Donnerstag, 31. Dezember 2015

Keith Hudson - The Black Morphologist Of Reggae (1983)

Ominously known as "The Dark Prince of Reggae," Keith Hudson was born into a musical family in Kingston, Jamaica in 1946. His musical education began as Hudson worked as a sort of roadie for Skatalite and Jamaican trombone king Don Drummond.

By age 21, Hudson, who had been trained as a dentist, sunk his earnings into his own record label, Inbidimts, and had a hit with Ken Boothe's recording of "Old Fashioned Way." Not long after this chart success, the suddenly hot Hudson was producing some of the biggest names (and soon-to-be biggest names) in reggae - John Holt, Delroy Wilson, Alton Ellis, and the great toasters U-Roy and Dennis Alcapone, all of whom benefited from what would be Hudson's trademark production style: groove-centered, bass/drum-dominated, lean and mean stripped-down riddims.

By the mid-'70s, Hudson began releasing more solo work, hitting paydirt from the start with his 1974 debut, "Entering the Dragon" and his intense second record, "Flesh of My Skin", an ominous, dark record that earned Hudson his title as reggae's "Dark Prince." In 1976, Hudson relocated to New York City and worked pretty much nonstop, producing as well as recording solo records up until 1982. He succumbed to lung cancer in 1984, at age 38, robbing reggae of one its greatest, most adventurous, and unhearalded producers and performers.                

"The Black Morphologist Of Reggae" is the 1983 reissue of album "From One Extreme To Another" (1979). "Nuh Skin Up Dub" (1979) features dub versions of this album.
Big up to the original uploader!

Tracklist:

A1 Anger
A2 No Skinup
A3 Central Kingston
A4 It's Allright
A5 Desiree
B1 (Dreadful) Words
B2 They Don't Hurt
B3 (Bad Things) You Teach Me
B4 One Extreme To Another
B5 Buzzing Bee                                                                                   

Keith Hudson - The Black Morphologist Of Reggae (1983)
(320 kbps, cover art included)

Hortense Ellis - Hortense´s Last Stand

Hortense Ellis, the younger sister of reggae superstar, Alton Ellis, was born April 18th 1941 in Trench Town, Jamaica. Her father worked on the railways while her mother ran a fruit stall.
Hortense was just 18 years old when she appeared on The Vere Johns Opportunity Hour, which was then Jamaica's foremost outlet for undiscovered young talent. Her version of Frankie Lymon's "I'm Not Saying No At All" went down so well with the audience and the panel that she was invited back the following week.

Hortense went on to enter many other competitions and showcases managing to reach six semi-finals and four finals. In 1964 she was awarded a silver cup as Jamaica's Best Female Vocalist - a feat she was to repeat five years later.

By the late sixties, Hortense had extensive experience both in live performance and in the studio. She had toured Jamaica with Byron Lee And The Dragonaires and had begun recording with some of the island's top producers. Among these were Ken Lack, Arthur "Duke" Reid and Clement "Coxsone" Dodd.
Alton Ellis was also recording with Dodd at this time and the family connection was cleverly exploited as Dodd produced "female" adaptions of several of Alton's hits for Hortense to record. The ever-resourceful Dodd also paired Alton and Hortense on a run of classic duets.
The siblings toured Canada in 1970 but by the following year Hortense was back in Jamaica. She married Mikey "Junior" Saunders with whom she had five children in quick succession. Although her live performances suffered as a result, Hortense remained busy in the studio. Recording under the name Mahalia Saunders for producer Lee Perry she cut several sides including "Right On The Tip Of My Tongue" and "Piece Of My Heart".

Hortense's biggest commercial success came in the late seventies with a song cut for Augustus "Gussie" Clarke. "Unexpected Places" was a big hit in Jamaica and was released in Britain on the Hawkeye label.
For producer Bunny Lee, Hortense became Queen Tiney for her "Down Town Ting" - an answer record to the Althea & Donna hit "Uptown Top Ranking" which had itself been based on the rhythm of Alton Ellis's "I'm Still in Love With You".

Around this time, Hortense recut many of her Studio One sides with Soul Syndicate, The, Aggrovators, and the up and coming team of Sly & Robbie.
The rise of the Lovers Rock genre in the late seventies and early eighties resulted in Hortense cutting cover versions of several soul classics including "Down The Aisle" (Patti LaBelle) and "Young Hearts Run Free" (Candi Staton).

Following her divorce from Mikey Saunders, Hortense spent much of the eighties in Miami and New York. On returning to Jamaica in 1989, she began suffering severe health problems; but managed to carry on with occasional live local performances - something she loved immensely.
She recovered sufficiently to make a private visit to New York in the summer of 1999 and then to Miami the following year where illness finally caught up with her.
Hortense Ellis, known by so many in Jamaica and all over the world as "Jamaica's First Lady Of Song", passed away in her sleep in a Kingston hospital on October 18th 2000.

Hortense Ellis - Hortense´s Last Stand
(256 kbps, front cover included)           

Delroy Wilson - Better Must Come... One Day (Jamaican Gold)

PhotobucketLike Dennis Brown and Freddie McGregor, Delroy Wilson was barely out of short trousers when he recorded his debut single for Coxsone Dodd 's Studio One label. His first hit, 'Joe Liges' (1963), was written by Perry, Lee, who at the time was working as a talent-spotter, songwriter and singer for Dodd; the track was a lyrical attack on former Dodd employee and now rival, Prince Buster ('One hand wash the other, but you don't remember your brother, Joe Liges, Joe Liges, stop criticise'), set to a rollicking early ska rhythm. The record was so popular that his follow-up, 'Spirit In The Sky', another Perry-penned barb aimed at Buster, was actually credited to Joe Liges when it was released in the UK on the Bluebeat and Black Swan labels. Delroy went on to cut numerous records in the same vein for Dodd, including 'One Two Three', 'I Shall Not Remove', a duet with Smith, Slim entitled 'Look Who Is Back Again', and the anti-Buster 'Prince Pharaoh', notable for being the only occasion on which Dodd himself is heard on record, admonishing Buster in a coded, spoken outburst.

Wilson's voice broke just in time for the emergence of rocksteady in 1966, and his version of the Tams' 'Dancing Mood' of that year, one of the first rocksteady records, became a monstrous hit, alerting music fans to a new soul-styled crooner to match Ellis, Alton. Throughout the rest of the decade, Wilson, still recording mainly for Studio One, increased his popularity with titles such as 'Riding For A Fall', another Tams cover version, 'Once Upon A Time', 'Run Run', 'Won't You Come Home', 'Never Conquer', 'True Believer', 'One One', 'I'm Not A King', 'Rain From The Skies' and 'Feel Good All Over', as well as covering the Temptations' 'Get Ready'. Leaving Studio One in 1969, Wilson sojourned briefly at Lee, Bunny 's camp, which resulted in a popular reading of the Isley Brothers' 'This Old Heart Of Mine' (1969), before moving to Sonia Pottinger 's Tip Top Records, where he cut the excellent 'It Hurts' and a version of the Elgins' 'Put Yourself In My Place' (both 1969).

He teamed up once more with Bunny Lee and enjoyed a huge Jamaican hit with 'Better Must Come' (1971), which was so popular that it was adopted as a theme song by Michael Manley's PNP to increase their vote among 'sufferers', during that year's election campaign.

In 1972 his success continued with 'Cool Operator', again for Lee, and throughout the next few years he maintained his position as one of reggae's best-loved singers, with songs such as 'Mash Up Illiteracy' and 'Pretty Girl' for Gibbs, Joe, 'Love' for Gussie Clarke, 'Rascal Man' for Winston 'Niney' Holness, a cover version of the Four Tops' 'Ask The Lonely' for J., Harry, 'It's A Shame' (a version of the Detroit Spinners song for Joseph 'Joe Joe' Hookim ), 'Have Some Mercy' for A. Folder, and 'Keep On Running' for Prince Tony. In 1976 his career took a further step forward when he recorded a hugely popular version of Marley, Bob 's 'I'm Still Waiting' for Charmers, Lloyd LTD label, later followed by the well-received Sarge, still regarded by most aficionados as his best set. The misnomered Greatest Hits was also issued by Prince Tony during this period.

Further recordings towards the end of the decade, including 'All In This Thing Together', 'Halfway Up The Stairs' and 'Come In Heaven' for Gussie Clarke, did well, but Wilson's career floundered somewhat during the early part of the 80s, apart from a few sporadic sides, including the popular 'Let's Get Married' for London's Fashion Records.

The Digital age, however, provided a revival of fortunes with the massive 'Don't Put The Blame On Me'/'Stop Acting Strange' for King Jammy in 1987, and 'Ease Up', a cut of the famous 'Rumours' rhythm for Bunny Lee, as well as albums such as Looking For Love for Phil Pratt and Which Way Is Up, produced by Errol 'Flabba' Holt for Blue Mountain, since which time he has once again drifted into semi-retirement. Despite being one of the best singers Jamaica has ever produced, Wilson was rarely able to consolidate the success that came his way; nevertheless, he remained a much-loved and respected, but sorely under used and, outside of reggae circles, underrated performer.

- (Encyclopedia of Popular Music) -


Here´s "Better Must Come... One Day" - a great compilation of music by the great Delroy Wilson on Jamaican Gold, an independent record label from Netherlands specialized in Jamaican music reissues:


Delroy Wilson - Better Must Come... One Day
(192 kbsp)

Alton Ellis - Showcase

PhotobucketAlton Ellis was one of Jamaica's all-time favorite vocalists. Like so many other talented singers, he got his start and gained valuable experience under the tutelage of producer and Studio One label founder, Clement S. Dodd. Alton's singing career began in 1959, and he has maintained headliner status throughout his career. His best-known recordings are those he cut during the "rock steady" period of Jamaican popular music.

Ellis started his career in 1959 as part of the duo Alton & Eddie with Eddie Perkins. Ellis and Perkins recorded for Coxsone Dodd at Studio One before Perkins moved to the United States. Duke Reid took Ellis to his Treasure Isle label in 1962. By the mid 1960s, ska was moving on and the beat was slowing down and becoming associated with the rude boy subculture in Jamaican dancehalls. Recording with a backing trio, The Flames (consisting of his brother Leslie Ellis, David "Baby G" Gordon and a musician called Ronnie), Ellis scored big with the hits "Girl I've Got a Date", "Cry Tough" and "Rock Steady", which lent its name to the newer genre. As rocksteady dominated the Jamaican airwaves for the next two years, Ellis continued to score hits for Treasure Isle, working with artists such as Lloyd Charmers, Phyllis Dillon and The Heptones.

Ellis has lived in England since the 1970s. In England, Ellis established his own Alltone label, which he devoted to both new recordings and compilations of his early classics. The international popularity of Bob Marley and the rise of roots reggae meant that Ellis' considerable legacy was soon overshadowed, but over time, he remained a fondly remembered pioneer of Jamaican music. He made triumphant returns to Jamaica with well-received sets at the Reggae Sunsplash Festival in both 1983 and 1985, and recorded a new single, "Man From Studio One," for Dodd in 1991. Numerous compilations of his work appeared during the CD era, illustrating his stunning consistency. He died on Oct 10, 2008 in London, England.

Alton Ellis - Showcase (192 kbps)

Donnerstag, 24. Dezember 2015

VA - Where Will You Be Christmas Day?


The compilation "Where Will You Be Christmas Day?" shows many sides of Christmas - from Jesus born in the manger to Leroy Carr spending the holiday in jail - and provides a compelling contrast to the commercialized Christmas we know today.

A holiday compilation with a difference, this assembles a couple dozen Christmas-themed recordings from 1917-1959 that represent roots music of all stripes - blues, gospel, early jazz, early country, Appalachian folk, and even some ethnic sounds of Trinidad, Puerto Rico, Italy, and Ukraine. There are some pretty famous names here, like Leadbelly, Bessie Smith, and Lightnin' Hopkins, as well as some artists who are not as famous but still pretty renowned, like Rev. J.M. Gates, Buell Kazee, and the Maddox Brothers & Rose. Yet as was the case on the Dust-to-Digital label's extraordinary six-CD box set of 1902-1960 spirituals, "Goodbye, Babylon", there are a host of names here that will be known almost exclusively to serious old-time music collectors. That in itself makes this a pretty interesting and offbeat Christmas anthology. But even if you care nothing for rare record values, it's certainly rawer, more heartfelt, and just more musically interesting than the vast majority of what you'll find in the holiday bin. It's also a reminder of a time when Christmas discs could be relatively joyful and sincere expressions of religion and merrymaking, rather than just excuses to make a quick buck by cashing in on the time of the season. It makes for superior roots music listening whether you're in the holiday spirit or not, but some of the better tracks to keep an ear out for include the Cotton Top Mountain Sanctified Singers' jovial Dixieland jazz-style "Christ Was Born on Christmas Morn," with its thrilling high female background vocal swoops; Leadbelly's highly rhythmic, infectiously joyous "Christmas Is A-Coming"; the exuberant early calypso of Lord Executor's "Christmas Is a Joyful Day"; the shuffling flamenco-like verve of Los Jibaros' "Décimas de Nacimiento"; and the electric blues of Lightnin' Hopkins' "Happy New Year," which verges on rock & roll.

Note, also, how the tracks are sequenced almost like a chronological celebration of holiday themes, starting with Vera Hall Ward's "The Last Month of the Year," moving on through Leadbelly's "Christmas Is A-Coming" and Kansas City Kitty's "Christmas Morning Blues," and wrapping up with Hopkins' "Happy New Year."

This album deserves a four-star rating for its general musical value; judged by the standards of Christmas/holiday releases, it easily rates a full five stars.       


VA - Where Will You Be Christmas Day?
(320 kbps, cover art included)

Happy X-Mas!      

Montag, 21. Dezember 2015

VA - History of Carnival: Christmas, Carnival, Calenda & Calypso from Trinidad 1933-1939 [Matchbox, 1991]


One of the best calypso compilations... and a good start for the Christmas Holidays.

Tracklist:

A1
–Atilla The Hun
History Of Carnival
A2
–Wilmoth Houdini
Way Down Sobo
A3
–King Radio And The Tiger
Millington
A4
–Atilla The Hun
Archie Boulay
A5
–The Lion
Hojoe - African War Song
A6
–The Atilla
Zingue Talala
A7
–John "Buddy" Williams And His Blue Rhythm Orchestra
Barre-A-Oh
A8
–Lord Invader
Demasbar
B1
–King Radio
Matilda
B2
–The Lion
Buddy Abraham
B3
–The Caresser
Madame Khan
B4
–Al Philip Iere Syncopators
Play Mass Don't Do Me That
B5
–Lionel Belasco And His Orchestra
Juliane
B6
–The Executor
Christmas Is A Joyful Day
B7
–The Lion
Netty-Netty
B8
–Lord Beginner
Christmas Morning The Rum Had Me Yawning
VA - History of Carnival: Christmas, Carnival, Calenda & Calypso from Trinidad 1933-1939
(192 kbps, cover art included)

Samstag, 12. Dezember 2015

Rüdiger Klose R.I.P. - 39 Clocks - Pain It Dark (1981)


Originally posted on September, 26th, 2010:

Rüdiger Klose, drummer in a lot of interesting music projecst like 39 Clocks, Cocoon, Kastrierte Philosophen, Mythen in Tüten, Dakota, rk2, Treson, Die Unheilige Allianz died September, 26th at the age of 58. Rest in peace!

The 39 Clocks were "the best German band of the eighties" (German pop scholar Diedrich Diederichsen). The Hanoverian band cultivated a heavy accent and invented the Original Psycho Beat: futuristic, hypnotic 60s psychedelia with a beatbox deferred to the early 80s.

Originally released in 1981, "Pain It Dark" was the debut album from the band and owed no small debt to the Velvet Underground, Suicide, and Nuggets-era garage rock. The band’s spare arrangements, cold German-inflected English vocals, and comfort with discomfort still sounds great today. 
It’s such a joy to discover something from the past that sounds so vital, so ripe for broader discovery and adoration. If the sometimes-harsh sonics and low vocal levels don’t offend, they’re not doing their job. For a band known in their time as tricksters and provocateurs, it’s simply their mode of operation. That’s not to say that songs like “Psycho Beat” and “Radical Student Mob in Satin Boots” aren’t “accessible”—it simply depends on your definition of the word. 

Although VU is clearly the band’s touchstone, the band simply uses them as a jumping-off point. "Pain It Dark" sounds like American garage and proto-punk filtered through some shadow-filled masterpiece of German expressionism.

39 Clocks - Pain It Dark (1981)
(256 kbps, cover art included)

Samstag, 21. November 2015

Dakar Sound - Volume 1

This is the first in a series of collections of tracks from the famous "Dakar Sound" series.

It brings you some interesting representatives of Dakar´s new urban music of the 1970s to 90s as well as a mingling of passionate and very enchanting songs of Senegal´s most talented traditional singers.

"Dakar Sound" is pleased to invite you to an evening of finest entertainment with the Horoya Band, Madiop Seck, Sekou Diabate, Etoile 3000, Number One, Baobab and many more.

Dakar Sound - Volume 1
(192 kbps, ca. 100 MB)

Freitag, 20. November 2015

Blaze - 25 Years Later

This essential album is a journey thru the life of Lakim, a black activist in the streets of New York and we follow him thru his days - getting exposed to his emotions in songs from spiritual high on "YOU`RE SO SPECIAL" - maybe the best song to the angry and bitter "YOU`RE GONNA MISS MY LOVE" after his babymama told him to leave - he get`s ripped off by a 13 year old girl he is searching for their grandma and so on - motown didn`t like the concept of putting this spoken words interludes on the album , so it`s on the CD only ..respect to Blaze, this album still stands the test of time .

The New Jersey trio's '90 debut album for Maze. Blaze's roster featured vocalist Chris Herbert, keyboardist Josh Milan, and drummer Kevin Hedge, who came together in the '80s doing a good blend of gospel-tinged soul and East Coast dance. They got some attention from the single "So Special," and also the cuts "Get Up" and "Lover Man." They never really hit it big, but did have potential...

Tracklist:
1Get Up5:04
2So Special5:32
3Miss My Love5:20
4You Don't Really Love Me4:19
5Anything For Your Lovin'5:22
6We All Must Live Together6:43
7I Wonder5:59
8Gonna Make It Work6:45
9All That I Should8:24
10Missing You3:34
11Lover Man3:49
12Love Is Forever4:40
13Broad & Market, NWK2:13
14The Hope Song6:06

Blaze - 25 Years Later
(192 kbps, cover art included)    

           

Mittwoch, 4. November 2015

Country Joe & The Fish - Together (1968)

"Together", Country Joe & the Fish's third album, was the group's most consistent, most democratic, and their best-selling record. Unlike their first two albums, which were dominated by Country Joe McDonald's voice and compositions, "Together" featured the rest of the band - guitarists Barry Melton and David Cohen, bassist Bruce Barthol, and drummer Chicken Hirsh - almost as prominently as McDonald.

That's usually a formula for disaster, but in this case it gave the album more variety and depth: McDonald tended to favor droning mantras like the album-closing "An Untitled Protest," which worked better when contrasted with the likes of Melton's catchy anti-New York diatribe, "The Streets of Your Town," and the group-written "Rock and Soul Music."

Songs like the latter cast the group as a soul revue, true, and they couldn't quite pull that off, but "Together" had the charming quality of unpredictability; you never knew what was coming next. Unfortunately, what came next in the band's career was a split. Barthol was out by September 1968, Cohen and Hirsh followed in January 1969. Thereafter, McDonald and Melton fronted various Fish aggregations, but it was never the same, even when this lineup regrouped for "Reunion" in 1977.                

Tracklist:
  1. "Rock and Soul Music" (McDonald, Melton, Cohen, Barthol, Hirsh) – 6:51
  2. "Susan" (Hirsh) - 3:28
  3. "Mojo Navigator" (Denson, Melton, McDonald) - 2:23
  4. "Bright Suburban Mr. & Mrs. Clean Machine" (Hirsh, Melton) - 2:19
  5. "Good Guys/Bad Guys Cheer / The Streets of Your Town" (Melton) - 3:43
  6. "The Fish Moan" - 0:27
  7. "The Harlem Song" (McDonald) - 4:19
  8. "Waltzing in the Moonlight" (Hirsh, Melton) - 2:13
  9. "Away Bounce My Bubbles" (Hirsh) - 2:25
  10. "Cetacean" (Barthol) - 3:38
  11. "An Untitled Protest" (McDonald) - 2:45

Country Joe & The Fish - Together (1968)
(192 kbps, cover art included)

Samstag, 10. Oktober 2015

Semer Reloaded

Semer Reloaded - Live Recording für ein musikalisches Denkmal

Maybe this project finds your interest and your support:

"A Golden Age of Jewish music almost forgotten - the songs captured in 30s' Berlin by Hirsch Lewin on his Semer label. “Semer Reloaded” brought this amazing music back to life with critically acclaimed concerts throughout Europe in 2012-15. Now it is our dream to record this music live in concert so that, 70 years after the Holocaust, the legacy of the Semer label can be passed on to present and future generations.    
CD cover

From Artistic Director, Alan Bern:

We're asking for your help to cover the basic costs of the recording of “Semer Reloaded." With your support we can bring Hirsch Lewin's Semer Label and the legacy of Jewish musicians in Berlin in the 1920s-30s back to life, 70 years after the end of the Holocaust, with fresh interpretations, re-workings and arrangements of originals, to be recorded live by a world-class ensemble of artists based in Berlin and New York, such as Grammy winner Lorin Sklamberg, Daniel Kahn, Sasha Lurje and others.

It's an almost incredible story. Berlin in the 1920s was home to a true Golden Age of Jewish music and musicians. Then, in the 1930s, even as the Nazis came to power and brutally repressed Jews and Jewish culture, Hirsch Lewin's Semer label recorded dozens of Jewish artists for posterity, before they were silenced by the Holocaust. On November 9, 1938, SA hordes destroyed Hirsch's Hebraica/Judaica shop in Berlin's Scheunenviertel district, including 4,500 records and about 250 metal plates and the Semer label was shut down. For decades, the recordings were lost and virtually forgotten, until they were heroically recovered and restored by musicologist Rainer E. Lotz. In 2012, the Berlin Jewish Museum commissioned me (Alan) to create a concert of new arrangements of the archival recordings. To realize the project, I put together a great band that unites senior pioneers of Jewish music like Lorin Sklamberg and Paul Brody with the new generation of amazing performers such as Daniel Kahn, Sasha Lurje, Mark Kovnatskiy and others. The result is Semer Reloaded.

With your support, we can present this incredible music not only as an archive of 80-year-old recordings or for a few lucky concert audiences, but as living music for the whole world through a state-of-the-art album release with great sound quality. We've got a strong a supporter in the Gorki theatre in Berlin, which has agreed to host our recording sessions live in concert. We'll team up with London-based music producer Ben Mandelson, and Berlin-based Piranha Records will take on the task of producing a high-quality recording as well as publishing and distributing it. Only 80 seats will be available for the concerts on on the 3rd and 4th November: by contributing only 30 EUR to the campaign you can witness the recording first-hand!"

You will find more information via https://www.startnext.com/en/semer-reloaded.

And here is a report about Semer Reloaded from "3sat" that shows some insights, musical performances and the musicians involved in Semer Reloaded - Alan Bern, Paul Brody, Mark Kovnatskiy, Martin Lillich, Sasha Lurje, Fabian Schnedler and Lorin Sklamberg:
_ www.youtube.com/watch?t=12&v=1Xky4Omql5g.

Mittwoch, 7. Oktober 2015

John Lee Hooker - I´m John Lee Hooker (1959)

Winding through the literally hundreds of titles in John Lee Hooker's catalog is a daunting task for even the most seasoned and learned blues connoisseur. This is especially true when considering Hooker recorded under more than a dozen aliases for as many labels during the late '40s, '50s, and early '60s.

"I'm John Lee Hooker" was first issued in 1959 during his tenure with Vee Jay and is "the Hook" in his element as well as prime. Although many of these titles were initially cut for Los Angeles-based Modern Records in the early '50s, the recordings heard here are said to best reflect Hooker's often-emulated straight-ahead primitive Detroit and Chicago blues styles. The sessions comprising the12-track album are taken from six sessions spread over the course of four years (1955-1959). Hooker works both solo - accompanied only by his own percussive guitar and the solid backbeat of his foot rhythmically pulsating against plywood - as well as in several different small-combo settings. Unlike the diluted, pop-oriented blues that first came to prominence in the wake of the British Invasion of the early to mid-'60s, the music on this album is infinitely more authentic in presentation.

As the track list indicates, "I'm John Lee Hooker" includes many of his best-known and loved works. From right out of the gate comes the guttural ramble-tamble of "Dimples" in its best-known form. Indeed it can be directly traced to - and is likewise acknowledged by - notable purveyors of Brit rock such as Eric Burdon - who incorporated it into the earliest incarnation of the Animals, the Spencer Davis Group, as well as the decidedly more roots-influenced Duane Allman. Another of Hooker's widely covered signature tunes featured on this volume is "Boogie Chillun." This rendering is arguably the most recognizable in the plethora of versions that have seemingly appeared on every Hooker-related compilation available. Additionally, this version was prominently featured in The Blues Brothers movie as well as countless other films and adverts. Likewise, a seminal solo "Crawlin' King Snake" is included here. The tune became not only a staple of Hooker's, it was also prominently included on the Doors' "L.A. Woman" album and covered by notable bluesmen Albert King, B.B. King, and Big Joe Williams, whose version predates this one by several decades.

"I'm John Lee Hooker" is one of the great blues collections of the post-World War II era. Time has, if anything, only reinforced the significance of the album. It belongs in every blues enthusiast's collection without reservation.                

Tracklist:
A1Dimples
A2Hobo Blues
A3I'm So Excited
A4I Love You Honey
A5Boogie Chillun
A6Little Wheel
B1I'm In The Mood
B2Maudie
B3Crawlin' King Snake
B4Every Night
B5Time Is Marching
B6Baby Lee

John Lee Hooker - I´m John Lee Hooker (1959)
(256 kbps, cover art included)

Samstag, 3. Oktober 2015

Chambers Brothers - Love, Peace and Happiness / Live At Bill Graham's Fillmore East (1969)


Love, Peace and Happiness is a double album by The Chambers Brothers, which was released in December 1969.
This album was released as a double-LP, which was composed of some live material recorded at Bill Graham's Fillmore East and some studio recordings.

The brothers seemed to really believe in the title track's message, and they earned style points by including white drummer Brian Keenan, making them one of the few racially mixed American bands. This album, originally released as a double LP, is half studio and half live. The studio sides reflect the message with titles such as "Have a Little Faith" and "To Love Somebody." But the brothers lose their way in covers of songs by the Bee Gees and Marvin Hamlisch, and the epic title track never coheres like "Time Has Come Today." The live sides are better, with stronger material, including "I Can't Turn You Loose" and "People Get Ready." The boys have some fun with the encore, a barbershop medley.      

Tracklist:
A1Have A Little Faith
A2Let's Do It
A3To Love Somebody
A4If You Want Me To
A5Wake Up
B1Love Peace And Happiness (L + P = H In Three Movements)
C1Wade In The Water
C2Everybody Needs Somebody
C3I Can't Turn You Loose
D1People Get Ready
D2Bang Bang
D3You're So Fine
D4Medley - Undecided/Love,Love,Love

Chambers Brothers - Love, Peace and Happiness / Live At Bill Graham's Fillmore East (1969) 
(320 kbps, cover art included)

Donnerstag, 6. August 2015

VA - Celebrating The Eggman - A Tribute To John Lennon

After the split of the Beatles, John Lennon gained worldwide fame for his subsequent solo career, and for his political activism and pacifism. He was shot in the archway of the building where he lived, the Dakota, in New York City on Monday, 8 December 1980. Lennon had just returned from Record Plant Studio with his wife, Yoko Ono.

This compilation was released on the 10th anniversary of this event. The album features bands from the former GDR, most of the involved musicians were still children or youths in the year 1980.

Tracklist:
Tausend Tonnen Obst - Drive my car
  1. Die Vision - Julia
  2. Herbst in Peking - Working class hero
  3. Ichfunktion - Cold turkey
  4. Der Expander des Fortschritts - Lucy in the sky with diamonds
  5. Dekadance - Whatever gets you through the night
  6. Die Art - I'm losing you
  7. Big Savod & the Deep Manko - Nowhere man
  8. Feeling B - Revolution No.89
  9. Kashmir - I'm so tired
  10. The Fate - Help
  11. AG Geige - Come together
  12. Kampanella is Abstract feat. Svea - Isolation

VA - Celebrating The Eggman - A Tribute To John Lennon
(256 kbps, cover art included)

Dienstag, 4. August 2015

Howlin' Wolf‎ – Cadillac Daddy - Memphis Recordings, 1952

You can't possibly fault the material aboard this 12-song collection of Howlin' Wolf's Memphis recordings cut for Sam Phillips. The title track features some truly frightening guitar work from Willie Johnson,and all the material here is loaded with feral energy and a sense that it could fall apart at any second. It's totally intuitive music, with Wolf seemingly making it all up as he went along, which Sam Phillips had the patience to capture as it all went down. These are some of the great moments in blues history...

These are the recordings that prompted Sun Records chief Sam Phillips's oft-repeated assertion: "This is where the soul of a man dies." Phillips oversaw sessions by the likes of Elvis Presley, Jerry Lee Lewis, and B.B. King, but the guttural electric blues of Howlin' Wolf captured his fancy like nothing else - and it's not hard to see why. The Wolf of these '52 sessions was just a few years off the farm, having begun to play West Memphis, Arkansas, juke joints, and cat houses following World War II. Working with a small but feral band highlighted by lead guitarist Willie Johnson (called by some the Jimi Hendrix of his day), the already middle-aged singer and harmonica player created a sound in the early '50s that bridged the Mississippi blues that were his roots with the amped Chicago blues that were his destiny. Phillips captured the man born Chester Burnett on the title track, "Drivin' C.V. Wine," and also on the other 10 selections included here, three of which were previously released while all but one of the remaining numbers have never appeared before in North America. Wolf's Chess sides are, of course, landmarks, but this is Wolf untamed and running wild. --Steven Stolder


Tracklist:
                           
A1Cadillac Daddy (Mr. Highway Man)
A2Bluebird Blues
A3My Last Affair (Take 1)
A4Oh Red! (Take 2)
A5Come Back Home
A6Dorothy Mae
B1Decoration Day Blues
B2Color And Kind
B3Drinkin' C.V. Wine
B4I Got A Woman (Sweet Woman)
B5Everybody's In The Mood
B6My Baby Walked Off

Howlin' Wolf‎ – Cadillac Daddy - Memphis Recordings, 1952
(320 kbps, cover art included)

Mittwoch, 29. Juli 2015

Mikis Theodorakis - The Faces Of The Sun - Happy Birthday, Mikis Theodorakis!

"Born on July 29, 1925 on the island of Chios, Mikis Theodorakis has seen nine decades of political developments in Greece - and continually responded to them in music. Often referred to as Greece's most famous living composer, he studied music in Paris under Olivier Messiaen and is known for writing the scores to films like "Zorba the Greek" (1964) and "Serpico" (1973). With his roots in classical music, he also pursued traditional Greek music, for many years in collaboration with talented singer Maria Farantouri.

Politically, Theodorakis was associated with the left-wing and became a vocal member of the resistance when the right-wing junta took power in the late 1960s, which led to a time in jail and exile for the musician. Theodorakis was elected to parliament three times - in 1964, 1981 and 1990 - and served as a minister in the 1990s.

Currently, Mikis Theorakis is suffering from the physical injuries resulting from a tear gas attack while he was participating in an anti-austerity demonstration in Athens in 2012. On the occasion of his 90th birthday, singer Maria Farantouri, who was his musical muse and long-time artistic colleague, tells DW what it was like to work with the composer and activist.

DW: Ms. Farantouri, Mikis Theodorakis discovered you as a singer during a performance in 1963. You were 16 at the time and quickly became the main interpreter of his music. Looking back, how would you describe this period?

Maria Farantouri: During the military dictatorship in Greece [Eds: 1967-1974] and just before it, I starting singing with Mikis Theodorakis and all my songs had to do with social justice, peace, solidarity, and humanity. Of course they also had an artistic message and nice melodies - Theodorakis was a very good musician, composer and conductor.

In the 1960s, music was very closely linked to politics and social struggles - it played a different role back then. We demonstrated against the political situation because we had neither freedom nor democracy.

Today, the finance crisis has made things difficult. We have somewhere around 1.5 million unemployed people. We still cannot believe that. The people are lacking basic needs and don't even have enough food.
I'm not a politician, but we - Europe and Greece - have to find a balance. Greece cannot continue like this.

There was a sense of upheaval in Greece in the 1960s, after World War II, occupation, civil war, and the wave of emigration in the 1950s. The young generation wanted to start anew. Theodorakis embodied this sentiment - politically, because he was part of the resistance and had been arrested, tortured and banned. But also musically through his songs, which were received with enthusiasm. Nevertheless, society had been divided even before the dictatorship and the left-wing was persecuted. At the same time, people held together…

Yes, not only the left, but all democrats held together, no matter which party they belonged to. There was a lot of discussion about democracy and everyone was supposed to fight for it. Those who were suspected of being too left-wing were forbidden from working. Only those on the right got jobs. Democrats and those who leaned to the left had big problems. Sometimes it was enough if you were just seen with a left-wing newspaper.

When Theodorakis discovered me, I was 16. That is what was happening in Greece, and we were young. The police knew what I did with Theodorakis. My family wasn't left, but center - democrats. But my colleagues, my friends, the circle of people around Theodorakis, the poets - they were all on the left, of course. However, they were not communists like in the Soviet Union; we were left-wing Europeans.

For us, humanity and peace were very important - especially peace. There were many wars at that time.

Your amazing voice played an important role, of course…

I was lucky. Mikis had an influence on me. He gave me a feeling for his convictions; he gave me everything. I was a young girl then and was to become a classically trained soprano at the music school. But Theodorakis said, "No, the best school is with me. You have to stay with me."

And so I followed him everywhere. I had some health problems in my younger years and was often in the hospital. But singing gave me access to the world.

In 1967, Mikis Theodorakis was arrested by the military junta and his music was banned because he'd joined the resistance. It was you, who - from exile in France - continued to fight against the dictatorship by carrying Theodorakis' songs into the world. It was through international protest that Theodorakis was able to immigrate to France in 1970 and you performed charity concerts there to support the families of victims of political persecution in Greece. When the regime was toppled in 1974, you had become a symbol of resistance and Theodorakis a national hero.

It's important to keep in mind that Greece is the source of Theodorakis' inspiration. Sometimes that is misunderstood and he is accused of being a nationalist. But he is not a nationalist. He simply believes that history and knowledge give him strength and energy to do great things.

This contradiction can be found in many charismatic personalities. I can only say that I was very lucky to meet this man. Otherwise I would have just become a good classical singer. With Mikis, it's a continuous journey - even now that he's 90 years old. He's alive, he's at home, and we communicate. And I feel at 66 like I was just starting - like a young girl. I would like to learn new things, understand and express myself. That's how I grew up with Miki, and that's why I say he's my father.

In honor of Mikis Theodorakis' 90th birthday, Maria Farantouri is going on tour in Europe, giving concerts in Berlin (25.09.), Amsterdam (27.09.), Luxemburg (28.09), and Brussels (29.09.)."

 - From: www.dw.com

"The "Faces of the sun" are based on the collection of poems: "Colours and vowels". They express my concept of greek song today, as much as it concers melody - vere - rythme - voice." - Mikis Theodorakis

Tracklist:
1The Way Of The Moon
2It's Been A Long Time Since I've Seen You
3The 3 Days
4Stop Here
5The Hide And Seek
6You Speak In A New Way
7At This Moment Of The Day
8Speak To Me In Another Way
9The Way You Talk To Me
10The Way You Look At Me
11It's Getting Dark
12The Faces Of The Sun
13To Come Here
14With A Half Moon
15The Time Of The Fire
16The Sea At Noon
17This Tree


Mikis Theodorakis - The Faces Of The Sun
(256 kbps, cover art included)

Dienstag, 28. Juli 2015

Doc Watson & Son - Same (1965)

Merle Watson's debut with father Doc Watson was recorded shortly after they performed their first concerts together in California, and it shows the duo's musical partnership already in full flower, an incredible fact considering that Merle had only been picking guitar for eight months!
The best songs here turned up on later Vanguard best-ofs, but there's a fair amount of greatness in the astonishing instrumental medley "Fiddler's Dram/Whistling Rufus/Ragtime Annie" and "Little Stream of Whiskey," an old Irish drinking song transformed into a hobo ballad with a bouncy fingerpicked melody.
 
Perhaps most astonishing is the solo harmonica workout "Mama Blues," in which the elder Watson imitates the sound of a child crying, showing off yet another facet of his incredible musical skill.                


Tracklist:

A1Muskrat2:51
A2Weary Blues2:10
A3Medley2:09
A4Dream Of The Miner's Child2:45
A5Rising Sun Blues4:17
A6Mama Blues2:18
A7We Shall All Be Reunited2:10
B1Little Stream Of Whiskey2:25
B2Little Sadie2:57
B3Beaumont Rag1:37
B4Otto Wood The Bandit3:14
B5Faithful Soldier3:09
B6Memphis Blues1:32
B7Gonna Lay Down My Old Guitar2:06

Doc Watson & Son – Doc Watson & Son (1965)      
(320 kbps, cover art included)                             

Sonntag, 12. Juli 2015

Country Joe & The Fish - The First Three EPs

Before making their leap into the "big time" and signing with the nationally distributed Vanguard Records in 1967, Country Joe McDonald and his group the Fish had already created a pair of self-produced and otherwise low-budget EPs as so-called "talking" issues of McDonald's own Rag Baby publication. The periodical itself was a Bay Area adaptation of the folkie's music intensive magazine Broadside.
"Collectors Items: The First Three EPs" compiles those highly sought-after 7"s of vinyl onto CD - the contents of which earned Country Joe & the Fish (CJ&F) their initial flashes of national exposure - albeit limited to the underground "head shops" that stocked Rag Baby.
 
The disc opens with a primordial incarnation of the Fish - consisting of McDonald (vocals/guitar) and his close musical associate Barry Melton (vocals/guitars) - augmented by Carl Shrager (washboard), Bill Steel (bass), and Mike Bearslee (vocals/guitar). Their decidedly D.I.Y. instrumentation and delivery is a clear indicator of the folkie roots that were strikingly similar to that of other burgeoning combos in the Bay Area. The original A-side boasted two CJ&F tunes: "I Feel Like I'm Fixin' to Die Rag" and "Superbird." Here, modern listeners are treated to a version of "I Feel Like..." listed as "Take 1" -- replete with the apropos effects of machine guns and round-upon-round of rapid fire mortars - while the alternate "Take 2" contains the infamous "F-U-C-K" Woodstock chant. On the B-side was a folk singer/songwriter named Peter Krug whose contributions were equally as apocalyptic as CJ&F's. Krug's "Fire in the City" was also covered by jazz vocalist Jon Hendricks and a then virtually unknown backup unit who had just changed their name from the Warlocks to the Grateful Dead. The number is coupled with the blatantly anti-combat "Johnny's Gone to War."
 
The second EP debuts the electric incarnation of CJ&F, solidifying the existence of Rag Baby as well as the combo's amplified psychedelic rock leanings. Side A is composed of "(Thing Called) Love" and "Bass Strings" - two relatively short numbers at under four minutes apiece. Allowing themselves the freedom to stretch out in a style and delivery more akin to their public performances, "Section 43" clocks in at nearly seven minutes. All three of these tunes would be reworked on CJ&F's second long-player "Electric Music for the Mind and Body" (1967).
 
The final EP was cut by McDonald backed by Groonta and is a mix of the acoustic "Kiss My Ass"/"Tricky Dicky" and electric "Free Some Day." The disc was recorded for the express purpose of being sold for $1.50 at the infamous "Free the Army" political and musical review that included appearances by such notables as Jane Fonda and Donald Sutherland. The show toured underground coffeehouses in 1971 and McDonald cut this disc in support of - and for sale at - these performances.       

Tracklist:
1I Feel Like I'm Fixin' To Die Rag [Take 1]
2I Feel Like I'm Fixin' To Die Rag [Take 2]
3Superbird
4(Thing Called) Love
5Bass Strings
6Section 43
7Fire In The City
8Johnny's Gone In The War
9Kiss My Ass
10Tricky Dicky
11Free Some Day

Country Joe & The Fish - The First Three EPs
(192 kbps, cover art included)