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.

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)

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.


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.


Monkey Man
Pressure Drop
I Shall Be Free
Bla, Bla, Bla
Just Tell Me
We Shall Overcome
Sweet And Dandy
Scare Him
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."


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" ( 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.

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)

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.


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)

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.


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)

Donnerstag, 30. Mai 2013

VA - Tercer Festival de Oposición (1979)

The connection between music and politics, particularly political expression in music, has been seen in many cultures. This album features recordigs from the "Tercer Festival de Oposicion", organized in 1979 by the Mexican communist party and with guests from Angola, Cuba, Nicaagua, El Salvador and Guatemala.

Óscar Chávez (born 1935) is a Mexican singer, songwriter and actor. He was the main exponent of the Nueva Trova in Mexico in the sixties and seventies. He is also noted for his strong social commitment as well as for the left wing ideas expressed in his lyrics. His impressive discography spans four decades.

María Amparo Ochoa Castaños, (1946-1994) better known as Amparo Ochoa, was a Mexican singer-songwriter. She was one of several other Mexican artists who emerged in the 1960s belonging to a genre known as "Nueva canción". Ochoa was born in 1946 in the Mexican state of Sinaloa. Before becoming involved in music, Ochoa served as an elementary school teacher. She became heavily involved in songwriting beginning in 1962, and her career took off when she won a contest in her native state with the song "Hermosísimo Lucero". In 1969, she moved to Mexico City to attend a music school. Shortly after, she released her first album "De la mano del viento".
Ochoa is best known for writing songs with strong messages against social injustice as well songs about Mexican history and culture. Most of her lyrics focus on poverty, indigenous rights, and women's rights.

Besides the Latin American artists, this album contains also a version of the "Lied der Moorsoldaten", sung in German language by Hermann and Inge. Does anybody know more about these artists?

01. Corrido a Nicaragua – Oscar Chávez
02. Cueca larga – Sanampay
03. La banda – Chava Flores
04. Palma sola – Eva de Marczyc
05. Irán Elías Criserio – Grupo Taoné
06. Casitas de cartón – Los Guaraguao
07. Cipriano Hernández Martínez – Gabino Palomares
08. Los angelitos – Amparo Ochoa
09. Los soldados de la ciénaga – Herman e Inge

VA - Tercer Festival de Oposición (1979)
(256 kbps, front & back cover included)

Freitag, 26. April 2013

Richie Havens - Electric Havens (1968)

This was one of two albums (the other being "The Richie Havens Record") comprised of overdubbed solo demos, probably from sometime between 1963-1965, that Havens had done prior to recording for Verve and making his official recording debut.

In the late '60s, as Havens rose to stardom, producer Alan Douglas took the original solo demos and overdubbed them with electric instruments. The albums were pulled from circulation and are hard to find today. One would understand why Havens might have disapproved of their release, but "Electric Havens" really isn't bad.

The eight-song set is oriented toward the kind of traditional material that he was likely doing in clubs around that time, such as "Oxford Town," "C.C. Rider," and "900 Miles From Home," as well as an early Dylan cover, "Boots & Spanish Leather." Havens sings with his usual spontaneous conviction, and although the electric backing sounds a bit awkward - and, unsurprisingly considering the circumstances, wavering in time keeping - it's not overdone, or completed in such a fashion that it's difficult to enjoy the performances. Different years of release have appeared in discographies for both this and "The Richie Havens Record", incidentally; it's almost certain that both came out in the late '60s, with 1968 serving as the best-guess year in both cases.


A1: Oxford Town
A2: 9000 Miles
A3: I´m A Stranger Here
A4: My Own Way

B1: Boots And Spanish Leather
B2: C. C. Rider
B3: 3´10 To Yuma
B4: Shadown Town

Richie Havens - Eectric Havens (1968)
(320 kbps, cover art included)

Donnerstag, 4. April 2013

Peggy & Mike Seeger - Peggy 'N' Mike Seeger Sing (1967)

Peggy Seeger was born in New York City in 1935 and was the daughter of musicologist and scholar Charles Seeger and his wife, the composer Ruth Crawford Seeger. Both elder Seegers were known for their passion for American folk music and the exploration of dissonance in composition. Peggy's older brother Mike and her half-brother Pete Seeger both became widely respected pioneers in the field of American folk music.

Peggy, for her part, adhered quickly to the family business of American folk music, picking up banjo and guitar and developing a penchant for singing folk music for children. She released her first album Folksongs for Courting and Complaint in 1955, the same year which saw one of her most successful and timeless releases - American Folk Songs for Children.  Around this time, which also became known as the McCarthy Era (when many Americans, including artists and entertainers like her half-brother Pete, were being brought under investigation for suspected communist ties), Seeger visited communist China. Her passport was revoked. Recognizing this would keep her from any other international travel and visitation, she decided to just not return to the U.S. Instead, she headed to Europe and started traveling around as a folk musician. There, she met English folksinger Ewan MacColl, whom she started dating. After two years, when her visa was up and she was facing deportation, Seeger married a friend to remain in the country (MacColl was still legally married to his second wife, though they had been estranged for years; he and Seeger stayed together and eventually married in 1977).  Together, Seeger and MacColl had three children and released a number of collaborative albums for Smithsonian Folkways.  While in Europe, Peggy founded the Critics Group, aimed at basically boosting a folk song movement among young people. She also moved from singing children's folk songs to developing songs for the budding feminist movement, tackling women's issues and feminine oppression. MacColl died in 1989 and Seeger began an open relationship with a woman (Irene Pyper-Scott, with whom she toured as a duo called No Spring Chickens). Five years later (following the fall of Russian communism and, hence, the end of the Cold War), Seeger returned to the States and moved to Asheville, NC. She remained there for more than a decade before moving to Boston and eventually back to the UK to be near her children.  Considering her whole career, Seeger has released or been a part of around 100 recordings, give or take. That includes solo efforts as well as collaborations with her late husband Ewan MacColl and her brother Mike Seeger. She's recorded English ballads, feminist anthems, children's folk songs, work songs, songs of rebellion, love songs, and much more. For a comprehensive look at her discography, check out her website.

Peggy and her brother Mike probably hadn’t seen a lot of each other in the ten years since they last recorded an album together (American Folk Songs – 1957). Mike had gone straight on to found the New Lost City Ramblers (in 1958) with John Cohen and Tom Paley. Peggy had gone straight over to the other side of the Atlantic, met Ewan MacColl and eventually stayed.
Mind you, putting together this album probably didn’t take that long. Not because it doesn’t sound really good. Quite the opposite. It sounds effortless. Mike Seeger, as Dylan said, had this stuff in his genes. Ditto Peggy, being his sister. Not sure it was their genes, though. More that they were raised in a house where, as their father Charles put it, this music resounded morning, noon and night.


Side 1:
Worried man blues – MS lead vocals, PS harmony
Arizona – MS vocals
Come all ye fair and tender Ladies – PS unaccompanied
Little Birdie (Peggy Seeeger) – MS & PS vocals
Old shoes and leggings – MS & PS vocals
John Riley – PS vocal
A miner’s prayer – PS lead vocals, MS chorus harmony
Lord Thomas and Fair Ellender – MS lead vocals, PS harmony vocals
Shady Grove – MS vocals

Side 2
Fod – MS & PS vocals
The Streets of Laredo – MS lead vocals
The Soldier’s Farewell – PS vocals
When first to this country a stranger I came – MS lead vocals, PS harmony
A drunkard’s child (Rodgers) – MS & PS vocals
Clinch Mountain Backstep (Stanley) – MS banjo
The Romish Lady – MS lead vocal, PS harmony
Single Girl – PS vocals
The Ram of Derby – PS lead vocal, MS chorus

Peggy & Mike Seeger - Peggy `N`Mike Seeger Sing (1967)
(192 kbps, cover art included, vinyl rip)

Donnerstag, 28. März 2013

Juan Capra - Cile canta e lotta 1 (1973)

Juan Capra was a Chilean painter, singer and poet. He was active mainly in the 60s and 70s and
recorded in 1967 the album "Los chilenos - Juan Capra" with Quilapayún. Their album "Por Vietnam" featured a song by Juan Capra that mourns the death of Che Guevara.

His home was a sort of informal academy of singing, arts and crafts, and became one of the founding places for the Nueva Cancion Chilena. Here the famous "Peña de los Parra" was established,  a platform for songwriters as Isabel, Angel and Violeta Parra, Patricio Manns, Rolando Alarcón, Victor Jara, Payo Grondona, Patricio Castillo, Paco Ibáñez or Atahualpa Yupanqui.
Juan Capra died in 1996, at the age of 58, in poverty.

This album contains recordings made ​​by John Capra in Italy and was published as the first volume devoted to the Chilean resistance.

Side 1:
1. Dicen que no caben- Resfaloza
2. Blanca Flor y Filumena- Romance
3. Dicen que los monos - Polka
4. Versos por padecimiento - Canto a lo divino
5. El hundimiento del Transporte Angamos- Vals
6. San Pedro se puso guapo - Cueca
7. Desen las manos - Pericona

Side 2:
1. Bajando de Los Andes - Resfaloza
2. Viva Balmaceda - Cueca
3. Tengo una pena - Vals
4. Sirilla - Sirilla (Según el favor del viento- Por qué los pobres no tienen)
5. Contrapunto entre el águila américana y el cóndor chileno
6. Yo me vuelvo para Chile - Sirilla

Juan Capra - Cile canta e lotta 1 (1973)
(192 kbps, cover art included)

Dienstag, 26. Februar 2013

Victor Jara ‎– Canto Por Travesura - Die Betschwester und andere frivole Gesänge (Pläne,1980)

"Canto Por Travesura" was originally prepared to release  in Chile in September 1973. The military coup stopped the release and only a few copies of the original release reached the audience. In 1976 and 1978 several labels published this album in Spain and Italy.

The german Pläne label published a re-release as "Betschwestern und andere frivole Gesänge" in the year 1980, even translating the song titels.

The album is a collection of southern Chilean folk songs with a consistent thematic style popular in Chilean folklore - the mocking of social norms with mischievous jokes, riddles and dark humor.
True to the title ("travesura" translates roughly as "prank") and the cover drawing of a cat pulling up the curtain on an old hag in déshabillé, "Canto Por Travesura" is largely comprised of light material from Victor Jara. Every selection but one is a traditional song given a new arrangement by Jara. Songs like "La Palmatoria," "Iba Yo Para una Fiesta," and "La Diuca" aren't powerhouses, but they have the simple grace that pervades all of Jara's recordings.     


A1 Brindis / Trinkspruch
A2 La Palmatoria / Der Kerzenhalter
A3 Vengan A Mi Casamiento / Kommt Zu Meiner Hochzeit
A4 La Fonda / Die Kneipe
A5 La Edad De La Mujer / Das Alter Der Frau
A6 La Cafetera / Die Kaffeekanne

B1 La Diuca / Das Vögelchen                                                                 
B2 Iba Yo Para Una Fiesta / Ich Ging Zu Einem Fest
B3 Por Un Pito Ruin / Egen Einer Schäbigen Trillerpfeife
B4 La Beata / Die Betschwester
B5 Adivinanzas / Rätsel
B6 El Chincolito / Der Kleine Spatz
Victor Jara - Canto Por Travesura - Die Betschwestern und andere frivole Gesänge (Pläne)
(192 kbps, cover art included)

Mittwoch, 20. Februar 2013

Victor Jara - Canciones Póstumas - Chile Septiembre 1973 (1975)

The brief "Canciones Postumas" collection gathers six late songs of Victor Jara, whose tragic death in 1973, following the overthrow of Salvador Allende's government in Chile, robbed the world of a remarkable and humane voice for freedom.

One of Jara's most striking songs, "Manisfesto," recorded just days before his death, and obviously intended to be a summing up of his work, is included here, along with homages to the singer by M.A. Cherubito and J.A. Labordeta.

A1 Victor Jara – Manifiesto
A2 Victor Jara – Caicaivilú
A3 Victor Jara – Cuando Voy Al Trabajo
A4 Eulogio Dávalos And Miguel Angel Cherubito – Homenaje A Víctor Jara
B1 Victor Jara – Aquí Me Quedo
B2 Victor Jara – Doncella Encantada
B3 Victor Jara – Pimiento
B4 José Antonio Labordeta – Homenaje A Víctor Jara

Victor Jara - Canciones Postumas - Chile Septiembre 1973 (1975)
(192 kbps, front cover included)

Montag, 11. Februar 2013

La Palabra Más Nuestra

A month ago Carlos began a new blog dedicated to folk, singer-song writers and musical poetry from Spain, the blog is called: "La Palabra Más Nuestra".

Carlos writes:
"In that blog i will upload my podcast programs which can be heared or downloaded in mp3 from the blog, as well as the original albums from i took the music. In the programs i'm introducing the songs with the proper information, and in the blog describing the program content."

Carlos first postings refer to music form the Spanish Civil War - very well done and informative postings. So we invite you to check out this very interesting blog:

Best wishes to Carlos!

Dienstag, 15. Januar 2013

Meditations - Reggae Crazy - Anthology 1971 - 1979

Even by Jamaican standards, the Meditations' early career is convoluted, and both Ansel Cridland and Danny Clarke's careers were already well underway before the pair linked up.

The Meditations were one of the earliest vocal trios to follow reggae's trend towards a darker, "dreader" sound in the early '70s; although their first album was released in 1977, they had recorded numerous singles up to that point, and some of the best of those songs are compiled on this album (along with some tracks recorded later). The piercing falsetto singing on "Must Be a First" is reminiscent of the Congos at their best (perhaps owing in part to the distinctive sound of Lee Perry's Black Ark studio, where this song was recorded), and there's an echo of the Mighty Diamonds in the sophisticated harmonies on "Get Left." But "Woman Piabba" draws on calypso traditions to a degree unusual in reggae, while "Play I" employs a drum arrangement (courtesy of Sly Dunbar) that prefigures some of the innovations that would later be heard in U.K. reggae. The album's title track, a tiresome one-chord vamp, is the only clunker on this album. Everything else is strictly killer

 "Reggae Crazy" collects 11 tracks form the albums "Wake Up", "Guidance" and "Message From The Meditations" plus 2 tracks previously unreleased and 2 tracks available on single only.

The Meditations - Reggae Crazy - Anthology 1971 - 1979
(192 kbps, small front cover included)

Sonntag, 13. Januar 2013

High Tone - Live

High Tone is a dub band from Lyon, France. Formed in 1997, the band came with an emergence of the French dub music Scene, with bands like Brain Damage Sound System, Kaly Live Dub, Le Peuple de l'Herbe, Improvisators Dub or Meï Teï Shô.

Formed by five members, High Tone feeds their music with various influences, such as Drum'n'bass, Ambient, Trance, Vintage Dub with artists like King Tubby or Lee "Scratch" Perry. After a few self produced vinyl EPs, the band signed at the label "Jarring Effects". High Tone members are now considered major actors in the French dub scene, and are known for numerous collaborations with other artists.

1. The Orientalist
2. Mother Dubber

3. 112 Dub
4. Hard Working
5. Bad Weather
6. Short Visit
7. Enter The Dragon
8. Onew Dub
9. Dehli-Katmandou
10. Taniotoshi
11. Echo-Logik

High Tone - Live (160 kbps, front cover included)