Mittwoch, 18. Dezember 2013

Mike Bloomfield - Initial Shock - Live Between 1977 And 1979


Michael Bloomfield was one of America's first great white blues guitarists, earning his reputation on the strength of his work in the Paul Butterfield Blues Band. His expressive, fluid solo lines and prodigious technique graced many other projects - most notably Bob Dylan's earliest electric forays - and he also pursued a solo career, with variable results. Uncomfortable with the reverential treatment afforded a guitar hero, Bloomfield tended to shy away from the spotlight after spending just a few years in it; he maintained a lower-visibility career during the '70s due to his distaste for fame and his worsening drug problems, which claimed his life in 1981.      
      
Michael Bernard Bloomfield was born July 28, 1943, into a well-off Jewish family on Chicago's North Side. A shy, awkward loner as a child, he became interested in music through the Southern radio stations he was able to pick up at night, which gave him a regular source for rockabilly, R&B, and blues. He received his first guitar at his bar mitzvah and he and his friends began sneaking out to hear electric blues on the South Side's fertile club scene (with the help of their families' maids). The young Bloomfield sometimes jumped on-stage to jam with the musicians and the novelty of such a spectacle soon made him a prominent scenester. Dismayed with the turn his education was taking, his parents sent him to a private boarding school on the East Coast in 1958 and he eventually graduated from a Chicago school for troubled youth. By this time, he'd embraced the beatnik subculture, frequenting hangout spots near the University of Chicago. He got a job managing a folk club and frequently booked veteran acoustic bluesmen; in the meantime, he was also playing guitar as a session man and around the Chicago club scene with several different bands.

In 1964, Bloomfield was discovered through his session work by the legendary John Hammond, who signed him to CBS; however, several recordings from 1964 went unreleased as the label wasn't sure how to market a white American blues guitarist. In early 1965, Bloomfield joined several associates in the Paul Butterfield Blues Band, a racially integrated outfit with a storming, rock-tinged take on Chicago's urban electric blues sound. The group's self-titled debut for Elektra, released later that year, made them a sensation in the blues community and helped introduce white audiences to a less watered-down version of the blues. Individually, Bloomfield's lead guitar work was acclaimed as a perfectly logical bridge between Chicago blues and contemporary rock. Later, in 1965, Bloomfield was recruited for Bob Dylan's new electrified backing band; he was a prominent presence on the groundbreaking classic "Highway 61 Revisited" and he was also part of Dylan's epochal plugged-in performance at the 1965 Newport Folk Festival. In the meantime, Bloomfield was developing an interest in Eastern music, particularly the Indian raga form, and his preoccupation exerted a major influence on the next Butterfield album, 1966's "East-West". Driven by Bloomfield's jaw-dropping extended solos on his instrumental title cut, "East-West" merged blues, jazz, world music, and psychedelic rock in an unprecedented fashion. The Butterfield band became a favorite live act on the emerging San Francisco music scene and in 1967, Bloomfield quit the group to permanently relocate there and pursue new projects

Bloomfield quickly formed a new band called the "Electric Flag" with longtime Chicago cohort Nick Gravenites on vocals. "The Electric Flag" was supposed to build on the innovations of "East-West" and accordingly featured an expanded lineup complete with a horn section, which allowed the group to add soul music to their laundry list of influences. The Electric Flag debuted at the 1967 Monterey Pop Festival and issued a proper debut album, "A Long Time Comin'", in 1968. Critics complimented the group's distinctive, intriguing sound, but found the record itself somewhat uneven. Unfortunately, the band was already disintegrating; rivalries between members and shortsighted management - not to mention heroin abuse - all took their toll. Bloomfield himself left the band he'd formed before their album was even released. He next hooked up with organist Al Kooper, whom he'd played with in the Dylan band, and cut "Super Session", a jam-oriented record that spotlighted his own guitar skills on one half and those of Stephen Stills on the other. Issued in 1968, it received excellent reviews and moreover became the best-selling album of Bloomfield's career. "Super Session"'s success led to a sequel, "The Live Adventures of Mike Bloomfield and Al Kooper", which was recorded over three shows at the Fillmore West in 1968 and released the following year; it featured Bloomfield's on-record singing debut.
              
Bloomfield, however, was wary of his commercial success and growing disenchanted with fame. He was also tired of touring and after recording the second album with Kooper, he effectively retired for a while, at least from high-profile activities. He did, however, continue to work as a session guitarist and producer, and also began writing and playing on movie soundtracks (including some pornographic films by the Mitchell Brothers). He played locally and occasionally toured with Bloomfield and Friends, which included Nick Gravenites and ex-Butterfield mate Mark Naftalin. Additionally, he returned to the studio in 1973 for a session with John Hammond and New Orleans pianist Dr. John; the result, "Triumvirate", was released on Columbia, but didn't make much of a splash. Neither did Bloomfield's 1974 reunion with Electric Flag and neither did KGB, a short-lived supergroup with Barry Goldberg, Rik Grech (Traffic), and Carmine Appice that recorded for MCA in 1976. During the late '70s, Bloomfield recorded for several smaller labels (including Takoma), usually in predominantly acoustic settings; through Guitar Player magazine, he also put out an instructional album with a vast array of blues guitar styles, titled "If You Love These Blues, Play 'Em as You Please".

Unfortunately, Bloomfield was also plagued by alcoholism and heroin addiction for much of the '70s, which made him an unreliable concert presence and slowly cost him some of his longtime musical associations (as well as his marriage). By 1980, he had seemingly recovered enough to tour in Europe; that November, he also appeared on-stage in San Francisco with Bob Dylan for a rendition of "Like a Rolling Stone." However, on February 15, 1981, Bloomfield was found dead in his car of a drug overdose; he was only 37.

Tracklist:
1) Eyesight to the Blind
2) Women Lovin' Each Other
3) Linda Lou
4) Kansas City
5) Blues in B-Flat
6) Medley: Darktown Strutter's Ball / Mop Mop / Call Me a Dog
7) I'm Glad I'm Jewish
8) Jockey Blues
9) Between the Hard Place and the Ground
10) Don't Lie to Me
11) Cherry Red
12) Uncle Bob's Barrelhouse Blues
13) Wee Wee Hours
14) Vamp in C
15) One of These Days

Mike Bloomfield - Initial Shock - Live Between 1977 And 1979
(256 kbps, cover art included)

Dienstag, 17. Dezember 2013

Nina Simone - At The Village Gate (1962)


"Nina Simone at the Village Gate" (1962) is an album by singer/pianist/songwriter Nina Simone (1933-2003). It was her third live album for Colpix recorded at The Village Gate. It is particularly notable for the amount of folk songs and African related songs on the album early in Simone's career. Richard Pryor had one of his first nights as a comedian, opening for her. Simone about Pryor's first night:
"He shook like he had malaria, he was so nervous. I couldn't bear to watch him shiver, so I put my arms around him there in the dark and rocked him like a baby until he calmed down. The next night was the same, and the next, and I rocked him each time."
Nina Simone had the rare ability of really being able to dig into material and bring out unexpected meaning in familiar lyrics.
On "Just in Time" from this set, she gives one the impression that if she had not been found "Just in Time," she would have committed suicide. During "He Was Too Good to Me," Simone sounds absolutely stunned about the end of a love affair. "Brown Baby" is both hopeful and defiant in its call for freedom, while "Zungo" is an African work song.

Also from her 1961 trio performance at the Village Gate, Simone performs the overly serious "If He Changed My Name," the good-time gospel piece "Children Go Where I Send You," a regretful rendition of "House of the Rising Sun," and an unpredictable instrumental version of "Bye Bye Blackbird." Nina Simone, who was always in a category by herself, is heard throughout in her early prime.             

01. Just in time
02. He was too good to me
03. House of the rising sun
04. Bye bye blackbird
05. Brown baby
06, Zungo
07. If he changed my name
08. Children go where i send you

Nina Simone - At The Village Gate (1962)
(256 kbps, cover art included)

Sonntag, 15. Dezember 2013

Nina Simone - At Town Hall (1959)


It was said of Nina Simone that she performed "with heart at all times", and that is none more evident than on "Nina Simone at Town Hall". Only her fourth album, it was recorded mostly live at the prestigious New York venue in September 1959, with three songs – "The Other Woman", "Cotton Eyed Joe" and "Wild Is the Wind" – cut in a studio in the city a month later. It captures the 27-year-old at one of her early pinnacles.

The show was her New York concert debut. Simone later wrote how, after years playing clubs, that it was one of the first times that she’d played somewhere where people had arrived simply to listen to her. Recorded when she was only toying with popular music in order to fund her continued studies into classical piano, it shows her formal background, evident in her confident, on-stage mastery.
Serious-minded but never po-faced, Simone’s joy is evident by her squeals of delight at the end of several numbers; this is an artist clearly enjoying herself as much as her audience. Although only occasionally singing her own material, the authority and sincerity she brought to other’s work made their songs her own – George Gershwin’s "Summertime", Dimitri Tiomkin’s "Wild Is the Wind" and Billie Holiday’s "Fine and Mellow" are here captured as if they couldn’t have been written for anyone else than Simone.

Supported by Jimmy Bond on bass and Al ‘Tootie’ Heath on drums, her grasp of the spectrum of popular music is astonishing. From traditional ballads such as "Black Is the Colour of My True Love’s Hair" to light and airy cabaret renditions of "Exactly Like You" to intense ruminations on being the wronged woman ("You Can Have Him"), Simone treats each piece with similar weight and respect.
The reviews for the show, as Simone later wrote, "were the best I ever had. I was a sensation. An overnight success, just like in the movies." Simone’s gravitas and strong self-belief made for an enthralling performance. Artists frequently bandy about the words "soul" and "passion" to compensate for their blatant lack of either. Few had both like Nina Simone, and "…at Town Hall" is one of the greatest examples of her unique style.

Nina Simone - At Town Hall (1959)
(256 kbps, cover art included)     

Samstag, 14. Dezember 2013

Nina Simone - At Newport (1960)


Nina Simone was born Eunice Wayman on February 21st 1933, in Tryon, South Carolina. She is, for many, the ultimate jazz/blues diva. Few know however, that Ms. Simone holds a doctorate in music, yet was once refused admission to the legendary Curtis Institute of Music in Philadelphia, an event that has forever marked her life. An intense live performer, Nina Simone's shows are legendary, and her uncompromising interpretations often reinforce her controversial reputation.

"Nina At Newport" was her second live album for Colpix and was recorded at the Newport Jazz Festival on June 30, 1960. It was, by far, Nina's highest-charting album, featuring stellar performances of "Trouble in Mind", "Porgy" and "Nina's Blues". It reached number 23 inthe Billboard chart in March 1961. The album opens with "Trouble in Mind", Nina´s bluesy interpretation somewhat faster than the origianl jailhouse lament.

The "Porgy" on this album is not the musical "Porgy" of her first hit. The character is the same, but the music and lyrics are by Jimmy McHugh and Dorothy Fields. "Little Liza Jane" is a rousing negro folk song, while Nina takes Cole Porter´s "You´d Be So Nice To Come Home To" smooth and easy.

"Flo Me La" is an authentic African song developed by pack bearers on safari as a rhythmic chant to set the walking pace; eventually, the chant becyme a song, the title meaning "Walking Along". Nina begins the American traditional "In The Evening By The Moonlight" with a restrained chorus, but it develops into a band lcimax to end the disc.

Nina is backed here by what had become her regular band. Chris White (bass) studied at the Manhatten School of Music, Bobby Hamilton (drums) studied with the famous Jim Chapin, and Al Schackman (guitar) was equally proficient in classical and flamenco. Schackman in particular became a lifelong friend, working as Nina´s musical director over many years. They played together from 1957, the other two joining shortly afterwards.

Tracklist:

A1 Trouble In Mind
A2 Blues For Porgy
A3 Little Liza Jane
A4 You'D Be So Nice To Come Home To
B1 Flo Me La
B2 Nina's Blues
B3 In The Evening By The Moonlight


Nina Simone - At Newport (1960)
(256 kbps, cover art included)

Freitag, 13. Dezember 2013

Peggy Seeger With Barbara And Penny Seeger‎ - The Three Sisters (1956)




Peggy Seeger is considered by many to be the female folksinger, responsible for the continuous upswing of folk music popularity. It is a fitting title, considering Peggy was living and breathing folk music since before she was born. Brought into musical history by Roberta Flack in the late 1970s, "First Time Ever I Saw Your Face," one of the most stirring love ballads was penned in Seeger’s honor, by the late Scottish songwriter/folk singer, Ewan MacColl.

Born into a family already well immersed in the folk culture, Seeger and her siblings were raised with music surrounding them. Her mother and father, Charles and Ruth Seeger, were accomplished musicians and teachers, and they brought their business home with them, filling their homes in New York and Maryland with music and musicians and from cultures around the world. Their business was cataloging folk music for the Archive of American Folk Songs of the Library of Congress. According to Seeger, "They had me analyzing and transcribing tunes for an anthology at age eleven." Her parents often entertained the musicians they were cataloging, and Seeger was right along side, listening and learning. "We had always sung as a family, but when Mike and I learned folk banjo and guitar, the singsongs became weekly events," she reminisced on her website. According to Kristin Baggelaar in Folk Music—More than a Song, "it was through listening to other musicians and field recordings of singers and instrumentalists from all over the United States that she absorbed the folk idiom and developed her singing and playing techniques."

Their parents’ profession also influenced the rest of her siblings. Her brother Pete Seeger was a well-known political-protest folk musician who, while coming of age during the changing decades of the 1930s and 1940s, toured with Woody Guthrie. Her brother Mike also performed and wrote music. Seeger recorded the album Three Sisters, with her sisters, Penny and Barbara.

Seeger was gifted with the ability to learn musical instruments amazingly fast. Learning first on the piano at the age of seven and then moving on to other instruments, including the guitar, five-sting harp, string banjo, autoharp, Appalachian dulcimer and the English concertina. Her formal musical education took place at the prestigious Radcliffe College in Cambridge, Massachusetts, where she began using her voice as an instrument. She carried on her parents’ work by singing traditional songs.

After college, Seeger spent a lot of time touring the world, including living in Holland. She learned Russian and began adventuring to eastern countries like the former Soviet Union, China, and Poland. She also ventured through Europe and parts of Africa. In the mid 1950s Seeger was asked to perform in a London television production of Dark of the Moon. After becoming a British subject, she met the person who would become her biggest influence - and her future husband - Ewan MacColl. MacColl saw Seeger while rehearsing with a band called the Ramblers, and later penned his signature tune "First Time Ever I Saw Your Face."

After marrying in 1958, the couple went on to write, compose, sing, play and tour together for almost 30 years until MacColl’s death. Seeger is often quoted giving thanks to her husband who "helped me to crystallize a singing style and, most important, showed me who ‘the folk’ really are." Shortly after marrying MacColl, Seeger began writing her own folksongs. "Songwriting," quotes her website, "helps me to live in the present, ‘at the same time as myself,’ as Ewan MacColl used to say. It is my way of trying to let tomorrow’s people know part of what it was like to be alive today."

Considered to be one of North America’s finest singers of traditional songs, Seeger is credited with reviving the British folk music scene. Seeger has more than 100 recordings bearing her name, and over a three dozen solo albums, for numerous British and American labels. Her most recognized folksong "If I was an Engineer," was recorded in 1970 for the British Festival of Fools, as an ode to feminism.


Tracklist:

A1 Keokeokolo
A2 I'm Troubled
A3 I Truely Understand
A4 It's A Lie
A5 Newlyn Town
A6 Billy Barlow
A7 My Good Old Man

Medley Of Lullabies
A8a Baby Dear, Baby Dear
A8b Pretty Little Horses
A8c Go To Sleepy, Baby, Bye
A8d Great Big Dog
-
B1 Little Black Train
B2 Henry Lee
B3 People Go Mind Your Business
B4 The Old Woman And Her Little Pig
B5 Green Valley
B6 Rissolty Rossolty
B7 Five Nights Drunk

Medley Of Play-Party Songs
B8a Shoe Round
B8b Old Pompey
B8c This Lady
B8d Hop Up, My Ladies

Peggy Seeger With Barbara And Penny Seeger‎ - The Three Sisters (1956)
(192 kbps, front cover included)

Montag, 18. November 2013

Toots & The Maytals - Sweet And Dandy (1968)

It´s november, the weather is getting more and more awfull - cold and rainy. So it is definitly time for some fine reggae music to warm our hearts.

While they never achieved the commercial success or cultural impact of the Wailers, Toots & the Maytals were nearly as important in the history of Jamaican music; like the Wailers, the Maytals thrived as ska gave way to rocksteady and then evolved into reggae, they boasted one of the island's finest singers and most charismatic frontmen in the great Toots Hibbert, and they worked with many of the most important producers and sidemen on the island. The Maytals were also the band that most clearly demonstrated the links between Jamaican sounds and American R&B (Hibbert's rich, emotive vocal style was informed by Otis Redding, Wilson Pickett, and other soul icons), and the group's catalog contains a number of crucial, frequently covered tracks, most notably the classic "Pressure Drop."        

Here´s the Leslie Kong production "Sweet And Dandy" from 1968, recorded at Dynamic Sounds (Kingston, JA). Led by Toots' Kingston-by-way-of-Memphis lead vocals, and the ragged call-and-response background singing of Nathaniel "Jerry" McCarthy and Raleigh Gordon, the trio created gospel-fueled reggae classics like "54-46 That´s My Number," "Monkey Man," "Sweet and Dandy,"  and the immortal "Pressure Drop," all of which carried the stomp and wallop of the best and most enduring soul music of the day.

Tracklist:

Monkey Man
Pressure Drop
I Shall Be Free
Bla, Bla, Bla
Just Tell Me
We Shall Overcome
Sweet And Dandy
Scare Him
Alidina
I Need Your Love
54-46 That’s My Number
Oh Yeah

Toots & The Maytals - Sweet And Dandy (1968)
(320 kbps, cover art included)       

Freitag, 15. November 2013

VA - The Beat Generation And The Angry Young Men (1984)


A fine Mod compilation, originally released in 1984 on Eddie Piller´s "Well Suspect" label.

From the liner notes:

"What you are now holding is the net result of five weeks hard slog in a dingy Soho basement. A compilation of some 15 demos and unreleased singles, which if it wasn't for a handful of dedicated, young believers, would have remained buried amongst piles of nameless studio out-takes for time immemorial. Names like The Merton Parkas, Purple Hearts and Long Tall Shorty will instantly bring back memories of that hot and sweaty summer of '79, when mod had not yet received its death sentence from the music press and you could still catch any of a dozen young mod bands live in a given week."

Tracklist:

01. Long Tall Shorty - That's What I Want
02. Small Hours - Underground
03. Purple Hearts - I'll Make You Mine
04. Les Elite - Frustration
05. Long Tall Shorty - I Do
06. Merton Parkas - Dangerous Man
07. Les Elite - Get A Job
08. Directions - Weekend Dancers
09. Purple Hearts - Concrete Mixer
10. Les Elite - Career Girl
11. Long Tall Shorty - All By Myself
12. Directions - It May Be Too Late
13. Merton Parkas - You Say You Will
14. Small Hours - The Kid
15. Purple Hearts - Hazy Darkness...

VA - The Beat Generation And The Angry Young Men (1984)
(192 kbps, cover art inlcuded)

Samstag, 9. November 2013

Geliebt - Verjagt - Ermordet - Jüdische Künstler und ihre Hits der 20er & 30er Jahre

PhotobucketToday we remember the anti-Jewish pogrom in Nazi Germany and Austria on 9 to 10 November 1938, also known as "Novemberpogrome",
"Reichskristallnacht", "Reichspogromnacht" or "Pogromnacht" in German.

In the 1920s, most German Jews were fully integrated into German society as German citizens. They served in the German army and navy and contributed to every field of German science, business and culture. Conditions began to change after the election of the Nazi party on January 30, 1933 and the assumption of power by Adolf Hitler after the Reichstag fire. From its inception, Hitler's regime moved quickly to introduce anti-Jewish policies. The 500,000 Jews in Germany, who accounted for only 0.76% of the overall population, were singled out by the Nazi propaganda machine as an enemy within who were responsible for Germany's defeat in the First World War, and for her subsequent economic difficulties, such as the 1920s hyperinflation and Great Depression. Beginning in 1933, the German government enacted a series of anti-Jewish laws restricting the rights of German Jews to earn a living, to enjoy full citizenship and to educate themselves, including the Law for the Restoration of the Professional Civil Service, which forbade Jews from working in the civil service. The subsequent 1935 Nuremberg Laws stripped German Jews of their citizenship and forbade Jews from marrying non-Jewish Germans.

The result of these laws was the exclusion of Jews from German social and political life. Many sought asylum abroad; thousands did manage to leave, but as Chaim Weizmann wrote in 1936, "The world seemed to be divided into two parts — those places where the Jews could not live and those where they could not enter." In an attempt to provide help an international conference was held on July 6, 1938 to address the issue of Jewish and Gypsy immigration to other countries. By the time the conference was held, more than 250,000 Jews had fled Germany and Austria, which had been annexed by Germany in March 1938. However, more than 300,000 German and Austrian Jews were still seeking shelter from oppression. As the number of Jews and Gypsies wanting to leave grew, the restrictions against them also grew with many countries tightening their rules for admission.

By 1938, Germany had entered a new radical phase in anti-Semitic activity. Some historians believe that the Nazi government had been contemplating a planned outbreak of violence against the Jews and were waiting for an appropriate provocation; there is evidence of this planning dating to 1937. The Zionist leadership in Palestine wrote in February 1938 that according to "a very reliable private source – one which can be traced back to the highest echelons of the SS leadership" there was "an intention to carry out a genuine and dramatic pogrom in Germany on a large scale in the near future."

During the "Progromnacht" on 9 to 10 November 1938, in a coordinated attack on Jewish people and their property, 99 Jews were murdered and 25,000 to 30,000 were arrested and placed in concentration camps. 267 synagogues were destroyed and thousands of homes and businesses were ransacked. This was done by the Hitler Youth, Gestapo, SS and SA.

At the time of Hitler's rise to power in 1933, Jewish musicians were perhaps Germany's and Austria's most important living cultural assets. There was hardly a note of popular music that did not rely on Jewish artists for either the tunes or the words, and often both. Jewish musicians were equally active in the established and avant garde music scenes.

»Loved, chased away and murdered« is a CD with popular hits by Jewish artists that was brought out by the "Foundation Memorial for the Murdered Jews of Europe" (www.stiftung-denkmal.de). It features well-known german interpreters from the 1920s and 30s, including the Comedian Harmonists with their rendition of "Ich bin von Kopf bis Fuß auf Liebe eingestellt" and Richard Tauber singing "Dein ist mein ganzes Herz". It recalls the memory of 20 Jewish artists murdered or forced to emigrate after the National Socialist takeover of power.

Geliebt - Verjagt - Ermordet
(192 kbps, front cover included)

Dienstag, 5. November 2013

Chad Mitchell Trio - Reflecting (1964)


The first Chad Mitchell Trio release of 1964 was self-consciously political and somewhat downbeat. The album opens with "Barry's Boys," a now-dated political piece that was controversial when it was released. This piece, along with a cute throwaway song by Shel Silverstein, and the wonderful version of Tom Paxton's "What Did You Learn in School Today" are the only humorous pieces on the album.
The rest of "Reflections" is highly varied and includes a sweet Caribbean religious song, an Elizabethan ballad, and a pair of songs from the Second World War.
 
The highlight of the album, and a clue regarding why the rest of the release might have a somewhat somber mood, is the closing medley of "In the Summer of His Years" and "Rally 'Round the Flag."
 
This album was recorded just after the assassination of President Kennedy, and the combination of the song commemorating his life and death with one written just after the assassination of President Lincoln was an inspired decision. It is no wonder that several songs on this album are expressions of grief, as the Chad Mitchell Trio reflected their times in song, and those times had just been marred by tragedy.
 
Modern listeners experiencing this album for the first time will find much to respect in the expressive vocals and good song selections throughout the album, but may find that other albums by the group are more enjoyable. Note: This was the group's last release as the Chad Mitchell Trio. Subsequent releases were under the name the Mitchell Trio.              

  

Chad Mitchell Trio - Reflecting (1964)
(256 kbps, cover art included)

Donnerstag, 31. Oktober 2013

The Last Poets - Delights Of The Garden (1977)


With their politically charged raps, taut rhythms, and dedication to raising African-American consciousness, the Last Poets almost single-handedly laid the groundwork for the emergence of hip-hop. The group arose out of the prison experiences of Jalal Mansur Nuriddin, a U.S. Army paratrooper who chose jail as an alternative to fighting in Vietnam; while incarcerated, he converted to Islam, learned to "spiel" (an early form of rapping), and befriended fellow inmates Omar Ben Hassan and Abiodun Oyewole.
Upon the trio's release from prison, they returned to the impoverished ghettos of Harlem, where they joined the East Wind poetry workshop and began performing their fusion of spiels and musical backing on neighborhood street corners. On May 16, 1969 - Malcolm X's birthday - they officially formed the Last Poets, adopting the name from the work of South African Little Willie Copaseely, who declared the era to be the last age of poets before the complete takeover of guns. After a performance on a local television program, the group was signed by jazz producer Alan Douglas, who helmed their eye-opening eponymous debut LP in 1970. A collection condemning both white oppression ("White Man's Got a God Complex") and black stasis ("Niggas Are Scared of Revolution"), The Last Poets reached the U.S. Top Ten album charts, but before the group could mount a tour, Oyewole was sentenced to 14 years in prison after being found guilty of robbery and was replaced by percussionist Nilaja.

After the 1971 follow-up "This Is Madness" (which landed them on President Richard Nixon's Counter-Intelligence Programming lists), Hassan joined a Southern-based religious sect; Jalal recruited former jazz drummer Suliaman El Hadi for 1972's "Chastisement", which incorporated jazz-funk structures to create a sound the group dubbed "jazzoetry." Following the 1973 Jalal solo concept album "Hustler's Convention" (recorded under the alias Lightnin' Rod), the Last Poets issued 1974's "At Last", a foray into free-form jazz; after its release, Nilaja exited, and with the exception of 1977's "Delights of the Garden" - Last Poets on fire, highly recommended! - , the group kept a conspicuously low profile for the remainder of the decade.

Tracklist:
It's A Trip 4:44
Ho Chi Min 5:16
Blessed Are Those Who Struggle 3:41
The Pill 5:08
Delights Of The Garden 3:47
Be 6:19
Yond 4:58
Er 7:36

The Last Poets - Delights Of The Garden (1977)
(320 kbps, cover art included)
                   

Montag, 28. Oktober 2013

Lou Reed - Rest In Peace!



“When you think the night has seen your mind
That inside your twisted and unkind
Let me stand to show that you are blind.
Please put down you hands cause I see you.
I'll be you mirror.” 

“Rock & roll is so great, people should start dying for it. You don't understand. The music gave you back your beat so you could dream...The people just have to die for the music. People are dying for everything else, so why not for music? Die for it. Isn't it pretty? Wouldn't you die for something pretty? ” 

"Nur die Musik verhindert, daß wir wahnsinnig werden. Du solltest dir zwei Radios anschaffen. Falls eines kaputtgeht."

(L. Reed)


Rest in peace!

Samstag, 28. September 2013

The Last Poets - Same (1970)

If rap could be traced to one logical source point, this exceptional piece of vinyl would be it, without question. Though the strict adherence to syncopated rhythms and standard song structures are absent, all the elements that would later become the hallmarks of hip-hop by the early 1980s (and predictable fare by the 1990s) are here: vivid depictions of street level violence, vivid apocalyptic predictions of racial genocide. All that is missing are pointless party anthems. But running through all the songs on the Last Poets' debut is an urgent sense of the need for radical action in the nation as well as the black community.
In addition to railing against the injustices perpetrated by white America, the Poets' comment on the economic and social devastation of drugs ("Jones Comin' Down," "Two Little Boys"), complacency in urban families ("Wake Up Niggers," "When the Revolution Comes"), the emotional release of sex ("Black Thighs"), and the weight of oppression that leads to hopelessness ("Surprises"). At the same time, they warn of the dangers of half-hearted commitment to revolutionary change: "don't talk about revolution until you are ready to eat rats." In the same manner that Marvin Gaye's landmark album "What's Goin' On" depicted the problems that doomed black culture, the Last Poets are now seen by many as prophets. But also like Gaye, the realization that the problems depicted on "The Last Poets" are now much worse marks the record as an unheeded warning, far more than just a piece of Black Power kitsch.               

The Last Poets - Same (1970)
(320 kbps, front cover included)

Donnerstag, 12. September 2013

Floh De Cologne - Lucky Streik (1973)

"Lucky Streik" is a classic political "krautadelic" album released by Floh De Cologne in 1973 on the "Ohr" label.

Floh De Cologne were well-known for their humorous and satyrical approach (which gained them comparisons with other freak troupes like The Fugs or The Mothers Of Invention ). They deliver a freaky connection of agit-prop satira and madness with relentless no-barriers free jamming: Political agitation meets free-rock...

"Lucky Streik" was live recorded on 25.11.72 in the Stadthalle Gummersbach and remixed at Studio Dierks in Stommeln, Köln.

Tracklist:

1. Countdown
2. Schön ist ein Jugendtraum
3. Sozialpartner Blues
4. Kalte Wut
5. Wenn ich einmal Reich bin
6. Die Wirtschaft ist jetzt in Gefahr
7. Der Imker
8. Deine Freiheit
9. Vergleiche
10. Der Löwenthaler
11. Was ein Kommunist trinken darf
12. Wenn es brennt
13. Freie Marktwirtschaft
14. Für die Zukunft sehen wir rot
15. Saurier
16. Wir sind millionenmal so stark

Gerd Wollschon - vocals, text
Dieter Klemm - vocals, percussion
Theo Konig - vocals, sax (tenor) clariner, flute
Markus Schmidt - vocals, guitar, keyboards
Dick Stadtler - bass, guitar, piano
Hansi Frank - vocals, drums

Floh De Cologne - Lucky Streik (1973)
(192 kbps, cover art included)

Freitag, 6. September 2013

VA - Wir singen zu den X. Weltfestspielen (Eterna, 1973)


It happened 40 years ago: The "X. Weltfestspiele der Jugend und Studenten" ("10th World Festival of Youth and Students") were held in "Berlin. Hauptstadt der DDR 28. Juli bis 5. August 1973" ('Berlin, the capital of the GDR', July 28 - August 5, 1973).

The "Time Magazine" wrote on

"The dull gray streets and squares of the most rigidly doctrinaire Soviet-bloc country in Europe last week looked more like Watkins Glen than East Berlin. Along broad Karl-Marx-Allee strolled long-haired young men and women from every continent, laughing and singing. In the big fountain on Alexanderplatz, young people waded, danced and kissed. Their joy was punctuated by the loud beat of dozens of rock combos and brass bands and the music of choral groups.

The occasion was the tenth World Youth Festival, a quadrennial gathering of the young sponsored by the Communist bloc. It attracted 25,000 leftist youths from 134 countries, including... "

Tracklist:

1.OktoberklubSo wird es sein
2.OktoberklubWir treffen uns auf jeden Fall
3.Uwe Leo, Oktoberklub Und Studiochor-Gruppe BerlinFrieden, Freundschaft, Solidarität
4.
Radio DDR-Jugendchor & Rundfunk-Blasorchester
Leipzig
Die junge Welt ist in Berlin zu Gast
5.Hermann HähnelEs geht um die Erde ein rotes Band
6.Jörn Fechner, Jugendchor Berlin mit InstrumentalgruppeWeltjugendlied
7.Hermann HähnelSolidaritätslied
8.
Die Solidarität geht weiter
9.OktoberklubDu hast ja ein Ziel vor den Augen
10.Gerd Michaelis ChorWir sind dabei
11.OktoberklubSommer '73
12.Gerd Michaelis Chor, Oktoberklub, Gruppe SokWir sind überall
13.OktoberklubIst das klar
14.Klaus Renft ComboKetten werden knapper
15.Frank Schöbel & Uve Schikora & Seine GruppeWer die Erde liebt


VA - Wir singen zu den X. Weltjugendfestspielen
(ca. 192 kbps, cover art included)


Donnerstag, 5. September 2013

VA - None But The Righteous - Chess Gospel Greats 1


Chess Records was never particularly noted as a gospel label; it's probably better known for Muddy Waters, Howlin' Wolf, etc. In the early 1950s, however, the company released more than its share of great gospel recordings, and this 18-track set stands as a testimony to some of the rawest ones that the label put out.

While big names like Aretha and Reverend C.L. Franklin, the Soul Stirrers, and the Original Five Blind Boys from Alabama are accounted for, the real gems come from lesser-known acts like the Meditation Singers, the Norfleet Brothers, the Bells of Joy, Sammy Bryant, Elder Beck, and the Southern Stars.

The best known of them all is the daughter of the preacher whose sermons were already being issued by the label and luckily they did not only record the sermons of that preacher but also some of the singing of his young teenage dauhter - Aretha Franklin. Her singing was just beginning to show the maturity that would make her "the Queen of Soul". On "Never grow old", perhaps her greatest early recording, you hear her unhurried approach driven by the claps and hollers of a responsive congregation as she sings of the joy of heaven, the "land where we never grow old." A marvelous set of raw gospel music that should be in everyone's collection.

Tracklist:

01 Don’t You Want To Go [The Meditation Singers]
02 None But The Righteous [Norfleet Brothers]
03 Anyway You Bless Me Lord [Bells of Joy]
04 Never Grow Old [Aretha Franklin]
05 Oh What A Meeting [Soul Stirrers]
06 I’ve Been Weeping For A Mighty Long Time [Original Five Blind Boys of Mississippi]
07 When My Time Comes [Rev. Alex Bradford]
08 Resting Easy [Soul Stirrers]
09 Two Wings [Rev. Utah Smith]
10 Your Mother Loves Her Children [Rev. C.L. Franklin]
11 Old Time Religion [The Violinaires]
13 Walk In The Light [Evangelist Singers of Alabama]
14 The Angels Keep Watching Over Me [Sammy Bryant]
15 Floods Of Joy [Windy City Four]
16 I’m Gonna Tell God [Elder Beck]
17 You’ve Got The Jordan To Cross [Martha Bass]
18 Don’t Give Up [Southern Stars]

VA - None But The Righteous - Chess Gospel Greats 1
(256 kbps, front cover included)

Sonntag, 25. August 2013

Bo Diddley - Bo Diddley (1986, Chess)

Photobucket
"I was the first son-of-a-gun out there. Me and Chuck Berry. And I'm very sick of the lie. You know, we're over that black-and-white crap, and that was all the reason Elvis got the appreciation that he did. I'm the dude that he copied, and I'm not even mentioned."
- Bo Diddley, 2005


"Bo Diddley" is the debut album by rock and roll pioneer and blues icon Bo Diddley. It is a compilation of his singles since 1955 and collects several of his most influential and enduring songs. An innovative guitarist, prolific songwriter, and sensational vocalist (check out "Dearest Darling"), Diddley had an influence on rock music from Buddy Holly to U2 that was all pervasive.

For anyone who wants to play rock & roll, real rock & roll, this is one of the few records that you really need. Along with Chuck Berry, Elvis, Little Richard, Jerry Lee Lewis, Muddy Waters, B.B. King, and a few select others, Bo Diddley was one of the founders of the form & he did it like no other. Diddley had only one real style, that being the Bo Diddley beat: a syncopated, rhythmic drive, loaded with tremolo. There are many examples of it on this record, and that is about all you need. It's one of those records that, after listening to just a few cuts, will find you tapping the beats on every available surface. Diddley's guitar and vocals have a gruff feeling that recalls bluesmen such as Waters, yet he has his own style. Buttressed by drums, funky piano, and usually maracas, it's absolutely infectious.

Bo Diddley - Bo Diddley (1986)
(256 kbps, cover art included)

Freitag, 23. August 2013

VA – El Canto de un Pueblo (1977)


The music on this album was recorded live in August 1977 in Mexico City, during the festival "Jornadas de Solidaridad con la Cultura Uruguaya en el Exilio" (" Days of Solidarity with the Uruguayan Culture in Exil"). The featured artist are Roberto Darwin, Alfredo Zitarrosa, Daniel Vigletty and Camerata Punta del Este from Uruguay, Silvio Rodriguez, Pablo Milanés and Miriam Ramos from Cuba, Los Folkloristas and Amparo Ochoa from Mexico an Tania Libertad from Peru.
 
In the late 1950s, partly because of a world-wide decrease in demand for agricultural products, Uruguayans suffered from a steep drop in their standard of living, which led to student militancy and labor unrest. An urban guerrilla movement known as the Tupamaros emerged, engaging in activities such as bank robbery and distributing the proceeds to the poor, in addition to attempting political dialogue. As the government banned their political activities and the police became more oppressive, the Tupamaros took up an overtly armed struggle.
President Jorge Pacheco declared a state of emergency in 1968, followed by a further suspension of civil liberties in 1972. In 1973, amid increasing economic and political turmoil, the armed forces closed the Congress and established a civilian-military regime.  Around 180 Uruguayans are known to have been killed during the 12-year military rule of 1973 to 1985. Most were killed in Argentina and other neighbouring countries, with 36 of them having been killed in Uruguay.
A new constitution, drafted by the military, was rejected in a November 1980 referendum.
Following the referendum, the armed forces announced a plan for the return to civilian rule, and national elections were held in 1984.


Tracklist:

01. Adagio en mi país (Alfredo Zitarrosa)
02. Tierra mestiza (Los Folkloristas)
03. Mariposas (Silvio Rodríguez)
04. Soy latinoamericano (Roberto Darwin)
05. Gris tango (Camerata Punta del Este)
06. Tengo (Pablo Milanés)
07. Andes lo que andes (Tania Libertad)
08. Masa (Pablo Milanés, Silvio Rodríguez y Miriam Ramos)
09. Te quiero (Amparo Ochoa)
10. Sólo digo compañeros (Daniel Viglietti)

VA - El Canto de un Pueblo (1977)
(256 kbps, cover art included)

Mittwoch, 21. August 2013

Dizzy Gillespie - Afro (1955)


Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis' emergence in the 1970s that Dizzy's style was successfully recreated. Somehow, Gillespie could make any "wrong" note fit, and harmonically he was ahead of everyone in the 1940s, including Charlie Parker. Unlike Bird, Dizzy was an enthusiastic teacher who wrote down his musical innovations and was eager to explain them to the next generation, thereby insuring that bebop would eventually become the foundation of jazz.

Dizzy Gillespie was also one of the key founders of Afro-Cuban (or Latin) jazz, adding Chano Pozo's conga to his orchestra in 1947, and utilizing complex poly-rhythms early on. The leader of two of the finest big bands in jazz history, Gillespie differed from many in the bop generation by being a masterful showman who could make his music seem both accessible and fun to the audience. With his puffed-out cheeks, bent trumpet (which occurred by accident in the early '50s when a dancer tripped over his horn), and quick wit, Dizzy was a colorful figure to watch. A natural comedian, Gillespie was also a superb scat singer and occasionally played Latin percussion for the fun of it, but it was his trumpet playing and leadership abilities that made him into a jazz giant.

Pairing Dizzy Gillespie with Cuban arranger/composer Chico O'Farrill produced a stunning session which originally made up the first half of a Norgran LP. O'Farrill conducts an expanded orchestra which combines a jazz band with a Latin rhythm section; among the participants in the four-part "Manteca Suite" are trumpeters Quincy Jones and Ernie Royal, trombonist J.J. Johnson, tenor saxophonists Hank Mobley and Lucky Thompson, and conga player Mongo Santamaria.

"Manteca," written during the previous decade, serves as an exciting opening movement, while the next two segments build upon this famous theme, though they are jointly credited to O'Farrill as well. "Rhumba-Finale" is straight-ahead jazz with some delicious solo work by Gillespie. A later small-group session features the trumpeter with an all-Latin rhythm section and flutist Gilberto Valdes, who is heard on "A Night in Tunisia" and "Caravan."


Tracks:01 Manteca Theme
02 Contraste
03 Jungla
04 Rhumba Finale
05 A Night in Tunisisa
06 Con Alma
07 Caravan

Dizzy Gillespie - Afro (1955)
(256 kbps, cover art included)

Mittwoch, 14. August 2013

Miriam Makeba - Malaisha



Makeba´s life has consistently been marked by struggle. As the daughter of a sangoma, a mystical traditional healer of the Xhosa tribe, she spent six months of her birth year in jail with her mother. Gifted with a dynamic vocal tone, Makeba recorded her debut single, "Lakutshona Llange," as a member of the Manhattan Brothers in 1953. Although she left to form an all-female group named the Skylarks in 1958, she reunited with members of the Manhattan Brothers when she accepted the lead female role in a musical version of King Kong, which told the tragic tale of Black African boxer, Ezekiel "King Kong" Dlamani, in 1959. The same year, she began an 18-month tour of South Africa with Alf Herbert's musical extravaganza, African Jazz and Variety, and made an appearance in a documentary film, Come Back Africa. These successes led to invitations to perform in Europe and the United States.
 
Makeba was embraced by the African American community. "Pata Pata," Makeba's signature tune, was written by Dorothy Masuka and recorded in South Africa in 1956 before eventually becoming a major hit in the U.S. in 1967. In late 1959, she performed for four weeks at the Village Vanguard in New York. She later made a guest appearance during Harry Belafonte's groundbreaking concerts at Carnegie Hall. A double-album of the event, released in 1960, received a Grammy award. Makeba has continued to periodically renew her collaboration with Belafonte, releasing an album in 1972 titled "Belafonte & Miriam Makeba". Makeba then made a special guest appearance at the Harry Belafonte Tribute at Madison Square Garden in 1997.

Makeba's successes as a vocalist were also balanced by her outspoken views about apartheid. In 1960, the government of South Africa revoked her citizenship. For the next 30 years, she was forced to be a "citizen of the world." Makeba received the Dag Hammerskjold Peace Prize in 1968. After marrying radical black activist Stokely Carmichael, many of her concerts were canceled, and her recording contract with RCA was dropped, resulting in even more problems for the artist. She eventually relocated to Guinea at the invitation of president Sekou Toure and agreed to serve as Guinea's delegate to the United Nations. In 1964 and 1975, she addressed the General Assembly of the United Nations on the horrors of apartheid.
           
Miriam Makeba - Malaisha
(256 kbps, front cover included)
 

Dienstag, 9. Juli 2013

Don Kosaken - Stenka Rasin (1970)


Stepan (Sten'ka) Timofeyevich Razin (1630 – 1671) was a Cossack leader who led a major uprising against the nobility and Tsar's bureaucracy in South Russia.

Razin originally set out to loot villages, but as he became a symbol of peasant unrest, his movement turned political. Razin wanted to protect the independence of the Cossacks and to protest an increasingly centralized government. The Cossacks supported the tsar and autocracy, but they wanted a tsar that responded to the needs of the people and not just those of the upper class. By destroying and pillaging villages, Razin intended to take power from the government officials and give more autonomy to the peasants. However, Razin’s movement failed and the rebellion led to increased government control. The Cossacks lost some of their autonomy, and the tsar bonded more closely with the upper class because both feared more rebellion. On the other hand, as Avrich asserts, “[Razin’s revolt] awakened, however dimly, the social consciousness of the poor, gave them a new sense of power, and made the upper class tremble for their lives and possessions.”
At the time of the Russian Civil War, the famous writer and White emigre Ivan Bunin compared Razin to Bolshevik leaders, writing "Good God! What striking similarity there is between the time of Sten'ka and the pillaging that is going on today in the name of the 'Third International.'"

Don Cossacks were Cossacks who settled along the middle and lower Don.

This album is a best of compilation of the "Don Kosaken Chor", referring to these historical issues, featuring 15 tracks recorded between 1954 and 1970.

Tracklist:

1. Stenka Rasin 5.25
2. Still ruht der See 2.05
3. Zwei Kosakenlieder 2.09
4. Reitermarsch 2.02
5. Hindulied 3.45
6. Der Kuckuck 2.35
7. Ave Maria 2.59
8. Legende von den 12 Räubern 6.38
9. Matrosenlied 2.17
10. Alter Walzer 5.51
11. Lescinka (Kaukasische Melodie) 3.59
12. Russischer Tanz 1.55
13. Lied vom Terek Fluss 4.33
14. Die Wolga entlang 4.09
15. Guten Abend, gut‘ Nacht 2.10

(256 kbps, small front cover included

Samstag, 29. Juni 2013

Robert Wyatt - Ruth Is Stranger Than Richard (1975)


An enduring figure who came to prominence in the early days of the English art rock scene, Robert Wyatt has produced a significant body of work, both as the original drummer for art rockers Soft Machine and as a radical political singer/songwriter.

There was no way that Wyatt's follow-up to "Rock Bottom" could be as personal and searching, but this album that came barely a year later instead collects some earlier material to be revamped for this release. "Soup Song," for instance, is a rewrite of "Slow Walkin' Talk," written before the forming of Soft Machine. "Team Spirit," written with Phil Manzanera and Bill MacCormick of Quiet Sun, would turn up the same year as "Frontera" on Manzanera's "Diamond Head".

While some of the songs tend to plod along, the dirge-like "Five Black Notes and One White Notes," a lethargic cover of Offenbach's "Baccarole," Charlie Haden's "Song for Che," and Fred Frith's piano team-up with Wyatt on "Muddy Mouth" are magical. As usual, the assembled band, including the underrated Gary Windo on sax and Mongezi Feza on trumpet, never dissapoint.

Tracklist:

1. Muddy Mouse (0:50)
2. Solar Flares (5:35)
3. Muddy Mouse (0:50)
4. 5 Black Notes and 1 White Note (4:58)
5. Muddy Mouse (6:11)
6. Soup Song (5:00)
7. Sonia (4:12)
8. Team Spirit (8:26)
9. Song for Ché (3:36)

Robert Wyatt - Ruth Is Stranger Than Richard 1975)
(256 kbps, cover art included)

Freitag, 28. Juni 2013

Robert Wyatt - The End Of An Ear (1970)


Of all the projects Robert Wyatt created apart from his tenure with Soft Machine and Matching Mole, "The End of an Ear" has to be the strangest, and among the most beautiful and misunderstood recordings of his career. Recorded near the end of his membership in Soft Machine, "End of an Ear" finds Wyatt experimenting far more with jazz and avant-garde material than in the jazz-rock-structured environment of his band.

The Wyatt on "The End of an Ear" (a play on words for the end of the SM era, and another session called "Ear of the Beholder") is still very much the fiery drummer and percussionist who is interested in electronic effects and out jazz and not the composer and interpretive singer of his post-accident years. Influenced by Miles Davis' electric bands and the fledgling Weather Report who did their first gigs in the U.K., Wyatt opens and closes the album with two readings of Gil Evans' "Las Vegas Tango, Pt. 1." These are the most structured pieces on the recording, and the only ones not dedicated in some way: "To Mark Everywhere," "To Caravan and Brother Jim," "To Nick Everyone," "To the Old World (Thank You for the Use of Your Body, Goodbye)," "To Carla, Marsha, and Caroline (For Making Everything Beautifuller)," and others. The titles reveal how personal the nature of these sound experiments can be.

Wyatt, because of his association with many in the Canterbury scene, not the least of which is SM mate Elton Dean who prominently appears here, was learning alternate structures and syntax for harmony, as well as the myriad ways rhythm could play counterpoint to them in their own language. The interplay between Wyatt, bassist Neville Whitehead, cornet player Marc Charig, and alto man Dean on "To Nick Everyone" is astonishing. Wyatt creates time from the horn lines and then alters it according to Whitehead's counterpoint both to the formal line and the improvisations. Toward the end of the track, Wyatt's piano is dubbed in and he reveals just how expansive he views this new harmonic approach. The piano becomes a percussion instrument purely, a timekeeper in accordance with the bass, and the drums become counterpoint - in quadruple time - to everyone else in the band. When David Sinclair's organ enters the fray and another piano courtesy of Mark Ellidge, as well as assorted percussion by Cyril Ayers, the entire thing becomes a strange kind of rondo in free jazz syntax.

Elsewhere, on "To Caravan and Brother Jim," a 2/4 time signature opens the track and the organ plays almost a lounge-jazz-type line with drums rumbling in the back of the mix, almost an afterthought, and Ellidge's piano stumbling in with dissonant trills and riffs until he creates a microtonal line against the organ's now carnival chords until certain drums fall out, then back in, and the piano plays an augmented chord solidly in glissandi until the piece just sort of falls apart and ends. If you are Robert Wyatt, this is the way you find something new, you "play" at it. And that's what is so beautiful about "The End of an Ear" - the entire record, unlike the "seriousness" of Soft Machine "Third", is that this is being played with tonalities, harmony, language, and utterance that are all up for grabs in an investigation of freedom both in "music" and "sound."

"The End of an Ear" is the warm and humorous melding of free jazz amplification and musicians' playtime.            

Tracklist:

All tracks composed by Robert Wyatt; except where indicated
Side A
  1. "Las Vegas Tango Part 1 (Repeat)" (Gil Evans)
  2. "To Mark Everywhere"
  3. "To Saintly Bridget"
  4. "To Oz Alien Daevyd and Gilly"
  5. "To Nick Everyone"
Side B
  1. "To Caravan and Brother Jim"
  2. "To the Old World (Thank You For the Use of Your Body, Goodbye)"
  3. "To Carla, Marsha and Caroline (For Making Everything Beautifuller)"
  4. "Las Vegas Tango Part 1" (Gil Evans)
Robert Wyatt - The End Of An Ear (1970)
(256 kbps, cover art included)

Mittwoch, 26. Juni 2013

Otto Reutter - Das sind die Sorgen der Republik

Otto Reutter was a German comedian, coupletist, and singer,  born 24 April 1870 in Gardelegen, Germany, died 3 March 1931 in Düsseldorf, Germany.
This compilation with Otto Reutter recordings was released in the wonderful "Edition Berliner Musenkinder".

Tracklist:

1: Herr Neureich
2: Kinder, Kinder, sorgt für Kinder
3: Ick Wunder Mir Über Jarnischt Mehr
4: Ein Sachse ist immer dabei
5: Zwanzig Jahre später
6: Widewidewitt Bummbumm
7: Ein bisschen Arbeit muss der Mensch schon haben
8: Bevor du sterbst
9: In der Einsamkeit
10: Ick Wunder Mir Über Jarnischt Mehr
11: Es geht mir in jeder Hinsicht besser
12: Lass' dir bloss die Nase ändern
13: Das Ist So Einfch Und Man Denkt Nicht Dran
14: Das Sind Die Sirgen Der Republik (Akustisch)
15: Seh'n sie, darum ist es schade, dass der Krieg zu Ende ist (Akustisch)
16: Immer rin in die Landwirtschaft (Akustisch)
17: Das Macht Uns Freude (Akustisch)
18: Wenn ich das grosse Los gewinne (Akustisch)
19: Die Damenwelt (Akustisch)


Otto Reutter - Da sind die Sorgen der Republik
(256 kbps, cover art included)

Samstag, 8. Juni 2013

Erich Wolfgang Korngold - Between Two Worlds (Entartete Musik)

"Between Two Worlds" is another album with music suppressed by the third reich. It is part of the invaluable "Entartete Musik" series that focused on composers and music banned by the Nazis. The title to this album comes from the music Korngold wrote for a film of the same name but it also poignantly refers to Korngold who had to seek exile in the United States because he was Jewish. A mixture of film work and concert repertoire make for a fascinating album.

The term "Entartete Musik" refers to a large exhibition mounted by the third reich propaganda ministry against "degenerate" art and music.

Tracklist:

01. The World at War - the Next World
02. The Blitz in London
03. The Pianist at the Piano
04. The Pianist at the Piano
05. Fear - Entrance of the Examiner
06. The Minister
07. The Nazi-collaborator
08. The Young Actress and Her Boyfriend
09. The Journalists Mother
10. The Fate of the Pianist and His Wife
11. The Sound of Breaking Glass
12. The Second Sound of Breaking Glass
13. The Pianist's Wife Begs to be Reunited with Him
14. Return to the London Flat
15. Theme and Variations, op.42
(192 kbps, front cover included)