Sonntag, 31. Mai 2015

VA - Steam Ballads (Broadside, 1977)

"Steam Balldads" was an album released on the Broadside label way back in 1977. This album features mostly 19th century railroad ballads and songs, performed by Harry Boardman, Jon Raven, Tony Rose and Kempion

01 - Harry Boardman - Navvy On The Line
02 - Jon Raven - The Bold Navvies
03 - Jon Raven - Paddy Works On The Railway
04 - Tony Rose - Opening Of The Newcastle & Shields Railway
05 - Harry Boardman - Johnny Greens Trip Fra Owdhum
06 - Kempion - Opening Of The Birmingham & Liverpool Railway
07 - Kempion - The Iron Horse
08 - Jon Raven - The Oxford & Hampton Railway
09 - Kempion - The Cockney's Trip To Brummagem
10 - Tony Rose - The Wonderful Effects Of The Leicester Railway
11 - Jon Raven - Cosher Bailey
12 - Tony Rose - Moses Of The Mail
13 - Tony Rose - The Fireman's Growl

VA - Steam Ballads (1977, Broadside)
(192 kbps, front & back cover included)

Samstag, 23. Mai 2015

Dave Van Ronk - Ragtime Jug Stompers (1960, vinyl rip)

Guitarist, singer, songwriter, and native New Yorker Dave Van Ronk has inspired, aided, and promoted the careers of numerous singer/songwriters who came up in the blues tradition. Most notable of the many musicians he's helped over the years is Bob Dylan, whom Van Ronk got to know shortly after Dylan moved to New York in 1961 to pursue a life as a folk/blues singer.Van Ronk's recorded output over the years is healthy, but he's never been as prolific a songwriter as some of his friends from that era, like Dylan or Tom Paxton. Instead, the genius of what Van Ronk does lies in his flawless execution and rearranging of classic acoustic blues tunes.

This wild and unrestrained collection of blues, jazz and blues standards makes Van Ronk's "Red Onion" album sound positively subdued. The rave-up of "Everybody Loves My Baby" is an acoustic equivalent of garage bands-to-come for sheer energy. You can tell that he loves these tunes; and in the notes, Van Ronk says he had been planning to start a jug band for a while, since 1958. In any case, it's a record brimming with an energetic spirit.
"As for the jug band, that came about more or less by accident. One weekend Max Gordon, the owner of the Village Vanguard, was in Cambridge for some reason, and he walked by the Club 47 and saw this huge line of people waiting to get in to see the Jim Kweskin Jug Band. In his mind's eye he transposed this queue to 7th Avenue South, where he had his room, and visions of sugarplums started dancing in his head. So when he got back to New York, he called Robert Shelton and said, "Are there any jug bands around town?" Bob said, "Well, yeah, but what you really ought to do is get hold of Dave Van Ronk and have him put one together."
So he did, and I did. I called up a bunch of friends, and we formed the Ragtime Jug Stompers. Sam Charters was back in town, so he was our Pooh-Bah and Lord High Everything Else—he sang, arranged, and played washtub bass, washboard, jug, and occasionally would lend a hand on guitar. Barry Kornfeld played banjo and guitar. Artie Rose was on mandolin, and also played some fine Dobro. Finally, Danny Kalb, who had been a student of mine, played lead guitar and some very nice harmonica. (We also made him sing bass on "K.C. Moan," because he was the youngest and none of us wanted to do it.) It was a very flexible band because the musicians were all good enough to double or triple on various instruments, plus it had all the possibilities offered by kazoos and that sort of thing, so it was capable of more than one kind of sound." - from: "The Mayor of Macdougal Street"


Side A
01 - Everybody Loves My Baby
02 - Stealin
03 - Saint Louis Tickle
04 - Sister Kate
05 - Take I Slow And Easy
06 - Mack The Knife

Side B
07 - Diggin' My Potatoes
08 - Temptation Rag
09 - Shake That Thing
10 - K. C. Moan
11 - Georgia Camp Meeting
12 - You'se A Viper

(320 kbps, cover art included)

Ewan MacColl - Broadside Ballads, Vol. 2 (London: 1600 - 1700) (1962)

Tracks & Artist/Performer:
101 Female Frolic, The (Female Frollick, The) Ewan MacColl, Peggy Seeger, Alf Edwards
102 Give Me My Yellow Hose Ewan MacColl, Peggy Seeger, Alf Edwards
103 King and No King, A Ewan MacColl, Peggy Seeger, Alf Edwards
201 Constance of Cleveland Ewan MacColl, Peggy Seeger, Alf Edwards

Ewan MacColl - Broadside Ballads, Vol. 2 (London: 1600 - 1700) (1962)
(128 kbps, cover art included)

Dave Van Ronk - Just Dave Van Ronk (1964)

Guitarist, singer, songwriter, and native New Yorker Dave Van Ronk has inspired, aided, and promoted the careers of numerous singer/songwriters who came up in the blues tradition. Most notable of the many musicians he's helped over the years is Bob Dylan, whom Van Ronk got to know shortly after Dylan moved to New York in 1961 to pursue a life as a folk/blues singer.

Van Ronk's recorded output over the years is healthy, but he's never been as prolific a songwriter as some of his friends from that era, like Dylan or Tom Paxton. Instead, the genius of what Van Ronk does lies in his flawless execution and rearranging of classic acoustic blues tunes.

This collection is comprised of solo guitar and vocal interpretations of blues and traditional standards. Van Ronk's understated guitar style is perfect for these intimate performances. His naturally rough voice allows him to sing these songs believably without any ethnic affectation or false energy.

(192 kbps, front cover included)

Freitag, 22. Mai 2015

Tom Paxton - Ain´t That News (1965)

Tom Paxton proved to be one of the most durable of the singer/songwriters to emerge from the Greenwich Village folk revival scene of the early '60s. In some ways, he had more in common with the late-'50s generation of folksingers such as Dave Van Ronk (who was 16 months his senior) and even older performers than with the new crop of singer/songwriters with whom he tended to be associated, such as Bob Dylan and Phil Ochs (both of whom were several years his junior). But like Dylan and Ochs, and unlike Van Ronk, Paxton was a songwriter caught up in the left-wing political movements of the time and inspired to compose topical and protest songs. In general, his tended to be more lighthearted than theirs (the musical satirist Tom Lehrer was at least as much of an influence on him as Woody Guthrie), though he could be just as witty and just as harshly critical of his opponents. Like such mentors as Pete Seeger, and unlike Dylan, he never cared to make much of a transition to the mainstream, never picked up an electric guitar and tried to play rock & roll.

Tom Paxton's second album was one of his most earnest efforts, and that serious narrative tone, combined with the fading of the issues it addresses (the Vietnam War, the draft, the Civil Rights movement) off the national radar, makes much of it dated and some of it stilted. Nonetheless, it does have one of his most effective anti-war pieces; "Lyndon Johnson Told the Nation," in fact, is one of the better anti-Vietnam folk songs of the 1960s. There's also "Bottle of Wine," one of Paxton's best and most tuneful compositions, and one of his most-covered ones (by Judy Collins at the tail end of her folk era and then by the Fireballs a few years later for a pop/rock hit). Felix Pappalardi (on bass) and Barry Kornfeld (on second guitar and banjo) do add a bit of depth to the arrangements, yet many of the songs are a dry listen, though Paxton's observations are consistently well-thought out and well-intended. He could have used more lighthearted moments like "Bottle of Wine," or more romantic ones like "Hold On to Me Babe" (which Sandy Denny covered on an unreleased 1967 recording). And, in fact, he would use more such moments on his subsequent albums.

A1Ain't That News1:32
A2The Willing Conscript2:32
A3Lyndon Johnson Told The Nation3:00
A4Hold On To Me Babe3:10
A5The Name Of The Game Is Stud1:55
A6Bottle Of Wine2:21
A7The Natural Girl For Me2:37
B1Goodman, Schwerner And Chaney2:41
B2We Didn't Know2:22
B3Buy A Gun For Your Son2:30
B4Every Time3:09
B5Georgie On The Freeways3:09
B6Sully's Pail3:11
B7I'm The Man That Built The Bridges2:47

Tom Paxton - Ain´t That News (1965)
(256 kbps, cover art included)

Donnerstag, 14. Mai 2015

Nina Simone - At Carnegie Hall (1963)

Nina Simone was one of the most gifted vocalists of her generation, and also one of the most eclectic. Simone was a singer, pianist, and songwriter who bent genres to her will rather than allowing herself to be confined by their boundaries; her work swung back and forth between jazz, blues, soul, classical, R&B, pop, gospel, and world music, with passion, emotional honesty, and a strong grasp of technique as the constants of her musical career.                

"At Carnegie Hall" is a live album recorded at Simone's first solo appearance at Carnegie Hall in New York, on April 12, 1963, and was released on Colpix Records. Miss Simone works her particular brand of magic in a mysterious and awe-inspiring way. The album has a broad choice of material all delivered in dramatic fashion. "Black Swan," "Twelfth of Never" are two highly playable tracks.

This was Nina Simone's third Carnegie Hall appearance. Her debut appearance was on May 21, 1961, when she shared the stage with her great friend and fellow civil rights activist Miriam Makeba.
Having performed here twice previously, April 12, 1963, marked Nina Simone's headlining debut. It was not to be an easy transition from sharing to topping the bill. Writing in Nina Simone "Black Is The Color ..." Andrew Stroud - Simone's one-time husband and manager - recalls, "In 1963, Nina was adamant about making a solo appearance at Carnegie Hall in fulfillment of her childhood dream as the first black female classical pianist. None of the concert promoters would undertake such a presentation because they did not believe she could carry off a solo concert. Therefore, when I resigned from the NYPD, I took my pension rebate and, on the advice of experts in the music industry, hired Felix Gerstman, New York City's premier concertmaster, to manage the presentation."
Joining Nina Simone that evening were guitarists Alvin Schackman and Phil Orlando, Lisle Atkinson on bass, and drummer Montego Joe. Simone demonstrated the unclassifiable nature of her artistry that evening with performances of jazz, soul, spiritual-tinged tunes, and - displaying her background in classical music - a theme on Saint-Saëns's Samson and Delilah.
While her final headlining concert here took place in June 2001, Nina Simone's final Carnegie Hall appearance was on April 13, 2002, as part of Sting's Rainforest Foundation benefit. She died almost exactly a year later.

A1Black Swan6:13
A2Theme From Samson And Delilah5:50
A3If You Knew3:35
A4Theme From Sayonara2:35
B1The Twelfth Of Never3:20
B2Will I Find My Love Today6:55
B3The Other Women / Cotton Eyed Joe7:25

Nina Simone - At Carnegie Hall (1963)
(320 kbps, cover art included)

Mittwoch, 13. Mai 2015

Ewan MacColl - Scots Drinking Songs (1956)

EWAN MacCOLL is the Scots-born son of a Gaelic-speaking mother and Lowland father from whom he inherited more than a hundred songs. He has worked as a garage hand, builder's laborer, organizer, journalist, radio scriptwriter, actor and dramatist. MacColl has written and broadcast extensively about folk music, was general editor of the British Broadcasting Corporation folk music series, "Ballads and Blues," and frequently took part in Alan Lomax's radio and television shows for B.B.C.
Of the songs he has included in this album, MacColl writes: "I can remember as a child being allowed to stay up at Hogmanay parties when a dozen Scots iron-moulders and their wives would settle down to serious drinking. A Wee Drappie O't would be sung with everyone joining in the chorus with maybe a few English friends looking a bit embarrassed at this display of Celtic emotion and the beer jugs would be circulating freely and whiskey bottles would empty at an alarming rate. In between the songs the company would argue the merits of Edward Clod's 'History of Creation' and Volny's 'Ruins of Empires' and then as the singing became more and more rough I would be sent off to bed. As these junketings often lasted for a whole week I had plenty of opportunities to learn the songs."
Sleeve Notes:
"It has been observed that the pattern of social drinking in Scotland corresponds roughly to the three movements which comprise a pibroch [1]. First, there is the leisurely philosophical discussion, argument or monologue during which the theme of the evening is stated. The second movement consists of a set of variations in the form of repeated patriotic utterances and the last movement is a scherzo in which amorousness and bawdiness are combined to show the national prowess in a sport which, as far as we are concerned, has all the competitive features of international football.
The first movement is non-melodic; being confined to pure talk. The second movement is a synthesis of talk and patriotic song and the third and longest movement is wholly song.
Scots licensing laws have done their best to destroy this ancient pattern by making singing in pubs an offence and, wherever possible, by segregating the sexes. The legislators appear to have operated on the basis of the good old Calvinistic maxims that women are the root of all evil and that singing and licentiousness are interchangeable words. However, what is lost in the pubs is gained in the family circle and many a child who might otherwise have grown to ignorant maturity has learned some of the more interesting and pleasurable facts of life from listening to songs sung by Auntie Mag and Uncle Alec at a Hogmanay (New Year) party.
As in Italy, love is the great theme of Scots folk song but, unlike Italy, it is the act of love rather than the emotion which is celebrated. John Knox might rave against the sins of the flesh and numerous Holy Willies might rant against evildoers but the commons of Scotland had a healthy, realistic attitude on love which no amount of Calvinistic preaching could pervert. True, there were the prying elders and the cutty stool to be faced after the act but the joys of love and the body's needs outweighed all such considerations.
The frank expression of physical desire in Scots folk song has been a subject for dismay with collectors and anthologists for more than two hundred years. Only David Herd's collection ("The Ancient and Modern Scots Songs," 1769) escaped the embalmer's knife of polite hypocrisy. Bishop Thomas Percy, famed for the "Reliques of Ancient English Poetry," offered to clean up Herd's collection but Herd, being an honest man, refused and published the songs as he had found them.
Since that time, the majority of Scots collectors, apparently unaware of the fact that babies are not found under cabbage leaves, have divided their time between attempting to castrate the muse and apologizing for Herd and the lower classes' capacity for lovemaking.
The fig leaf of Calvinism cannot disguise the virility and appetite of the Scots muse and under the influence of a few drinks the fig leaf disappears through the window and the muse, with a smacking of lips and a bellow of laughter, proceeds to celebrate the most universal of man's pastimes."
A1We're A' Jolly Fu'
A2The Calton Weaver
A3When She Came Ben She Bobbit
A4The Laird Of The Dainty Doon Bye
A5Blow The Candle Out
A6Donald Blue
A7The Brewer Laddie
A8We're Gayly Yet
A9A Wee Drappie O't
A10The Cuckoo's Nest
B1Green Grow The Rashes, O
B2The Day We Went To Rothesay
B3The Bonnie Lassie Who Never Said No
B4The Muckin' O' Geordie's Byre
B5Jock Hawk's Adventures In Glasgow
B6The Brisk Young Lad
B7I Wish That You Were Dead Guidman
B8The Wind Blew The Bonnie Lassie's Plaidie Awa'
B9Andro And His Cutty Gun
(320 kbps, front cover included)