Mittwoch, 29. April 2015

39 Clocks - Subnarcotic (1982)

Here´s another 39 Clocks album: "Subnarcotic" was released in August, 1982 on the german Eigelstein label.

Enjoy it!


Heat Of Violence
Dom (Electricity Elects The Rain)
Psychotic Louie Louie
Past Tense Hope &
Instant Fears On 42nd Street
Virtous Girl
Three Floors Down
Rainy Night Insanities
A Touch Of Rot
Aspetando Godo

Fresh link:

39 Clocks - Subnarcotic (1982)
(256 kbps, front & back cover included)

Dienstag, 21. April 2015

Billie Holiday & The Ellingtonians - Complete Recordings 1935 - 1937

Billie Holiday's recordings from the '30s are not only historically important documentation of the development of the Holiday art and style.
They also constitute the most important body of "small-group" jazz recordings of the swing age. In historical importance, they stand proudly beside the efforts of Benny Goodman, Count Basie and Duke Ellington. Billie sang for the Count Basie Orchestra during 1937-1938 (she made her Apollo Theater debut with the Orchestra) and the majority of her recordings feature Basie sidemen, the most important of whom is Lester Young.
These recordings are interesting because they feature Duke Ellington sidemen: Barney Bigard, Cootie Williams, Harry Carney, Johnny Hodges. Also of interest is the first track, "Big City Blues". This piece is from a short film called Symphony in Black from 1935. It represents the only extant example of both the Ellington Orchestra and Billie Holiday at their '30s peak performing together.

1. Big City Blues
2. These N' That N' Those
3. You Let Me Down
4. Spreadin' Rhythm Around
5. It's Like Reaching For The Moon
6. These Foolish Things
7. I Cried For You
8. Guess Who
9. Easy To Love
10. With Thee I Swing
11. The Way You Look Tonight
12. Who Loves You
13. Pennies From Heaven
14. That's Life I Guess
15. I Can't Give You Anything But Love
16. Carelessly
17. How Could You
18. Moanin' Low
19. Sun Showers
20. Sun Showers - Louis Armstrong
21. Yours and Mine
22. Yours and Mine - Louis Armstrong
23. I'll Get By
24. Mean To Me

Billie Holiday & The Ellingtonians - Complete Recordings 1935 - 1937
(320 kbps, cover art included)

Freitag, 17. April 2015

John Sebastian - In Concert - King Biscuit Flower Hour Presents

John Benson Sebastian (born March 17, 1944) is an American singer, songwriter, guitarist and autoharpist. He is best known as a founder of The Lovin' Spoonful, a band inducted into the Rock and Roll Hall of Fame in 2000.

Sebastian left the Lovin' Spoonful in 1968 although he and the original band reunited briefly to appear in the 1980 film One Trick Pony starring Paul Simon and Blair Brown. In December 1968 a musical for which he composed the music and lyrics, Jimmy Shine, opened on Broadway with Dustin Hoffman in the title role.

He embarked on a moderately successful solo career after leaving the Lovin' Spoonful in 1968. Sebastian was popular among the rock festival circuits. He had a memorable, albeit unscheduled appearance at Woodstock, appearing after Country Joe McDonald's set, playing songs such as "I Had A Dream," "Rainbows All Over Your Blues," "Darling Be Home Soon" and "Younger Generation," which he dedicated to a newborn baby at the festival. Sebastian also returned for Woodstock '94, playing harmonica for Crosby, Stills and Nash. Sebastian released his eponymous LP John B. Sebastian in 1970, which featured him accompanied by various L.A. musicians.

Sebastian played harmonica with The Doors on the song "Roadhouse Blues" (which was featured on Morrison Hotel album), under the pseudonym G. Puglese to avoid problems with his contract and to avoid association with Jim Morrison, who had been facing trial charges after the Miami concert incident at the time. He also played on "Little Red Rooster" on the live album Alive, She Cried and on seven songs on Live In Detroit. He also is credited with playing harmonica on Crosby Stills Nash & Young's "Déjà Vu" from the album of the same name.

In 1976 Sebastian had a number one single with "Welcome Back," the theme song to the sitcom Welcome Back, Kotter. His only top 40 solo hit, it found new life 28 years later when a sample from it became the hook for rapper Mase's 2004 hit "Welcome Back." More recently he played with John Sebastian and the J-Band, a jug band including Fritz Richmond from the Jim Kweskin Jug Band, Yank Rachell, an original jug-band leader, and Geoff Muldaur.

This Sept. 9, 1979 Long Island concert presents several sides of John Sebastian. Equally well-versed in blues, folk, and rock, he manages to straddle all three superbly.

The bluesy "Mobile Line" is followed by a stripped-down, reconsidered version of "Welcome Back," and a quartet of Lovin' Spoonful standards, "Nashville Cats," "Daydream," "Younger Generation," and "Darling Be Home Soon," all interspersed with a new song or two. He's in excellent voice - a little rougher than the late 1960s - and runs through blues and folk riffs with equal aplomb.       

1Mobile Line
2Stage Comment
3Welcome Back
4Nashville Cats
5Stage Comment
6Link In The Chain
7Freezin' From The Inside Out
8Looking For Something Better
9Younger Generation
10She's A Lady
11Don't You Run With Him
12Red-Eye Express
13Day Dream
14Woodstock Toot
15Stage Comment
16Darling Be Home Soon

John Sebastian - In Concert - King Biscuit Flower Hour Presents
(256 kbps, front cover included)        

Donnerstag, 16. April 2015

Billie Holiday - An Evening With Billie Holiday (1953)

The first popular jazz singer to move audiences with the intense, personal feeling of classic blues, Billie Holiday changed the art of American pop vocals forever. More than a half-century after her death, it's difficult to believe that prior to her emergence, jazz and pop singers were tied to the Tin Pan Alley tradition and rarely personalized their songs; only blues singers like Bessie Smith and Ma Rainey actually gave the impression they had lived through what they were singing.

Billie Holiday's highly stylized reading of this blues tradition revolutionized traditional pop, ripping the decades-long tradition of song plugging in two by refusing to compromise her artistry for either the song or the band. She made clear her debts to Bessie Smith and Louis Armstrong (in her autobiography she admitted, "I always wanted Bessie's big sound and Pops' feeling"), but in truth her style was virtually her own, quite a shock in an age of interchangeable crooners and band singers.               

The 10´´ EP "An Evening with Billie Holiday" features studio recordings by jazz singer Billie Holiday and was released in 1953.

It is only 25 minutes long, but in those 25 minutes Ladyday takes you on a trip of pretty much every emotion we can feel as humans. From love to hate, from joy to blues, from heartbreak to loneliness, from longing to desire.

A1 Stormy Weather
A2 Lover Come Back To Me
A3 My Man
A4 He's Funny That Way
B1 Yesterdays
B2 Tenderly
B3 Can't Face The Music
B4 Remember

Billie Holiday - An Evening With Billie Holiday (1953)
(256 kbps, front cover included, now track 7 is included!)

Billie Holiday ‎– Body And Soul (1957)

1957s "Body And Soul" was proof that small jazz groups brought out the best in Billie. Ben Webster, Harry Edison, Barney Kessel and the other members of a stellar ensemble were not just gifted soloists but sensitive accompanists and offered great support on a selection of standards, including three gems by the Gershwin brothers.

This session comes from close to the end of the line (1959) in the erstwhile swinging company of Barney Kessel on guitar, Ben Webster on tenor, and naysayers will be quick to point out that Lady Day wasn't in peak form here. But Billie Holiday with some of the platinum chipped off the pipes is still way better than a buncha finger-snappin' wannabes anyday. Her interpretations of the title cut, "Let's Call the Whole Thing Off," and "Darn That Dream" hold you in the palm of her hand with their gentle swing and the band support here is never less than stellar. The Lady sings and swings.                


A1 Body And Soul
A2 They Can't Take That Away From Me
A3 Darn That Dream
A4 Let's Call The Whole Thing Off
B1 Comes Love
B2 Gee, Baby, Ain't I Good To You
B3 Embraceable You
B4 Moonlight In Vermont

Billie Holiday - Body And Soul (1957)
(256 kbps, cover art included)

Montag, 13. April 2015

Jumpin´ With The Big Swing Bands

This one is made for dancin´. Made for swingin´!
It´s a Savoy Jazz compilation with some of the most famous and swingin´-est bands of that era, containing some rare and jumpin´ recordings.

"Jumping With the Big Swing Bands" collects various swing-era tracks by such popular dance band leaders as Louis Prima, Jimmie Lunceford, and Harry James. Included here are such rare cuts as Lunceford's "Sit Back and Ree-Lax" and "Shut Out."


1. Call The Police - Jimmie Lunceford & His Orchestra
2. Robin Hood - Louis Prima & His Orchestra
3. Junction - Harry James & His Orchestra
4. Lester Young Tush - Earle Warren & His Orchestra
5. Cement Mixer - Jimmie Lunceford & His Orchestra
6. Hodge Podge - Harry James & His Orchestra
7. Margie - Jimmie Lunceford & His Orchestra
8. Down The Road A Piece - Ray McKinley & His Orchestra
9. Water Faucet - Jimmie Lunceford & His Orchestra
10. Boog It - Harry James & His Orchestra
11. Them Who Has Gets - Jimmie Lunceford & His Orchestra
12. Sand Storm - Ray McKinley & His Orchestra
13. Circus In Rhythm - Earle Warren & His Orchestra/Lester Young
14. Sit Back And Ree-lax - Jimmie Lunceford & His Orchestra
15. Headin' For Hallelujah - Harry James & His Orchestra
16. Hangover Square - Ray McKinley & His Orchestra
17. Shut Out - Jimmie Lunceford & His Orchestra
18. Brooklyn Boogie - Louis Prima & His Orchestra
19. Jimmies, The - Jimmie Lunceford & His Orchestra
(256 kbps, front cover included)

Sonntag, 12. April 2015

VA - All That Jive (Savoy Jazz)

Image"All That Jive" (Savoy Jazz) compiles such iconic jive- and scat-oriented recordings as Dizzy Gillespie's "Oop Bop Sh'bam" and Slim Gaillard's "Flat Foot Floogie."

This is legendary stuff off the Savoy label and while it is available elsewhere, this is nonetheless a superb introduction to some classic jazz humor of the late '40s.

From the linernotes:"We hope this album brings back some of what´s often been missing in jazz for the past few decades - that sense of humor and lightheartedness which was there before the egg headed intellectuals discovered the music and started taking it - and themselves - way too seriously. Just have a ball and, while you´re at it, check out what´s being played, too. It´ll get you either way."

VA - All That Jive (Savoy Jazz)
(256 kbps)

Sonntag, 5. April 2015

Billie Holiday - The Commodore Master Takes

If you're a completist who insists on having everything that Billie Holiday recorded, "The Complete Commodore Recordings" is required listening. But for the more casual listener, it's best to pass on that two-CD set and stick with "The Commodore Master Takes". While "The Complete Commodore Recordings" contains all of the alternate takes that Holiday recorded for Commodore in 1939 and 1944, this collection only concerns itself with the master takes (which total 16).

Holiday never singed an exclusive contract with Commodore - she only freelanced for the label, and the ultra-influential jazz singer spent a lot more time recording for Columbia in the 1930s and early 1940s, and for Decca from 1944-1950. But her Commodore output was first-rate, and Lady Day excels whether she's joined by trumpeter Frankie Newton's octet at a 1939 session or by pianist Eddie Heywood's orchestra at three sessions in 1944.

The album gets off to an impressive start with the controversial "Strange Fruit," a bone-chilling account of lynching in the Deep South that ended up being released on Commodore because Columbia was afraid to touch it. Holiday is also quite expressive on performances that range from "Fine and Mellow," "I Got a Right to Sing the Blues" and "Yesterdays" in 1939 to "My Old Flame,"  "I'll Be Seeing You," and "He's Funny That Way" in 1944.
For those with even a casual interest in Holiday's legacy, this superb album is essential listening.

A1Strange Fruit
A3Fine And Mellow
A4I Gotta Right To Sing The Blues
A5How Am I To Know
A6My Old Flame
A7I'll Get By
A8I Cover The Waterfront
B1I'll Be Seeing You
B2I'm Yours
B3Embraceable You
B4As Time Goes By
B5He's Funny That Way
B6Lover Come Back To Me
B7Billie´s Blues
B8On The Sunny Side Of The Street

Billie Holiday - The Commodore Master Takes
(224 kbps, cover art included)

Donnerstag, 2. April 2015

Howlin Wolf - Moanin´ In The Moonlight (1958)

Moanin' in the Moonlight was the debut album by American blues singer Howlin' Wolf. The album was a compilation of previously issued singles by Chess Records. It was originally released by Chess Records as a mono-format LP record in 1959. The album has been reissued several times, including a vinyl reissue in 1969 titled Evil.

The two earliest songs on Moanin' in the Moonlight were "Moanin' at Midnight" and "How Many More Years". These two songs were recorded at Sam Phillips' Memphis Recording Service in Memphis, Tennessee on May 14, 1951 or August 1951. These two songs were sold to the Chess brothers, Leonard and Phil, who released them as a single on August 15, 1951. The rest of the songs on the album were recorded in Chicago, Illinois and were produced by either the Chess brothers and/or Willie Dixon.

In 1987 Moanin' in the Moonlight was given a W.C. Handy Award under the category of "Vintage/Reissue Album (US)". Rolling Stone magazine ranked the album as #153 on their list of the 500 greatest albums of all time. Robert Palmer has cited "How Many More Years" (recorded May 1951) as the first record to feature a distorted power chord, played by Willie Johnson on the electric guitar.

An essential listening of the highest order!

Moanin' At Midnight2:43
How Many More Years2:58
Smokestack Lightnin'2:32
Baby, How Long2:18
No Place To Go2:31
All Night Boogie2:16
I'm Leavin' You2:29
Moanin' For My Baby2:17
I Asked For Water (She Gave Me Gasoline)2:47
Somebody In My Home2:59

Howlin Wolf - Moanin´ In The Moonlight (1958)
(320 kbps, cover art included)

Chicago - The Blues - Today! Vol. 3

Notes from the original release of "Chicago/The Blues/Today Vol. 3":

Johnny Shines and Walter Horton sit around a table in Johnny’s apartment drinking a little from a fifth of Teacher’s, and after the television set in the next room is shut off the talk goes back to their early years in the blues. “Robert Johnson?” Shines laughs and shakes his head. “I ran with Robert for two years when I was first starting to sing. He was only a year or so older than I was and I was seventeen at that time. When? It must have been in 1933—in Helena, Arkansas.” Walter interrupts, “You couldn’t run with Robert for long; he wouldn’t stay in one place.” Johnny shrugs, “He did run off after we got here to Chicago. We were staying someplace—I don’t remember where it was—and he got up in the middle of the night and left. Just like that! I didn’t see him for five months.” Walter has another drink. “He was that kind of fellow. If anybody said to him ‘let’s go’ it didn’t matter to him where it was they were going, he’d just take off and go. It didn’t matter, either, what time of day or night it was.” Johnny Young leans against the bar where his band works on 47th Street, his broad, worried face perspiring from the last set. “I grew up in Vicksburg so I heard all them guys. Even Charley Patton. Of course he didn’t come to see me, I was too young. He come to see other people, but I was there anyway. The mandolin? I was playing that back in Vicksburg, but I did hear Charlie McCoy play, too. He was a mandolin player living over in Jackson that made some records about that time.”

The poor, hard city life in the Chicago slums has changed the Mississippi, the Alabama and Tennessee blues styles, but the ties between the old country music and the new city blues are still close. For the men in their twenties and thirties, Junior Wells, Otis Rush, Jimmy Cotton, Buddy Guy, it’s less personal—it’s something that they’ve heard other people talking about—but for the men in their late forties and early fifties, Johnny Shines, Walter Horton, Johnny Young, it’s a direct, still living involvement. You sit at a crowded table trying to listen to Johnny Young over the noise of the people around you and the words of the blues could be from Tennessee in the 1930’s. “I asked sweet mama, let me be your kid...” He could have heard it on a Sleepy John Estes record, but it’s as much like the other things he sings as it is like Estes. Johnny stands on the low bandstand, his tie knotted in place and his coat still buttoned, despite the hot, stale air of the club. “I’m stealin’ back to my same old used to be...”

In the early 1950’s Johnny Shines came into a recording studio and did a piece called “Ramblin’” that came closer to the emotionalism and the musical style of Robert Johnson than anything else he has done before or since. He took a moment to remember, then nodded, “‘Ramblin’’ was really picked out of the sky. We got there to the studio and we didn’t have enough time and we didn’t have arrangements for anything; so I just started singing the first thing that came into my mind...” Without arrangements or much time Johnny went back to the first blues style that he’d known, and today he still sometimes puts the guitar in an old Mississippi open tuning and begins to
sing with some of Robert’s inflection and phrasing, the style as natural to Johnny as it was to Robert. The open tuning and the bottleneck go back even earlier for him. “I had an older brother, Willie Reed, who played, and I tried to learn from him, but I couldn’t make all the chords that he could...” Johnny grew up in Frazier, Tennessee, just north of Memphis. There’s a shopping center there now, but the rest of the town has become a suburb of Memphis. “...Then one day I ran into Howlin’ Wolf, who was young himself a that time, and I saw how he was playing with the open tuning and the slide. I said to myself, ‘If it’s that easy I can do it too.’ Wolf went away and left his guitar there and when he came back I was playing the same thing that he had just played...” A young man at 51, Johnny’s voice is one of the strongest and most exciting sounds in the Chicago blues today, and his music is a complex intermingling of the country and the city—the Delta melodic lines and the Chicago bass guitar and backbeat drumming—the South Side harmonic structure and the Delta verses, “Mister Boweevil, you done ate up all my cotton and corn...”

“Walter? I’ve known him most of my life.” “...The reason Johnny and I know what each other is going to play is that we started together when we were kids in Memphis.” The casual, drifting life of the early bluesmen kept the men close to each other and they drifted in twos or threes from job to job. Shines and Walter Horton started playing together in Memphis and they stayed together through the ragged years of the Depression, working at occasional jobs and running into each other when they were in the same town. Living not far from each other in Chicago and working with each other’s bands—“...When Johnny did ‘Ramblin’’ and ‘Brutal Hearted Woman’ he was working in my band in a club on West Madison...”—kept the country roots of their music strong and vigorous. A tall, nervous man, his face worn and scarred, Walter Horton, “Big Walter,” “Shakey Walter,” now limits his playing to a few sets with the bands working near his apartment on Indiana Avenue. When he’s feeling well he’s one of the most challenging harp men on the South Side. His health is poor and he works irregularly, but when he’s on the playing is magnificent, his thin body moving unsteadily across the bandstand, his face withdrawn and intent in the dim lights.

The blues backgrounds of Mississippi and Tennessee are woven into the fabric of the music that Johnny Shines and Walter Horton play. It’s in the shifting, restless sound of Johnny Young’s mandolin and in the insistent push of Johnny’s guitar accompaniments, in the verses of his blues and his singing style. The blues has changed in Chicago, but it’s still close to the country background, and it’s a music that has gone beyond the limits of its South Side neighborhoods. Memphis Charlie Musselwhite, who plays two harp duets with Walter Horton, is in his early twenties, and he’s white. He’s from the South and he’s grown up with the blues, so he’s been able to cross over into the South Side blues world. He was already playing when he came to Chicago, but Walter’s helped him, and when Charlie’s working with Johnny Young’s band Walter tries to get down on a Saturday night to do a set with him.

This is the blues in Chicago today—the new virtuosity of men like Junior Wells and Otis Rush, the country sound of J. B. Hutto and Homesick James, the exuberance of Jimmy Cotton and Otis Spann, the deep blues involvement of Johnny Shines. Johnny Young, and Walter Horton, the young men learning the style like Memphis Charlie. A new music has emerged out of the poverty and the anger of the South Side, a living music that has kept its own audience, its own expression, and its own truth. To hear it today all you have to do is take the El down to 40th or 47th Street...walk a few blocks through the empty’s fifty cents for a bottle of beer and as you sit at a table as close as you can get to the band the music fills the club around you like a sweet, intense voice that won’t stop singing...

I’d like to thank Bob Koester and Pete Welding, who have long been involved with the Chicago blues, for their help and their advice during the trips to Chicago that led to these recordings. Bob, on his Delmark label, and Pete, on his Testament label, have recorded a number of South Side bluesmen, and have done important work in bringing the Chicago music of today to a wider audience.

Chicago - The Blues - Today! Vol. 3
(192 kbps, ca. 56 MB)