World War;

Frankie Armstrong & Dave Van Ronk - Let No One Deceive You - Songs Of Bertolt Brecht (1989)
(320 kbps, cover art included)

Freitag, 22. Juni 2018

Pannach & Kunert - Fluche, Seele, fluche (1981)

Christian "Kuno" Kunert was part of the East German rock legend "Klaus Renft Combo" (or just "RENFT"), the songwriter and rock lyricist Gerulf Pannach was a companion of the band. Their rebellious attitude and "decadent" lifestyle was another thorn in the side of the East German officials. "Renft" was banned from stage for lifetime and declared "non-existent" in September 1975.

As Klaus Jentzsch, founder of the "Klaus Renft Combo", has left the GDR to West-Berlin with his Greek wife in 1976, Christian Kunert and Gerulf Pannach started a folk-duo called "Pannach & Kunert". After a few illegal peformances they were arrested and imprisoned together with writer Jürgen Fuchs for nine months until they were ransomed by the West German Government. They were forced to leave the GDR against their will. "Pannach & Kunert" enjoyed some moderate success in West Berlin.

"Fluche, Seele, fluche" is a wonderful album and a fine example for those critical german artists getting caught between the fronts of the cold war and suffering under their German-German exile:

„Ob im Osten oder Westen
wo man ist, ist´s nie am besten
suche, Seele suche
fluche, Seele, fluche.“

(Gerulf Pannach, inspired by "Weiter immer weiter", written by Erich Mühsam)

Pannach & Kunert - Fluche Seele Fluche (1981)
(256 kbps, cover art included)

Eulenspygel - Eulenspygel 2

"Eulenspygel 2" is a killer 70's underground recording. Released in 1971 and called "2" because the same band had already released an album under the name Royal Servants. 

When they decided to write the lyrics in German instead of English they thought they better change their band name to a German one as well. Some critics say that the album cover is one of the most tasteless ones .They actually pulled it off of the market after selling about 7,000 copies and put it back out minus the dead chick. 

The lyrics are very left wing and anti-war but also very "out there" at times. An excellent album!

1. Till 3:45
2. Son My (My Lay) 11:14
3. Konsumgewäsche 4:03
4. Staub Auf Deinem Haar 7:58
5. Die Wunde Bleibt 1:58
6. Das Lied Vom Ende (10:15)
    - Erstens
    - Alt
    - Jung Sein
    - Hastig Und Kaputt
    - Das Ende Vom Lied

Eulenspygel - Eulenspygel 2
(ca. 192 kbps, cover art included)

Donnerstag, 21. Juni 2018

Ewan MacColl & Peggy Seeger‎ - Chorus From The Gallows (1960)

Ewan MacColl was one of the architects of the folksong revival. Whether as an interpreter of ancient ballads or as a writer of new songs, he influenced almost everyone involved in folk music in the 1950s, ’60s and ’70s. He brought the same skill and understanding to songs of Britain’s industrial cities, ballads of Scots history and lyrics from the English countryside. His own compositions, many of which have passed into the common currency of folk music, are featured both on his own albums and on The Radio-Ballads.
Chorus From The Gallows, released in 1960, opens with the tale of Craig and Derek Bentley and closes with "Go Down Ye Murderers," which relates the story of Timothy John Evans, convicted and executed for murders he did not commit, both true and awful stories from the annals of 20th century British justice.

While MacColl, in collaboration with partner Peggy Seeger, visits a number of traditional ballads of criminal misfortune, the underlying theme here is one of protest against the vagaries of the justice system in both England and America. Despite the odd attempt of levity, the unremitting darkness of the material is likely to put some listeners off. For all that, this is a vital piece of work from the British folk movement of the 1950s - 1960s.                

A1Derek Bentley
A2The Black Velvet Band
A3Jamie Raeburn's Farewell
A4Johnny O' Breadiesley
A5Hughie The Graeme
A7The Treadmill Song
B1Turpin Hero
B2The Crafty Farmer
B4Jimmy Wilson
B5The Lag's Song
B6Van Dieman's Land
B7Go Down Ye Murderers

Ewan MacColl with Peggy Seeger‎ - Chorus From The Gallows            
(ca. 250 kbps, cover art included)                       

Mittwoch, 20. Juni 2018

Eulenspygel - Staub auf deinem Haar

In the early 1970's Germany was rife with groups like Floh de Cologne, Lokomotive Kreuzberg, Oktober, Checkpoint Charlie, Ton Steine Scherben, Kollektiv Rote Rube, Bruhwarm and Eulenspygel who combined rock with left-wing political theater, and who performed their songs in their own language. Though not as well known as Floh de Cologne, Eulenspygel were almost as radical with their blend of psychedelic and progressive rock with classic rock and jazz styles.

The group began in Munich, Germany as the Royal Servants in 1969, who released several singles before their album "We"  came out in 1970. By very early 1971 the group decided to change direction by dropping their English lyrics in favor of their own language, and changed their name to Eulenspygel as well. Whereas the Royal Servants relied on West Coast folk rock styles, the new group's music was far more progressive and varied.

Eulenspygel began performing live in April of 1971, and over the next two and a half years they would tour up and down Germany. As time went on, they began to print their lyrics to hand out to the audiences and then after the concert try to provoke discussion. They also made a couple live appearances on German television, in the summer of 1971 and in October of 1972.

In July of 1971 they recorded their first album in Studio Maschen in an old bunker in Hamburg. Released by Spiegelei, part of Intercord Records, the record was confusingly titled "2", in reference to the earlier Royal Servants LP, and the original cover, with a half-burned newborn chick in a fry pan created enough controversy that the company reissued it without the burned chick a year later. With the success of "2" the label wanted another album within 8 or 9 months, and their A&R man at Intercord convinced management to let Eulenpsygel record the next album at the world-class Apple Studios. In April of 1972 the band traveled to London by train where they only had four or five days to record the album in both German and English versions, which included the side-long opus "Abfall".

By now the label deemed the group too left wing, and dropped them after the second album, "Ausschuss", came out later that year. In the summer of 1973 they temporarily disbanded, though drummer Gunter Klinger joined another group that used Eulenspygel's name on several gigs before the other members of the real Eulenspygel took legal action to stop it. Three members from the original group along with some new musicians, reformed Euelenspygel in the fall of 1974. By 1975 after more lineup changes and unsuccessful attempts to find another record company, the group was a quartet with only one remaining original member, guitar and vocalist Detlev Nottrod. After years of not much activity their eponymous third album was recorded and released in 1979 by Bellaphon, followed by "Laut & Deutlich" 4 years later. Though the group had captured some of their earlier popular success with record sales and gigs, these last two records lapsed into mainstream conventional mellow rock with none of the earlier group's creativity and none of their radical political lyrics. Having sold out artistically, Euylenspygel called it quits for good in late 1983.

With "Staub auf deinem Haar" - recorded live in Cologne, 13th January 1973, for a radio show, but released in 2004 for the first time - they were demonstrating that they could convince their fans on the stage too.  It captures the original Eulenspygel in their final days before disintegrating, on WDR radio in 1973, playing in a much more condensed and song focused style. It's quite obvious that the band were trying to find a new direction, and thus the material is quite different to the album versions we know. For starters there are no keyboards, and the guitars and winds fill-in a lot of the gaps normally occupied by keyboards. At the moment this is the last sign of life of this interesting german band.


1 Der Fremde 6:23
2 Staub auf deinem Haar 10:50
3 Menschenmacher 7:07
4 Untertanenfabrik 3:47
5 Ring frei (Medley) 10:12
5.1 A. 6:30 Uhr Aufstehn
5.2 B. Oh, Junge
5.3 C. Irrenhaus
5.4 D. Wie ein Stein
6 Kinderlied 5:09
7 Konsumgewäsche 8:15
8 Teufelskreis 5:44

Eulenspygel - Staub auf deinem Haar
(320 kbps, cover art included)


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.   


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.   


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.                


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


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.

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.


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
1-13A 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
2-2Go And Say Goodbye2:40
2-3Mr. Soul6:27
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.       


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)