Sonntag, 31. Oktober 2010

VA - Mojo Rock Steady

The term "reggae," often used to describe any music coming from Jamaica, is in reality a term that represents a whole canon of music that has grown, developed, and branched off from Jamaica's first native popular music, ska. Rock steady, the next form the island developed, is the precursor to the specific sub-genre of reggae, as well as the politically and culturally directed music that followed it called roots. In the rock steady era of the '60s and '70s, ska's blaring horns were minimized, and an electric bass and syncopated horn line carried the rhythm. The lyrics became more centered upon political and social concerns, especially the plight of Jamaica's black citizens. MOJO ROCK STEADY is an excellent introduction to this important era in the development of reggae music. Rhythmically and contextually, the songs contained herein represent important markers in reggae's growth. There are classic instrumental pieces like "Rockfort Rock" (originally titled "Psychedelic Rock" but renamed because a DJ from the Rockfort area of Kingston claimed it as his neighborhood's theme song), protean social protest songs from the Gaylads ("Africa") and the Bassies ("River Jordan"), and an example of one of reggae's lesser-known female vocalists, Denise Darlington ("Feel So Good"). You´ll find the tracklist in the comment.

Mojo Rock Steady (192 kbps)

Samstag, 30. Oktober 2010

Alton Ellis & The Heptones - Mr. Ska Bean´a (1980)

One of the first vocalists to enter the Jamaican music business, Alton Ellis was generally revered as the greatest and most soulful singer the country ever produced — that is, until Bob Marley came along. Ellis had his first hit during the ska craze, but made his true lasting mark as the definitive solo singer of the rocksteady era. Sweet, smooth, and deeply emotive, Ellis was equally at home on Jamaican originals or reggae-fied covers of American R&B hits.

This collaboration with the Heptones was produced at Black Ark and Channel One and was released in 1980 on the Cha Cha label.

Alton Ellis & The Heptones - Mr. Ska Bean´a (1980)
(192 kbps, front cover included)

Stahlnetz - Wir sind glücklich (1982)

Why this synth and drums duo didn't make much of an impact is anybody's guess. With unabashedly catchy melodies, clever arrangements, witty lyrics plus a dose of quirky artiness you should think that they would have appealed both to the underground crowd and the masses. Instead they didn't find success with either audience: although the single "Vor all den Jahren" was a minor hit in 1982, their album bombed and Stahlnetz disbanded.

Today, "Wir sind glücklich" is one of the rarest and most sought after German new wave records. (Which is actually pretty strange, considering that it was released on the major label Arista, you'd think there must be quite a few copies floating around.) Anyway, what you get here is beautiful, clean-sounding, metronomic synth-pop that blends the Kraftwerkian influence that goes with the genre (those post-Romantic triads!) with a sort of stripped-down, Teutonic take on Human League/Heaven 17-style pop and ironic references to German cabaret songs and Schlagermusik of the thirties and forties. Oh yeah, and Conny Plank produced.
(from: http://square-dancing.blogspot.com/)

Stahlnetz - Wir sind glücklich (1982)
(192 kbps, cover art included)

Male - Clever & Smart (7´´, 1979)

The german punk band Male was found in December, 1976 in Düsseldorf by Jürgen Engler, Bernward Malaka and Stefan Schwaab.

Male was one of the first punk rock bands with german lyrics and a prototype of the arising "Neue Deutsche Welle".

Here´s their single "Clever & Smart", recorded in 1979 at Rondo studio in Düsseldorf.

Male - Clever & Smart (1979)
(192 kbps, complete cover art included)

Neil Young - A Perfect Echo, Vol.6 (2 CD Soundboard Compilation)

And finally here´s volume 6 of this wonderful compilation. Thanks again to Braden!

Together with the first five volumes this makes an amazing six-volume (12 discs) treasure trove of great Neil live music including much of his wonderful output over a staggering period of almost 40 years - from all the way back in 1967 until 2006!


Disc 1: 1971-1999

Massey Hall, Toronto, ON 1/19/1971
1. There's A World
2. Bad Fog Of Loneliness
3. See The Sky About To Rain
9/14/74 Wembley Stadium, London England
4. Traces
5. Star Of Bethlehem
6. Love Art Blues
7. Don't Be Denied
8. Pushed It Over The End
02-06-1984, The Catalyst (Early Show), Santa Cruz, California w/ Crazy Horse
9. I Got A Problem
02-07-1984, The Catalyst (Late Show), Santa Cruz, California w/ Crazy Horse
10. Violent Side
9-25-1984, Austin City Limits TV Show, Austin, Texas w/ The International Harvesters
11. Amber Jean
01-13-1989, Brady Theatre, Tulsa, Oklahoma w/ The Restless
12. Wrecking Ball
13. Boxcar
1989 - 12/8/89 -
14. Fuckin’ Up
1997 Horde 8/1/97 Saratoga
15. Slip Away
Bridge, Mountain View, CA 10.31.1999
16. Cortez The Killer


Disc 12: 2004-2006

09-18-2004, White River Amphitheatre, Auburn, Washington, Farm Aid 2004 Solo
1. Pocahontas
2. Journey Through The Past
3. On The Way Home (piano version)
4. Cowgirl In The Sand
5. Birds
09-18-2005, Tweeter Centre, Tinley Park, Illinois, Farm Aid 2005 w/ The Prairie Wind Band
6. Walking To New Orleans
7. Southern Man
8. This Old Guitar
9. One Of These Days
Late Night With Conan O'Brien NBC Studios New York, November 2, 2005
10. The Painter
November 4th
11. No Wonder
12. When God Made Me
Saturday Night Live NBC Studios New York, New York, December 18th, 2005
13. It's A Dream
Farm Aid 21, Tweeter Centre Camden, New Jersey, September 30, 2006
14. After The Garden
15. Human Highway

No links.

Freitag, 29. Oktober 2010

Television Personalities - Where´s Bill Grundy Now? (1978)

Television Personalities is an English post-punk group with a varying line up. The only constant member is singer/songwriter Dan Treacy.
The Television Personalities enjoyed one of the new wave era's longest, most erratic, and most far-reaching careers. Over the course of a musical evolution that led them from wide-eyed shambling pop to the outer reaches of psychedelia and back, they directly influenced virtually every major pop uprising of the period, with artists as diverse as feedback virtuosos the Jesus and Mary Chain, twee pop titans the Pastels, and lo-fi kingpins Pavement readily acknowledging the Television Personalities' inspiration.

The debut recording from Television Personalities bore their defining anthem, "Part-Time Punks," which they unleashed on an unsuspecting world in 1978, a single which remains as vital to the history of U.K. punk as the Buzzcocks' debut single, "Spiral Scratch."

"Where's Bill Grundy Now?" is a hilarious pop tune which exemplifies their Beatles/Kinks-esque sound. "Happy Families" and "Posing at the Roundhouse" comprise the B-side of this single, which could be considered to be the birth of the lo-fi movement without a qualm.

The single was reissued a year later by Rough Trade and again in 1992 on Overground. According to punk rock legend, the single was recorded on a studio budget of a little over 20 pounds. Essential and seminal to the indie rock, post-punk, and lo-fi movements of the following two decades.
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(192 kbps)

Pete Seeger - The Royal Albert Hall (03/07/78)

More than any other individual, Pete Seeger had conceived and fostered a tradition of protest song that drew from a number of cultural roots, had significant political consequence, and reshaped the forms and content of popular music.

This is a recording for the Chile solidartiy concert at the Royal Albert Hall, London, 1978.

Tracks:

Intro
You’ve Got To Walk That Lonesome Valley (trad.)
Garbage
Victor Jara
Estadio Chile
Guantanamera
The Wagoner’s Lad
Song Of A Strike
Photographer’s Ballad
Where Have All The Flowers Gone
If I Had A Hammer
(320 kbps, no cover)

Three Johns - The World By Storm (1986)

Far and away the best Three Johns album. Funnier, sharper, and more focused than "Atom Drum Bop", "The World By Storm" really lets the guitars rip, creating a more manic, tuneful wall of noise behind which the Johns rant and rave.

The record featured the three best singles the band ever recorded, "Atom Drum Bop" (this is not a mistake — there's no song by this title on the LP "Atom Drum Bop"), "Sold Down the River," and the scaborously funny "Death of the European" (with its John Lydon-like opening lines, "Big mouth/open wide/open up the pearly gates of freedom").

The lyrical concerns are the same as always — mindless, conspicuous consumption, empty-headed conservatism — but here the Johns sound more in control, and that begets a ferocity and urgency that makes this a compelling record. The Three Johns cult and Mekons fans lapped this up when it came out, but it was only available in America as an import (still is, as far as I know) and sank without a trace. Too bad, as it was one of the best records of 1986.

Three Johns - The World By Storm (1986)
(192 kbps)

Crosby, Stills, Nash & Young - Tribute To Neil Young (1970, Bootleg)

"Manic Depression" was one of those Italian labels that appeared at the end of the '80s selling hard-to-find live concerts on CDs for the first time. This was among the earliest CSNY CD bootlegs with a professionally designed cover and quite a nice selection of rarities all in very good sound.

The main part of this bootleg was a CSNY concert from June of 1970 that is supposedly at Lakehurst in New Jersey. It is a nice soundboard with very good to excellent sound.

The label wanted to showcase Neil Young's talents from the beginning and included early demos, work with his band The Squires and Buffalo Springfield. Whoever was the source offered pretty high quality tapes, the seven 1965 demos that Young will hopefully release on his archive set and even a couple of Buffalo Springfield acetates and demos.

Even Buffalo Springfield's performance at Monterey Pop, left off the official release, shows up here. This incomplete show has never been released even after 40 years. Only one track, For What It's Worth, was finally released in June 2007 on a Razor & Tie Monterey Pop collection.

The CSNY show has seven Young songs out of the show's 18. The Young medley of The Loner, Cinnamon Girl and Down By The River boasted his talent as guitarist and soloist. The 13-minute long Southern Man closed the show in fine hard rock tradition. With Neil Young, CSN gained a harder sound to offset their folky image.

Consider "Tribute To Neil Young" a fan's dream of what his archive release will be. This was a great start to the CD bootleg era. Thanks to the folks at "Manic Depression", whoever you are.
- The Little Chicken

Disc I
Track 101 Suite: Judy Blue Eyes (14.8MB)
Track 102 Blackbird (6.3MB)
Track 103 On The Way Home (7.1MB)
Track 104 Teach Your Children (8.2MB)
Track 105 Tell Me Why (8.0MB)
Track 106 The Loner Medley: The Loner/ Cinnamon Girl/ Down By The River (14.9MB)
Track 107 Black Queen (10.1MB)
Set II
Track 108 49 Bye-Byes/ For What It's Worth (10.9MB)
Track 109 Love The One You're With (5.5MB)
Track 110 As I Come Of Age (4.6MB)
Track 111 Pre-Road Downs (5.3MB)
Track 112 Long Time Gone (8.3MB)
Track 113 4 And 20 [live at Big Sur, April 1, 1969] (2.7MB)
Disc II
Track 201 Helplessly Hoping (8.1MB)
Track 202 Ohio (5.8MB)
Track 203 Southern Man (17.9MB)
Neil Young unreleased 1965 demos
Track 204 Sugar Mountain (3.7MB)
Track 205 Nowadays Clancy Can't Even Sing (4.0MB)
Track 206 Run Around Babe (3.6MB)
Track 207 Don't Pity Me Babe (6.8MB)
Track 208 I Ain't Got The Blues (3.6MB)
Track 209 The Rent Is Always Due (3.8MB)
Track 210 When It Falls It Falls Over You (3.5MB)
Buffalo Springfield
Track 211 Down To The Wire [1967 Gold Star acetate] (3.4MB)
Track 212 Do I Have To Come Right Out And Say It [1967 Gold Star acetate] (4.2MB)
There Goes My Babe [1966 demo; officially released on Buffalo Springfield boxset]
One More Sign [1966 demo; officially released on Buffalo Springfield boxset]
The Squires from 1963
Track 215 Sultan (3.4MB)
Track 216 Aurora (3.2MB)
Buffalo Springfield
[live at Monterey Pop Festival, June 17-18, 1967. Neil Young had left and was replaced by Doug Hastings who would later join Rhinoceros. David Crosby is said to have guested here.]
For What It's Worth [officially released by Razor & Tie, June 5, 2007]
Track 218 Nowadays Clancy Can't Even Sing (4.8MB)
Track 219 Rock 'n' Roll Woman (5.6MB)
Track 220 Bluebird (6.1MB)
CSNY
Track 221 Guinevere [live at Big Sur, April 1, 1969] (6.3MB)

All other tracks are live at Lakehurst, New Jersey, June 30, 1970.

No link.

Mittwoch, 27. Oktober 2010

Umsonst & Draußen Festival - Vlotho 1976 (Vinyl rip, 1976 - Maulschnauz MOL 0002

Some experiences with logistical problems led on to the idea to form a cooperation named 'Musikerinitiative Ostwestfalen-Lippe'. Another intention was to claim for public funds which should help to finance future events.

The next festival one year later (3/4 July) took place around a football ground and saw a similar line-up featuring Marlon Klein playing with his new REAL AX BAND and Atzen Wehmeyer who had formed EINHORN in the meanwhile. MUNJU, SKYLINE and the folk band SPARIFANKAL especially known for using lyrics with bavarian dialect, enlarged the festival's stylistical bandwith.

With 15.000 spectators in total 'Umsonst und Draussen Vlotho' was on the way to become the biggest alternative underground festival in Germany.

Tracklist:

MunjuTalk To Me5:53
EmbryoThe Bad Times Are Gone6:12
Einhorn Wer hat Angst vor Adalbert Weinstein5:57
HammerfestCross5:45
Missus BeastlySlow One (Stoppt Strauss)6:55
Real Ax BandNylon Recycled5:56
SkylineTashiro6:35
SparifankalI mechd di gean amoi nackad seng4:11

Umsonst & Draußen Festival - Vlotho 1976 (vinyl rip)
(192 kbps, front cover included)

Lord Kitchener - King Of Calypso (1965)

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Lord Kitchener (born Aldwyn Roberts) shares with Mighty Sparrow the title of the world's best known Calypso singer.

He began his career in Trinidad and won his first Road March award for singing in 1946. In 1948, Kitch emigrated to England in the company of singer Lord Beginner and newsreel footage of the time shows him singing "London Is the Place for Me."

In less than two years, he and Beginner were recording for EMI. Kitch enjoyed massive popularity in England. In the 1950s, he toured West Africa and enjoyed a big hit there with his single, "Nora."

Like many calypsonians, Kitch drifted toward soca and in 1978 hit the charts with "Sugar Bum Bum." Additonally noted for his hit single, "Give Me the Ting," he died February 12, 2000 at the age of 77.

Here is his album "King Of Calypso", released in 1965 on Melodisc.

Lord Kitchener - King Of Calypso (1965)
(192 kbps, front & back cover included)

Giora Feidman - In Jerusalem

Argentine-born and Israeli-based, Giora Feidman has become the leading interpreter and performer of Eastern European klezmer. Despite his classical training with the Israel Philharmonic Orchestra, Feidman's clarinet playing is unrestrainedly and emphatically eclectic.
 
Here´s his album "Feidman in Jerusalem" from 1994 with the Jerusalem Symphony Orchestra conducted by David Shallon.

Dienstag, 26. Oktober 2010

This Is Soca - 14 Massive Carnival Hits

There´s no question about it, the Caribbean is one of the musical hothouses of the world and this is due to the amazing diversity of musical styles at work there. Thanks to ist history, each island is its own little orchid house of musical cross-fertilizations. Reggae is the musical export of Jamaica, whilst Soca is the good time party-music burning out of Trinidad and the surrounding islands.

While Jamaicanreggae inclines to expressions of suffering and anger, Trinidadian music tends to irreverent satire and abandoned hedonism of Carnival, a two-month annual party of which Soca has become the driving force. To risk a broad generalization, Reggae, with its steady beat, tends to be earthbound, whilstSoca, with its carefree spring, seems airborne.

"This Is Soca" is a collection featuring Chinese Laundry, Superblue, Tambu and some other artist with some of the best soca songs ever out. Also, Andy Stephenson's great rework of Michael Jackson's "Billie Jean" (among other MJ songs) will make you laugh and move your body at the same time.

All Soca massiv... dis is de mad stomp!!

This Is Soca - 14 Massive Carnival Hits
(192 kbsp)

Mas´ Hysteria - 14 Massive Soca Carnival Hits

Temperature is still high, so it´s time for some more soca...

This irresistibly sun-drenched compilation includes some soca tunes from one of the world´s biggest street parties - Mas´ or Carnival.

Tracklist:
01. Superblue - Bacchanal Time
02. Duke - Soca Have Me Tu Tul Bay
03. Mighty Sparrow - The More The Merrier
04. Black Stalin - Sundar
05. Barnett 'Preacher' Henry - Jump Up And Wave
06. Calypso Rose - Ju Ju Warrior
07. Gabby - Boots
08. Colin Lucas - Oh She Cassette
09. Chris Garoia - Chutney Bacchanal
10. Roaring Lion - Netty Netty
11. Nigel Lewis - Poowah
12. Grynner - Don't Push Me Rosie
13. Iwer George - Yes Iwer
14. Crazy - Paul, Yer Mudder Cum

Mas´ Hysteria - 14 Massive Soca Carnival Hits (192 kbps)

Country Joe & The Fish - The Collected Country Joe & The Fish 1965 - 1970

If you mention the name Country Joe & the Fish to Americans born in 1955 or earlier, chances are that they'll know the band you're talking about, at least to the degree that they know their most widely played and quoted song, "I Feel Like I'm Fixin' to Die Rag." The problem is, that particular song captured only the smallest sliver of who Country Joe & the Fish were or what they were about. One of the original and most popular of the San Francisco Bay Area psychedelic bands, they were also probably the most enigmatic, in terms of who they actually were, and had the longest and strangest gestation into becoming a rock band. And Joe McDonald may have written the most in-your-face antiwar, anti-military song to come out of the 1960s, but he was also one of the very few musicians on the San Francisco scene who'd served in uniform.

Country Joe & the Fish are well represented on this 19-track compilation that traces their development from a politically-oriented folk/jug band ensemble to a politically oriented rock and soul band. Most of the material comes from 1967, the band's high-water mark, and the centerpiece is the still-cutting "I-Feel-like-I'm-Fixin'-to-Die Rag."
 
No link.

Maniacs vs. Sarkiat - Don´t Climb The Pyramids

Cram an electric trio and seven egyptian musicians in a little room in the heart of Cairo for ten days and see what happens. The first steps of egyptian hard core? An oriental version of end-of -the millenium electric rock`n`roll? The rebirth of arabic pop muisc?

It`s a dream Alain Croubalian, from the Maniacs (based in Geneva), and Fathy Salama, leader of Sharkiat (means "coming from the east), wanted to bring to life. They felt, more than they exactly knew, the common ground where egyptian folk music, international pop, electronic sounds and independent rock could meet. And they made it happen.

After concerts in the Cairo Opera House and a tour of swiss underground clubs they recorded 10 songs in an old studio in Shobra, the heart of popular Cairo.




Escaping the usual cliches about oriental music isn`t easy. When talking about Egypt, you automatically think of sand, camels and pyramids. But Cairo is a busy urban city where 13 million people struggle for everyday life. Traffic is hell and the pop muisc is all electronic beats twisted in a mayheim of selfish pop. This encounter doesn`t really fit your usual world music standards, where exotism counts more than reality. Maniacs and Sharkiat agree and sincerely feel this "Don`t climb the pyramids" album is as authentic as music gets; at the same time a strange encounter. At the end of the recording sessions everybody looked at each other wondering: "It`s great music ! But what is it ?" Neither of us had heard such sounds collide excepts in our wildest fantasies. Today they are reality.
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Up, Bustle & Out - Che Guevara ... A Dream Of Land And Freedom

With influences drawn from diverse sources all over the world — from Istanbul to Bolivia, Andalusia to North Africa — Up, Bustle and Out is one of the harder groups to pin down on the experimental breakbeat landscape. Hailing from the English town of Bristol, home also to Tricky and Massive Attack, Up, Bustle and Out comprises producers Rupert Mould and D. "Ein" Fell, who formed the group in the early '90s as an adjunct to their respective interests in non-Western musics, funk and soul, jazz, and experimental underground club styles like house, techno, ambient, and trip-hop.

Up, Bustle & Out take their romantic Latin dabblings to their most ambitious extreme with this limited 7-track CD, released to coincide with the 30th anniversary of the death of Cuban revolutionary Che Guevara. A must for those who appreciate good intellectual music dedicated to a man who will live in our memories for ever.
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No link.

Swing Is Here - Small Band Swing 1935 - 1939

The mid-1930s were golden years for jazz. The music on this CD is quite exciting but much of it is issued here in incomplete fashion.

There are all four titles from Gene Krupa's Swing Band (a superb pickup group with trumpeter Roy Eldridge, clarinetist Benny Goodman and Chu Berry on tenor in additon to two Helen Ward vocals) but just three numbers from a session led by arranger Gene Gifford with trumpeter Bunny Berigan, six of the ten titles recorded by Mezz Mezzrow's bands during 1936-37 (featuring trumpeter Frankie Newton, Bud Freeman on tenor and a rare outing outside of the Jimmy Lunceford orchestra by trumpeter Sy Oliver), two jams by Frankie Newton in 1939 and seven songs from Wingy Manone.

Swing Is Here - Small Band Swing 1935 - 1939 (192 kbps)

Montag, 25. Oktober 2010

Alles Lalula - Songs & Poeme - Originalaufnahmen von Valentin über Schwitters bis zur Beat-Generation

This is the first half of a four cd set spanning compilation presenting poems, songs and litaruture beyond the mainstream. The first set brings original recordings from Karl Valentin to dada artists like Kurt Schwitters and Richard Huelsenbeck to the Beat Generation.

Strongly recommended!

CD 1:
01 Richard Huelsenbeck / Hans Richter - Prolog
02 Wladimir Majakowski - Würden Sie denn
03 Filippo Tommaso Marinetti - La Battaglia di Adrianopoli
04 Karl Valentin - Valentin singt und lacht selbst dazu
05 Karl Valentin & Liesl Karlstadt - Liesl Karlstadt singt chinesisch
06 Kurt Schwitters - Die Sonata in Urlauten
07 Kurt Schwitters - An Anna Blume
08 William Butler Yeats - The Song of the Old Mother
09 Gertrude Stein - If I Told Him: A completed Portrait Of Picasso
10 Camille Bryen - Tete de Coq
11 Alexej Krutschonych Frühling mit Beköstigung?
12 - 14 Raoul Hausmann - bbbb /fmsb / kp´erioum
15 Murice Lemaitre - Lettre Rock
16 Francois Dufrene - Batteries vocales
17 Brion Gysin - I Am That I Am
18 Ezra Pound ´- Mouers contemporaines
19 - 23 H. C Artmann - blauboad 1 &2 / kindafazara / etc.
24 Allen Ginsberg - Footnote to Howl
25 William S. Burroughs / Brion Gysin - Recalling All Active Agents
26 Hans Arp - Aus der "Pyramidenrock"
27 Brion Gysin - Come To Free the Words
28 - 29 Henri Chopin - Indicatif 1 / La fusée Interplanétaire
30 Konrad Bayer - der sechste sinn (Ausschnitt)

CD 2:
01 Mimmo Rotella - 7 Poèmes Phonétiques
02 LeRoi Jones - Sweet - Black Dada Nihilismus
03 William S. Burroughs - Burroughs called the law
04 Ernst Jandl - auf dem land
05 Napoleon XIV - They're Coming to Take Me Away, Ha-Haaa!
06 Richard Huelsenbeck - Kapitän Kuckjohns Lautgedicht
07 Richard Huelsenbeck - Chorus sanctus
08 Ermst Jandl - falamaleikum
09 Ermst Jandl - talk
10 Ernst Jandl - schtzngrmm
11 John Lennon, Yoko Ono - No Bed for Beatle John
12 Joseph Beuys - Ja Ja Ja Ja Ja, Nee Nee Nee Nee Nee (Ausschnit)
13 Taj Mahal - A Little Soulful Tune
14 Wolfgang Bauer - Tornado
15 Wolfgang Bauer - November
16 Otto Nebel - Generalverrammlung
17 Sten Hanson - Railroad Poem
18 Benno Höllteuffel - xangl
19 Benno Höllteuffel - schbas muas sei ...
20 Benno Höllteuffel - jawarum
21 Benno Höllteuffel - as resal
22 Benno Höllteuffel - de groskobfadn griang nia gnua
23 Benno Höllteuffel - anschdendige nama
24 Benno Höllteuffel - schbruch
25 Erst Jandl - ottos mops
26 Charles Amirkhanian - Each 'LL
27 John Giorno - Suicide Sutra
28 Bernhard Heidsieck - Canal Street 35
29 Don van Vliet - Apes-Ma

Alles Lalula - Songs & Poeme Vol. 1 - cd 1
Alles Lalula - Songs & Poeme Vol. 1 - cd 2
(192 kbps)

Laurel Aitken & Girlie - Scandal In A Brixton Market (1969)

Known as "the Godfather of Ska," Laurel Aitken was Jamaica's first real recording star. He was a pioneer in many other respects as well: he was one of the first artists ever to release a ska record, the first to work at promoting his music in the U.K., and one of the first to record for the seminal Island label, itself a major force in the international popularity of Jamaican music. Cutting his teeth on the sort of jump blues and boogie shuffles popular during the early days of American R&B, Aitken recorded numerous hits for a variety of labels over the years, enjoying his heyday during the '60s. His continued presence in the U.K. made him an elder statesman to the Two Tone ska revival movement of the punk era, and he continued to tour even into the new millennium.

"Scandal In A Brixton Market" was released in 1969 on the Pama label.

Tracks:

Side 1:
Laurel Aitken & Girlie: Scandal In A Brixton Market
Laurel Aitken & Girlie: Madame Streggae
Laurel Aitken: Stupid Married Man
Laurel Aitken: Tammering
Laurel Aitken: Have Mercy
Laurel Aitken: Night Cricket

Side 2: Laurel Aitken: Run Powell Run
Laurel Aitken: Teddy Bear
Laurel Aitken: Mr Soul
Laurel Aitken: Woke Up This Morning
Laurel Aitken & Rico Rodriguez: Babylon
Laurel Aitken & Rico Rodriguez: Stop The War In Vietnam

Laurel Aitken & Girlie - Scandal In A Brixton Market (1969)
(192 kbps)

VA - The King Kong Compilation (Island, 1981)

This collection reveals in all its glory the wealth of classic rocksteady and early reggae produced by Leslie "King" Kong in just a three-year span between 1968 and 1970.

The most well-known hits here include Desmond Dekker's "Israelites," The Pioneers' "Long Shot Kick de Bucket," and a pair of Melodians' tunes, "Sweet Sensation" and the legendary "Rivers of Babylon."

Some less-known tracks are equally as good as these, though: Bruce Ruffin's "Bitterness of Life" and Ken Boothe's '70s protest song "Freedom Street" are both superbly crafted gems.

The Maytals also provide a couple of nice cuts featuring Toots Hibbert's soulful vocals - with "Monkey Girl" and "Monkey Man" (no relation), while The Pioneers' contribute the lovely "Samfie Man."
King Kong would kick Godzilla's ass any day.

Track Listing:
1. Israelites - Desmond Dekker and The Aces
2. Monkey Girl - The Maytals
3. Sweet Sensation - The Melodians
4. Freedom Street - Ken Boothe
5. Let Them Say - Tyrone Evans
6. Samfie Man - The Pioneers
7. It's My Delight - The Melodians
8. Peeping Tom - The Maytals
9. Rivers of Babylon - The Melodians
10. Gave You My Love - Delroy Wilson
11. Bitterness of Life - Bruce Ruffin
12. Sentimental Journey - Ansell Collins
13. Long Shot Kick de Bucket - The Pioneers
14. (Ah) It Mek - Desmond Dekker and The Aces
15. Why Baby Why - Ken Boothe
16. Monkey Man - The Maytals

The King Kong Compilation (Island, 1981)
(256 kbps, cover art included)

Paul Butterfield - Live - Unicorn Coffee House, Boston, MA

Paul Butterfield was the first white harmonica player to develop a style original and powerful enough to place him in the pantheon of true blues greats. It's impossible to overestimate the importance of the doors Butterfield opened: before he came to prominence, white American musicians treated the blues with cautious respect, afraid of coming off as inauthentic.

Not only did Butterfield clear the way for white musicians to build upon blues tradition (instead of merely replicating it), but his storming sound was a major catalyst in bringing electric Chicago blues to white audiences who'd previously considered acoustic Delta blues the only really genuine article. His initial recordings from the mid-'60s — featuring the legendary, racially integrated first edition of the Paul Butterfield Blues Band — were eclectic, groundbreaking offerings that fused electric blues with rock & roll, psychedelia, jazz, and even (on the classic East-West) Indian classical music.

As members of that band — which included Michael Bloomfield and Elvin Bishop — drifted away, the overall impact of Butterfield's music lessened, even if his amplified harp playing was still beyond reproach. He had largely faded from the scene by the mid-'70s, and fell prey to health problems and drug addiction that sadly claimed his life prematurely. Even so, the enormity of Butterfield's initial impact ensured that his legacy was already secure.

Here´s a Paul Butterfield Blues Band bootleg, recorded life at the Unicorn Coffee House, Boston, MA in spring 1966

Set 1:

01 Look Over Yonders Wall
02 Born In Chicago
03 Love Her With A Feeling
04 Walking Blues
05 Don't Say No To Me
06 One More Heartache
07 Work Song

Set 2:

08 Thank You Mr. Poobah
09 Serves You Right To Suffer
10 Got A Mind To Give Up Living
11 Walking By Myself
12 Baby Please Don't Go
13 World Is In An Uproar
14 Got My Mojo Working

Paul Butterfield - harp, vocals
Mike Bloomfield - guitar
Elvin Bishop - guitar
Mark Naftalin - keyboard
Jerome Arnold - bass
Billy Davenport - drums

Paul Butterfield - Live - Unicorn Coffee House, Boston
(320 kbps, cover art included)

Nick Gravenites & Michael Bloomfield - My Labors (1969)

Unless you're familiar with Chicago blues of the 1960s, or from the San Francisco Bay area, the name Nick Gravenites may not be a familiar one. That's because Gravenites has been an important and unfortunately sparsely recorded behind-the-scenes blues player for many years. More people are likely to know Gravenites for the dozens of great songs he wrote: "Born in Chicago" (Paul Butterfield), "Buried Alive in the Blues" (Janis Joplin), "East-West," "Work Me Lord," "Groovin' Is Easy," "Bad Talkin' Bluesman," and literally hundreds of others.

Gravenites' compositions have been recorded by Butterfield, Joplin, the Electric Flag, Elvin Bishop, Charlie Musselwhite, Big Brother and the Holding Company, James Cotton, Otis Rush, Jimmy Witherspoon, David Crosby, Quicksilver Messenger Service, Tracy Nelson, Blue Gravy, Howlin' Wolf, Roy Buchanan, Pure Prairie League, and others.
He's also made quite a name for himself as a producer, working on albums by Otis Rush, James Cotton, Michael Bloomfield, Janis Joplin and others. Gravenites' sessionography is extensive; he's performed on more than 45 albums as a singer, guitarist, songwriter, or bandleader.
"My Labors" is a strong major-label debut that the Chicago-born San Francisco bluesman was unable to capitalize on. Most of the tracks are from the same session that produced "Live at Bill Graham's Fillmore West" by Mike Bloomfield. Gravenites, an exceptional songwriter and decent singer, benefits from the presence of the amazing Bloomfield. He elevates the fierce "Moon Tune" to dizzying heights with two dazzling, lengthy solos. Quicksilver Messenger Service backs former producer Gravenites on several studio tracks.

Nick Gravenites & Michael Bloomfield - My Labors (1969)
(320 kbps, complete art work inlcuded)

Samstag, 23. Oktober 2010

Donny Hathaway - Live (1972)

Donny Hathaway was one of the brightest new voices in soul music at the dawn of the '70s, possessed of a smooth, gospel-inflected romantic croon that was also at home on fiery protest material. Hathaway achieved his greatest commercial success as Roberta Flack's duet partner of choice, but sadly he's equally remembered for the tragic circumstances of his death — an apparent suicide at age 33.

His 1972 "Live" album is one of the most glorious of his career, an uncomplicated, energetic set with a heavy focus on audience response as well as the potent jazz chops of his group.

The results of shows recorded at the Troubadour in Hollywood and the Bitter End in New York, the record begins with Hathaway's version of the instant soul classic "What's Going On," Marvin Gaye's original not even a year old when Hathaway recorded this version. His own classic "The Ghetto" follows in short order, but stretches out past ten minutes with revelatory solos from Hathaway on electric piano. "Voices Inside (Everything Is Everything)" is another epic (14-minute) jam, with plenty of room for solos and some of the most sizzling bass work ever heard on record by Willie Weeks.

Any new Donny Hathaway record worth its salt also has to include a radical cover, and "Live" obliges nicely with his deft, loping version of John Lennon's "Jealous Guy."

The audience is as much a participant as the band here, immediately taking over with staccato handclaps to introduce "The Ghetto" and basically taking over the chorus on "You've Got a Friend." They also contribute some of the most frenzied screaming heard in response to any Chicago soul singer of the time (excepting only Jackie Wilson and Gene Chandler, of course). Hardly the obligatory live workout of most early-'70s concert LPs, "Live" solidified Hathaway's importance at the forefront of soul music.

No link.

Calypso Pioneers - 1912-1937

This anthology is devoted to classic calypso and presents 16 formative songs from 1912-1937.

The music is still emerging from a confluence of American dance band sounds, African and Afro-Latin rhythms, plus Caribbean social situations and influences.

As carnival became an entrenched celebration within the Caribbean community, the songs composed to be performed during that time came to be known as calypso.

The anthology includes early performances by such calypso heroes as Atilla The Hun, Wilmouth Houdini, Phil Madison, Julian Whiterose and Sam Manning. Vocal styles, instrumental backing, lyrics, arrangements and production are quite unsophisticated and uneven on the early cuts, but a sound and unified approach began to appear in the middle section and is quite evident by the final numbers.

Calypso Pioneers - 1912-1937 (192 kbps, front & back cover included)

Calypso War - Black Music In Britain 1956-1958

Calypso was considered the people's newspaper in Trinidad, and these mid-'50s recordings chronicle the adaptation of Caribbean immigrants to the U.K. during the mid- to late '50s.
 
The excellent liner notes provide much detailed information on artists and the social context, the last batch of songs before Jamaican sounds took over and the next generation went dreadlocks Rasta in the '70s.

Homesickness is part of that equation, and a fair number of these tracks are remakes of older calypsos popular in Trinidad. "Not Me" is thinly veiled rewrite of "Man Smart, Woman Smarter," (the melody recalls a revved-up take on "Meet Da Boys on De Battlefront" by the Wild Tchoupitoulas) given a jivey reading by the dismissible, exaggerated crooner Ben Bowers — luckily he only has three tracks.

The Mighty Terror tightropes along the dodgy divide of sexism and machismo — the stay-home-and-mind-the-baby-while-I-go-off-in-the-world theme of "Brownskin Gal" is pretty irredeemable, but "Woman Police in England" is funny as hell in its own way. It's pretty revealing of cultural differences in attitude, and so is "Patricia Gone With Millicent," where Terror gets abandoned for another woman but seems more puzzled than vindictive about it. Terror is a strong singer who cuts through crisp, clean arrangements built around jazz guitar and bongos.

The "Heading North" commentary on racism (South African apartheid and U.S. civil rights heating up are the focus) sound naïve in retrospect, not the least for ignoring the U.K. But "T.V. Calypso" is a great social snapshot of the moment television became a fixture in modern life, s well as a source of status and family pressure. Lord Invader wrote "Rum and Coca Cola," and was fresh from a victorious, ten-year battle for royalties from the songs when he began recording in Britain. His calypsos are gently mellow, featuring flute and bongos, and at first seem confined to lightweight themes like "Prince Rainier" (the famous wedding to actress Grace Kelly) or "Mahalia, I Want Back My Dollar." "My Experience on the Rieperbahn" is a hilarious cultural collision as our innocent Invader gets confused by a transvestite encounter in Hamburg's red-light district. But "I'm Going Back to Africa" is a surprisingly pointed repatriation song with jazzy guitar and bongos, and Invader sounds genuinely angry singing "Teddy Boy Calypso," updating his own 1945 calypso to 1958 U.K. street violence.

It's Lord Ivanhoe who delves most often into hard social commentary here. "Africa Here I Come" is a pointed statement of pan-African consciousness (the end of the European colonial era in Africa looming on the horizon in the late '50s), while "New York Subway" is a deceptively mild-mannered critique about getting lost and cabdriver racism. "Lift the Iron Curtain" is a sincere plea with a sly dig at Britain ("I think the Russians are selfish/In a way, they are like the British/For no man can get inside/To see what Moscow has got to hide") and a chorus referencing Khrushchev and satellites.

It's an interesting, if not essential, collection, and valuable for documenting the last round of U.K. calypso creators before Jamaican sounds took over in the Caribbean community there.

(192 kbps, front & back cover included)

Freitag, 22. Oktober 2010

Flappers, Vamps, and Sweet Young Things (1990)

Valuable as an index of theatrically inclined or jazz-addled female pop vocalists, this rosy little compilation mingles famous and relatively obscure singers in a sequence of pleasantly old-fashioned performances recorded from 1924 to 1931. Jane Green, Helen Kane, Annette Hanshaw, the Brox Sisters, Ruth Etting, Zelma O'Neal, and Esther Walker come across as fetching, zippy, and cute. Marion Harris, Blossom Seeley, Sophie Tucker, and Margaret Young represent a closer affiliation with vaudeville and real jazz. Libby Holman, Kate Smith, Mildred Hunt, Aileen Stanley, Lee Morse, and Greta Keller resort to the tried and true formula of sounding sentimental and blue, whereas Gertrude Lawrence, Lillian Roth, and Helen Morgan use the conventionally sugary and romantic approach.
The fine art of gender-bending is represented here with lesbian overtones by Ruth Etting, who declines an opportunity to alter the lyrics to Irving Berlin's "It All Belongs to Me," and even more outrageously by the Brox Sisters with their enthusiastically campy rendition of "Red Hot Mama." An intriguing time capsule, this album is both entertaining and historically informative.

This compilation is a tribute to the irresistible women of the Twenties, be they flappers, vamps or sweet young things. The 20 delightful examples range from the "Boop-boop-a-doop" girl Helen Kane to "red-hot mama" Sophie Tucker, from torch singer Libby Holman to the ultimate musical star, Gertrude Lawrence. How can anyone NOT love this sort of historical music?

No link.

Skip James - Devil Got My Woman (1966)

Among the earliest and most influential Delta bluesmen to record, Skip James was the best-known proponent of the so-called Bentonia school of blues players, a genre strain invested with as much fanciful scholarly "research" as any.

Skip James made his original reputation with 17 recordings that he cut during February 1931, when he was 28. Although fluent on both the guitar and (to a lesser extent) the piano, James was most notable for his storytelling lyrics, his haunting high-pitched voice, and his distinctive interpretations of the Delta blues.
James was rediscovered 33 years after his early recordings, in time to appear at the 1964 Newport Folk Festival. He was quite active during 1964-1966, making the music on this solo album (his last record) three years before his death in 1969. One can easily hear the influence that Skip James' music had on the then flourishing folk music movement, and he still sang his country blues with great intensity.

Skip James - Devil Got My Woman (1966)
(192 kbps, cover art included)

Donnerstag, 21. Oktober 2010

Ari Up - Rest In Peace! - The Slits Debut 12" (Island, 1979)

ARI UP (SLITS) - On stage 1977
Ari Up, member of the Slits, died on Wednesday at age 48. Up’s stepfather, the Sex Pistols’ John Lydon, announced her death from a “serious illness” on his website. Up, a.k.a. Arianna Forster, formed the Slits with Palmolive (Paoloma Romero) and Viv Albertine when she was just 14, and the band’s mix of punk, reggae, and politics made them trailblazers. Meanwhile, the Slits’ last video, “Lazy Slam,” has been released posthumously according to Up’s wishes.
There’s no denying the importance of the Slits, especially their 1979 album "Cut". The group’s dizzy blend of dub rhythms, post-punk artiness, punk attitude and unpracticed enthusiasm was thrilling and unique, both when it first came out and 30 years later as well. On top of the glorious clatter and bounce of the music were Ari Up’s vocals. Yes, they may have wandered, they may have grated at times, but her style was perfect for the band and perfect for the times.

After "Cut", both the band and Up went through all kinds of changes that led to some interesting music at times - espcially her work with the Adrian Sherwood-produced, avant-garde reggae group the New Age Steppers.

Up’s death this week at the tragically young age of 48 gives us pause, and spurs us to remember just how influential, and fun, the Slits were at their peak.

To honour Ari Up we post the debut 12″ release from The Slits on Island records in 1979 with the wonderful tracks "Typical Girls" and "Grapevine".



Tracks:
01. Typical Girls / Brink Style
02. I Heard It Through The Grapevine / Liebe And Romanze

The Slits - Debut 12 Inch (Island, 1979)
(128 kbps, cover art included)

Rest in peace!

Children Of September

The PinkPudelCrew is lucky to present the film "Children Of September" next tuesday, (October, 26) at "Größenwahn", Kinzigstr. 9, 10247 Berlin.

"Children Of September" is a documentary film about the military putsch in Turkey on 12th September 1980 from the view of five eyewitnesses.

Five young people, four cities (Berlin, Copenhagen, Zurich and Paris). Everyone of them was born in a different region of Turkey. What their biographies have in common is the fact that their families had gone through the violence of the putsch on 12th September 1980.

How do the children who hanging on to their families apron strings had to emigrate to those countries live today? Are they, as were their parents, involved in politics? Do they have some special characteristics which make them the “Children of September”?

One of the directors and one of the protagonists will take part at the screening and invite you to a discussion about the topic and the film. The entry is free and you are welcome!

Mittwoch, 20. Oktober 2010

Smithsonian American Songbook Series - Kurt Weill

PhotobucketThe Smithsonian American Songbook Series traces the legacy of American songwriters with individual volumes devoted to a number of artists. This one featurs music by Kurt Weill in interpretationts by artist like Louis Armstong, Benny Goodman, Lotte Lenya, Bing Crosby, Lee Wiley, Sarah Vaughan and many others.
 
Kurt Julian Weill (March 2, 1900 – April 3, 1950) was a prominent and popular German-Jewish composer, active from the 1920s, and in his later years in the United States. He left nazi Germany in 1933 for Paris, London and then the USA in 1936. He was a leading composer for the stage who was most well known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his most well known work "The Threepenny Opera", a Marxist critique of capitalism, which included the ballad "Mack the Knife". Weill was a socialist who held the ideal of writing music that serveda socially useful purpose. He also wrote a number of works for the concert hall, as well as several Judaism themed pieces.

Smithsonian American Songbook Series - Kurt Weill
(256 kbps, front cover included)

Montag, 18. Oktober 2010

Johnny Cash - The Sun Demos & Outtakes

Though Johnny Cash went from total unknown to Number 1 charting artist (“I Walk The Line”) during his time with Sun Records, it’s easy to forget that it all happened pretty quick and he was only with the label for two years, from 1955 to 1957, before he moved on to greener pastures at Columbia Records. The music that he made during this time, however, is truly timeless and in its grit and fatalism marked a new kind of country music with songs more than embracing sadness and loss, songs that turned a cold, brooding eye on the stark realities of life and love.
Before massive fame and excess and later producers got their hands on Cash’s songs and sound and tricked up the accompaniments and arrangements, for the most part it was just Johnny and the Tennessee Two, Luther Perkins on guitar and Marshall Grant on upright bass with added drums and maybe piano or pedal steel. This collection of demos and more polished and complete outtakes—which should be named “Some Sun Demos & Outtakes” because there are quite literally hundreds of hours of extant recordings from the time—is a priceless snapshot of a pivotal period in the history of popular music. Artwork is included.


Tracklist:

1. Wide Open Road (Cry, Cry, Cry)
2. Rock & Roll Ruby
3. You're My Baby
4. Get Rhythm
5. I Walk The Line
6. Train Of Love
7. One More Ride
8. Folsom Prison Blues
9. Wide Open Road (Cry, Cry, Cry)
10. Goodnight Irene
11. My Treasure
12. I Love You Because
13. Leave That Junk
14. Country Boy
15. Come In Stranger
16. Oh Lonesome Me
17. You're The Nearest Thing To Heaven
18. Don't Make Me Go
19. Give My Love To Rose
20. The Ways Of A Woman In Love
21. Thanks A Lot
22. Fools Hall Of Fame
23. I Just Thought You'd Like To Know
24. I Forgot To Remember To Forget
25. Always Alone
26. The Story Of A Broken Heart

No link.

Willie Dixon - "The Quiet Knight" - Live Chicago, January 24, 1974

Willie Dixon's life and work was virtually an embodiment of the progress of the blues, from an accidental creation of the descendants of freed slaves to a recognized and vital part of America's musical heritage. That Dixon was one of the first professional blues songwriters to benefit in a serious, material way — and that he had to fight to do it — from his work also made him an important symbol of the injustice that still informs the music industry, even at the end of the 20th century. A producer, songwriter, bassist, and singer, he helped Muddy Waters, Howlin' Wolf, Little Walter, and others find their most commercially successful voices.
He probably wrote some of the most common known blues songs. To name a few, most of them included here: "Spoonfull", "Little Red Rooster", "Hoochie Coochie Man", "Down in the Bottom", "Back Door Man" & "Wang Dang Doodle".

His songs have become standards for blues players of all stripes and generations and you could argue that bands like Led Zeppelin and the Rolling Stones wouldn’t have existed as they did if it wasn’t for the great big Chicago bass player. He is to blues what George Gershwin is to jazz.

Here´s a classic, exellent sounding Blues show of the great Willie Dixon with his Allstar Band, broadcasted by WXRT-FM Chicago & recorded by Bob Craig to reel.

Setlist:
01-Intro Boogie
02-Crazy ´bout my Baby
03-Rock Me
04-I don´t trust nobody(when it comes to my Girl)
05-29 Ways
06-Wang Dang Doodle
07-Hoochie Coochie Man
08-Little Red Rooster
09-I think I got the Blues
10-My Baby
11-Spoonfull
12-Closing Boogie
No link.

B. B. Seaton - Gun Court Dub

"Gun Court Dub" is the first of a series of three wonderful "Gun Court"-dub albums produced by B. B. Seaton

The great producer was backed on this albums by The Revolutionaries, The Conscious Minds and by Skin, Flesh & Bones.

Tracklist:
Gun Court
Babylon Out Former
No Escape
Dread Rehabilitation
Sweet Callie
Sam Sharp Rebellion
Folly Folly
Forward To Mount Zion
Beat Down Sentence
Dub Of Justice
House Of Jah Dread
Tribute To Selassie
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B. B. Seaton - Gun Court Dub (1975)
(192 kbps, front cover included)

Ranking Trevor & Friends - Roots Of All Roots (Micron, 1979)

Ranking Trevor has been largely ignored by the archivists, a peculiar oversight, as the DJ was a major force in the sound systems on both sides of the Atlantic during the roots age. Most of his recordings remain infuriatingly out of print, and his singles and albums, now with hefty price tags attached, are much sought after by collectors. Born Trevor Grant in Jamaica on January 20, 1960, the toaster to be fell under U-Roy's spell in childhood. He never completely shook the Originator's influence, but no matter, for Ranking Trevor had an equally sharp sense of timing and relaxed delivery that never went out of fashion in this period. Eager for success, Grant was barely into his teens when he began professionally DJing, honing his skills at the Socialist Roots Sound System. He was all of 15 when Jo Jo Hookim took him into the studio for the first time, where he cut 1975's "Natty a Roots Man." Over the next few years Trevor recorded a steady stream of singles for Hookim, all backed by the Revolutionaries, with his popularity increasing proportionally.

By 1977, the teen star was shaking up the British reggae chart as well, with "Cave Man Skank," "Three Piece Chicken & Chips" (a humorous riposte to Trinity's "Three Piece Suit"), and "Anti-Lulu" all hitting the Top Ten. "Pure & Clean" and "Rub a Dub Style" followed them up the chart in 1978. By then, the DJ had signed a deal with Virgin's Frontline imprint, the resulting "In Fine Style" album, which arrived that same year, proving wildly popular. Beyond hits like "Rub a Dub Style" and "Masculine Gender," it also included splendid versions of "Satta Massa Ganna" and "Queen Majesty." Meanwhile, back in Jamaica, Hookim also unleashed the "Three Piece Chicken & Chips" split set, which set Trevor head to head with Trinity himself. The former won that round, as Hookim stuffed it with Trevor's latest hits - the title track, "Lulu," "Love Yu Sister," and, best of all, "Answer Me Question," a retort to Lone Ranger's "Question."

In 1979, Trevor linked up with singing producer Linval Thompson, resulting in the following year's "Repatriation Time", a set again recorded at Channel One and backed by the Revolutionaries. The following year, Prince Jammy remixed a clutch of Thompson, Wayne Jarrett, and Trevor recordings for the simmering "Train to Zion Dub" set. For Repatriation, Trevor took on a new moniker, Ranking Superstar, which explains why producer Sugar Minott titled the DJ's excellent next set Presenting Ranking Trevor. Both Minott and Thompson were featured alongside the DJ on the "Roots of All Roots" set released by Micron later in the decade.
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(192 kbps, front cover included)

Kurt Weill & Bert Brecht - Rise And Fall Of the City Of Mahagonny

In the 1920´s Kurt Weill and Bertolt Brecht worked togehter on the "song-play" "Mahagonny", based on poems taken from Brecht´s "Hauspostille". They interrupted adapting the song-play into a "Mahagonny" opera in May 1928 so that they could concentrate on a new version of the classical "Beggar´s Opera", which enjoyed its premiere performance as "The Threepenny Opera" in autumn 1928 in Berlin. The piece took the rest of Europa by storm and Brecht and Weill were alredy working on their next project - The "Mahagonny" opera.

This opera tells the story of three criminals (Leokadja Begbick, Trinity Moses and Fatty) creating the city of Mahagonny. Drinking, gambling, prize-fights and similar activities are the sole occupation of the inhabitants, and money rules. The implications for a society organized on such a value system is the overarching theme of the opera, which explores scenarios of greed, gluttony, lust, and a justice system in which a murderer can buy his way to freedom, but inability to pay a bill results in conviction and a death sentence.
There are only two main characters, Jenny, a prostitute, and Jim Mahoney, a lumberjack. Mahagonny is threatened by a hurricane at the end of Act 1, which despite much anticipation & causing much distress simply bypasses the city. In Act 2 following the hurricane nothing is forbidden and various scenes of debauchery occur. Jenny and Jim try to leave but Jim cannot pay his debts and is arrested. Another character arraigned for murder, bribes his way out of it, but Jim has no money and is condemned to death for not paying for his whisky. The opera ends with discontent destroying the city, which burns as the inhabitants march away.
The music uses a number of styles, including rag-time, jazz and formal counterpoint, notably in the "Alabama Song" (covered by The Doors and later David Bowie).
The lyrics for the "Alabama Song" and another song, the "Benares Song" are in English (albeit specifically idiosyncratic English) and are performed in that language even when the opera is performed in its original German language.

This opera enjoyed its premiere performance in 1930 as "The Rise And Fall Of The City Of Mahagonny". This event became one of the greatest theatre scandals in the history of the Weimarer Republic. Organized groups of Nazi troublemakers attended the performance and caused such tumultuous scenes that the performance could only be completed with the greatest of effort. The reaction of the right-wing press also made it clear that "Mahagonny" was not only considered an opera but also a political issue. Weill left Germany in 1933.

Kurt Weill & Bert Brecht - Rise And Fall Of the City Of Mahagonny pt 1
Kurt Weill & Bert Brecht - Rise And Fall Of the City Of Mahagonny pt 2
(192 kbps, cover art included)

Sonntag, 17. Oktober 2010

Olodum - Egito Madagascar (1987)

Olodum is a cultural activism group created with the objectives of fighting racial discrimination and socioeconomic inequality. They have recorded ten LPs/CDs and have worked with Wayne Shorter, Jimmy Cliff, Herbie Hancock, Michael Jackson, Paul Simon, and Spike Lee. The group draws 4,000 people to parade in the bloco (which has about 200 musicians) at Salvador BA carnival, gives lectures on social and political issues, and publishes a monthly news journal, Bantu Nagô. The group also runs a factory for clothes and musical instruments sold to the public and a school for Salvador's poor children.

They play powerfully percussive pop which combines thunderous traditional African rhythms with intensely sensual samba melodies. Olodum is a weird phenomenon - more a musical collective and Africanist social movement than simply "a band".

Their first "samba-reggae" records in the mid-1980s helped reinvigorate Brazilian pop, and several Olodum songs are now standards. Beware of synthy, iffy production on later albums, though.

On the album "Egito Madagascar" (1987) they play awesome, thunderously melodic percussion-and-chorus. This is the start of the whole samba-reggae sound, and it's an absolute classic.
Olodum - Egito Madagascar (1987)
(192 kbps, front cover included)

Samstag, 16. Oktober 2010

Kurt Weill - Der Silbersee: ein Wintermärchen (London Sinfonietta)

Kurt Weill - Kurt Weill: Der Silbersee
"Der Silbersee: ein Wintermärchen" ("The Silver Lake: a Winter's Fairy Tale") is a 'play with music' in threeacts by Kurt Weill to a German text by Georg Kaiser (cf. Heinrich Heine's Germany. A Winter's Tale).

"Der Silbersee" was premiered on 18 February 1933 simultaneously at the Altes Theater in Leipzig, the Stadttheater in Erfurt and the Stadttheater in Magdeburg, just 3 weeks after the Nazi Party's Machtergreifung on 30 January 1933. It was directed by Detlev Sierck and conducted by Gustav Brecher (Leipzig). It was the artists' last production in the Weimar Republic before they were forced to emigrate and it was banned on 4 March 1933 by the Nazis after having been performed 16 times.

"Der Silbersee" tells the story of Olim, a policeman, who shoots the thief Severin, who was stealing a pineapple. Severin survives and, from then on, Olim has a bad conscience. He wins the lottery and soon finds himself at a castle at the silverlake. He gives shelter to Severin, takes care of his wellbeing and tries to build a friendship with him. Severin does not forgive him, and conflict evolves at the estate. The mistress von Laub cleverly takes advantage of the two men with Olim finally agreeing to sell her all his property for a very low price. The two men reconcile and, at the end of it all, wish only to die together in the silverlake. However, in the meantime, the lake turns out to have frozen.

Even though the piece is based on a play and most of the action is transmitted by the spoken word, the elaboration of the piece by Weill requires skilled singers and musicians for a medium-sized orchestra. Similarly to his other works, Weill uses a broad variety of elements such as the cantata, instrumental interruptions, moritate, and songs. It questions the limitations of the genres. As a result, the Nazis labelled the work not only degenerated but a "musical bastard". Due to these characteristics it has not until recently become established in postwar theater nor on opera stages. It still lacks an appropriate framework to be performed within.
One day after the ban on the piece by the NSDAP on 4 March 1933, Georg Kaiser was also barred from the Akademie der Künste of which he was a member. On 10 May the work with illustrations by Caspar Neher was burned on the Opera Plaza. Today only occasionally is the piece found as part of the repertoire.

Here´s the recording with the London Sinfonietta, conducted by Markus Stenz with Heinz Kruse, HK Gruber and Juanita Lascarro.

Kurt Weill - Der Silbersee (London Sinfonietta)
(128 kbps, front cover included)

The World Of Terry Jacks and the Poppy Family (London Records, 1976)

It's been a long time since "Seasons in the Sun" became a monster hit for Canadian Terry Jacks, but the syrupy 1974 single is still top dog among all best-sellers issued by Canadian acts. The release spent more than three months on the U.S. charts and more than four months on the charts in Jacks' native country. Its accumulated sales topped more than 11 million copies. Jacks, who moved on to producing for artists such as the Beach Boys, Nana Mouskouri, DOA, and Chilliwack, reaped the good life from the monster hit's royalties, which he acknowledged by naming his power boat Seasons in the Sun. Royalties also spill in from "Which Way You Goin' Billy?" He and former wife Susan Pesklevits recorded the song under the name the Poppy Family in 1969. The release hit number two in the U.S. and topped the Canadian charts, raking in four Juno Awards and selling more than two million copies.

Power boats and hit singles aside, life hasn't all been smooth sailing for Jacks. His marriage to Pesklevits dissolved in 1973. A second marriage produced a daughter, Holly, and later charges of spousal abuse. According to Canada's CNEWS, when officers in Sechelt, British Columbia, arrived at Jacks' home in 2001, they leveled a charge of improperly storing a firearm against him in addition to the abuse charge, although the rifle was not related to the alleged assault.

As a youth, Jacks resisted family pressures to turn him into an architect. Favoring music instead, he joined the Vancouver-based Chessmen, playing guitar and providing vocals on a pair of singles released by London Records and on two more released by Mercury Records during the mid-'60s. Jacks met his first wife through the Chessmen's appearance on Music Hop, a Canadian television program. Eventually the pair formed the Poppy Family after recruiting guitarist Craig McCaw and Satwant Singh, who played the tabla.

Before "Which Way You Goin' Billy" landed the group in the spotlight, Jacks and the Poppy Family released two singles that didn't go anywhere, "What Can the Matter Be" and "Beyond the Clouds." Later they scored two lesser hits, "Where Evil Grows" and "That's Where I Went Wrong." But Jacks did not take well to performing live. That aversion, coupled with the pressures of stardom, led to his decision to break up the band. In 1973, he produced his wife's eponymous debut album and wrote one of the songs, "I Thought of You Again," which garnered a Juno Award nomination. Despite their working relationship, or perhaps because of it, Jacks and his wife split that year.

A major concern for the musician is environmental pollution, and he has transformed himself into something of a major obstacle for large-scale pulp and logging companies that are suspected of noncompliance with Canadian pollution laws. To that end, he established an organization called Environmental Watch.

"The World Of Terry Jacks and the Poppy Family" was released on Londn Records in 1976. The meticulous songwriting, production and arranging skills of guitarist/mastermind Terry Jacks lift these recordings above the work of many of the group's better-known contemporaries. Singer Susan Jacks has a beautiful voice that sometimes sounds like (but predates) Karen Carpenter, but is eminently more soulful. Although characterized in the liner notes as a "soft pop" band, the Poppy Family was also capable of a somewhat tougher sound that sometimes recalled Surrealistic Pillow-era Jefferson Airplane and folkier material in the Kenny Rogers & the First Edition/Roger McGuinn vein. Throughout, Jacks frames the songs with creative, if often dated, arrangements that compare favorably to his obvious influences, the Beatles, the Beach Boys, and Phil Spector.

Tracklist:
seasons in the sun
i`m gonna love you too
today i started loving you again
remember the rain
the love game
shadows on my wall
sail away
where evil grows
if you go away
rock n roll
of cities and escapes
someone must have jumped
i`m so lonely here today
a good thing lost
concrete sea
Thanks to http://akashaman.blogspot.com/!

No link.

Freitag, 15. Oktober 2010

Jazz Classics In Digital Stereo Vol.3 - New York

On the third of four CDs in the Robert Parker series that reissues a cross section of early jazz recordings from a regional area, the music ranges from the famous (Jelly Roll Morton, Fletcher Henderson, Bessie Smith and Duke Ellington) to the lesser known (Charlie Johnson's Paradise Ten, Lloyd Scott and Freddy Jenkins).

Veteran collectors will prefer to skip this sampler and get the complete sessions elsewhere but listeners just beginning to explore early jazz should find these early recordings (which range from pre-swing to some heated jams) worth investigating.

Jazz Classics In Digital Stereo Vol. 3 - New York
(192 kbps, front cover included)

Mittwoch, 13. Oktober 2010

Sylvan Morris & Harry J - Cultural Dub (1978, vinyl rip)

Harry Johnson, or Harry J as he's better known to fans around the world, was a prolific producer of top-notch reggae, and continues to run one of Jamaica's most legendary studios. Born in Kingston, Jamaica, in 1945, after leaving school Johnson worked as an insurance salesman. Interest in music, however, led him to schedule time at Studio One in 1968 to record the vocal group the Beltones. The resulting single, "No More Heartaches," was a hit, the first of many. Lloyd Robinson's seminal — and much versioned — "Cuss Cuss" arrived the following year, as did a slew of sizzling instrumentals from Johnson's studio band, the Harry J All-Stars. Their first, 1968's "Smashville," mashed up the sound systems, but it was the phenomenal success of "Liquidator," a number that stormed into the Top Ten of the British chart in late 1969, that cemented his reputation. The British reggae label Trojan promptly handed Johnson his own imprint, Harry J, and a slew of the All-Stars' instrumentals saw release. Although none of them repeated "Liquidator"'s success, the songs went down a storm with the skinhead crowd. Of course, the instrumentals were actually backings of vocal cuts, spiffed up by soloing organs or brass, and those vocal numbers were exciting plenty of attention, too. During these early years, Johnson oversaw excellent singles from the Cables, Winston Jarrett & the Flames, Joe White, Bob Andy, and Marcia Griffiths. When the latter two artists joined forces in duet, Johnson's fortune was made, with Bob & Marcia's cover of "Young, Gifted and Black" sailing into the U.K. Top Five, with "Pied Piper" following it up the chart.

With the money amassed from those two hits, Johnson opened his own 16-track Kingston studio on Roosevelt Boulevard. A series of masterful albums emerged across the rest of the decade, all overseen by Johnson himself. The Heptones' Book of Rules and Cool Rasta, I-Roy's Crisus Time and Heart of a Lion, Zap Pow's Revolution, the Melodians' Sweet Sensation, Delroy Wilson's Last Thing on My Mind, Dennis Brown's So Long Rastafari, and Sylvan Morris' Cultural Dub and Jah Jah Dub sets are just some of the highlights. The Wailers recorded their first four albums for Island at Harry J's, with Burning Spear and Augustus Pablo among the many other top-drawer artists who set up shop there. However, it was a young emerging singer who returned Johnson to the U.K. pop chart at the end of the decade. Sheila Hylton first hit with "Breakfast in Bed," and her follow-up, "Bed to Big Without You," was even bigger. In the new decade, the producer was working mainly with DJs, overseeing excellent material from Charlie Chaplin, Uglyman, and Little John, with Computer a fine roundup of these more digitized-sounding productions. By then, Johnson's interest in production was waning, or perhaps he just couldn't find the time anymore, so busy was he looking after the studio, which remains a mainstay of the Kingston music industry.

Sylvan Morris & Harry J - Cultural Dub (1978, vinyl rip)
(192 kbps, front cover included)

Pete Seeger - God Bless The Grass (1966)

"God Bless The Grass", released in 1966, is one of Pete Seeger's strongest efforts for Columbia.

The focus of an environmental theme gives the quintessential troubadour rare inspiration. The songs create a statement about the beauty of nature and the foibles of petty politics. But the best thing about this work is it's a beautiful record, with fine songs and fine singing, that also makes you want to plant a tree and clean up a filthy river. It appeals to what is best in us, and that's pretty impressive.

Pete Seeger - God Bless The Grass (1966)
(192 kbps, front cover incuded)

Neil Young & The Stray Gators - Norfolk, Virginia 1973 (Soundboard)

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Over three months, Neil Young planned to visit 65 cities and stop for a break at the end of March. The "Time Fades Away"-tour would resume in August and shift to Europe in November, playing seven shows in the UK. Then back to America to play the final dates in New York, Boston, two shows in Ohio, Chicago and finally in Berkeley.

The Stray Gators lasted only till end March and were replaced by the Santa Monica Flyers for the rest of the tour. It is also well-documented that by March, Young’s voice was shot and he asked Linda Ronstadt, David Crosby and Graham Nash to join him to offer vocal support. This is also the famous tour where the band asked and received a hefty salary increase. "Harvest" had become a multi-million seller and the money was rolling in. Young was furious but paid them anyway. Perhaps he felt guilty about the way he had dismissed the late Danny Whitten, with $50 and a plane ticket. Whitten used the money, scored heroin and died of an overdose.

Young had figured correctly. He opened with an acoustic set, playing the ballads from "After The Goldrush" and "Harvest", winning the audience completely and setting the stage for his electric set with the Stray Gators. By then, the crowd was waiting for rock ‘n’ roll and Young delivered some new songs ("Time Fades Away", "Look Out Joe", "New Mama", "Don’t Be Denied") with some of his well-loved rockers "The Loner", "Southern Man" and "Cinnamon Girl". Everybody went home happy. The critics praised his shows. The only unhappy man was Neil Young - at his band, at his voice and at the audience. According to David Downing’s "A Dreamer Of Pictures", Young "found the audiences too loud during his acoustic set, too quiet in the electric portion of the show. He started screaming at them to wake up." Young was obviously stressed out.

Everything came crashing down at the final show in Oakland, March 31. If you know the "Citizen Kane Junior Blues" show, you can listen to Young explain how it all ended:

"I was singing away - Southern Man, better keep your head, don’t forget what the good book said - and this guy in the front row, he was about as far away as you are from me, he jumped up and yelled, ‘Right on, right on, I love it!’ He felt really good, I could tell. And all of a sudden, you know, this black cop just walked up to him, you know, and it just was the scene the way he looked at him, and he just crunched him."I just took my guitar out and put it on the ground and got in the car and went home…" Rock ‘n’ roll was not making him happy and Young felt disconnected from his fans. This unhappy period is documented on "Time Fades Away", the album. No doubt it remains unreleased because Young wants to forget. It would take the successful 1976 tour with Crazy Horse to lift his spirits and set him in a new direction as a rock ‘n’ roll survivor.

Of all the shows from the ’73 tour, this is one of the best in sound quality. The vocals are upfront and Young sings well. There’s also the rare "Here We Are In The Years". The drums and guitars are properly balanced and offer a solid backing to the singing. So is this a professional recording? This show was taken from a torrent site. According to the seeder, it was copied from a vinyl bootleg, "The 1973 Tour", re-pitched and remastered. The sound is excellentfor the acoustic portion but is a bit muddy during the electric set. You can hear the clicks and pops here. Quite hissy at loud volumes. Never officially released.
- Professor Red, bigozine2.com

No link.

David Crosby & Graham Nash: Whale & Fieldworkers Benefit 1974 (Bootleg, San Francisco, CA, Dec 14, 1974)

The credit for this one goes to bigozine2.com:
 
Wally Heider who recorded Crosby, Stills, Nash & Young at the Fillmore in June, 1970 which became the famous Four Way Street album, was again at the soundboard to record this show in San Francisco. Nothing was released till 1977, when a Crosby & Nash album called Live came out. That album was recorded during the duo’s tours from 1975 to 1977. This show is among the earliest of their professional recordings. It seems to have been edited for a live album but never released.

This was not the country-rock-pop of Loggins & Messina nor the folk-rock-pop of Simon & Garfunkel but soft rock with a conscience. Especially in that vein was Graham Nash’s Prison Song and Chicago. Not to be outdone, David Crosby contributes the angry What Are Their Names?, a song-dirge about accountability that leads into Chicago.

With Stills somewhat distracted and Neil Young tail-spinning into insular projects like On The Beach, these were the years when Crosby & Nash had star power and a real career. But whereas Simon & Garfunkel split over politics [apparently Simon was pissed that Garfunkel was not keen to include Cuba Si Nixon No on Bridge Over Troubled Waters] and Loggins & Messina had too big egos, Crosby & Nash were consumed by their own excesses or at least Crosby’s indulgence with chemicals.

By the end of the ‘70s, the duo or as a trio with Stills could be found at anti-war benefits, anti-nuclear benefits and such shows still holding on to their ideals and those familiar songs. Their solo careers took hiatus as they regrouped to release what can best be said are mediocre albums compared to the first two album as a group or as a duo. When they had stopped listening, they had also stopped creating.

All the happy songs are here in superb hi-fidelity, suitable for entertaining. Play loud. Nothing has been officially released.

- Professor Red
No link.