Freitag, 30. Januar 2015

The Chambers Brothers - Feelin´ The Blues (1970)

Like their West Coast contemporaries Sly and the Family Stone, the Chambers Brothers shattered racial and musical divides to forge an incendiary fusion of funk, gospel, blues, and psychedelia which reached its apex with the perennial 1968 song "Time Has Come Today."
Musical siblings George Chambers (bass/vocals), Willie Chambers (guitar/vocals), Lester Chambers (harmonica/vocals), and Joe Chambers (guitar/vocals) were raised on rural gospel in their native Mississippi before switching over to folk and then soulful blues and R&B-fueled rock. The Chambers Brothers' recordings issued by the Los Angeles-based Vault label were nearly four years old when "Feelin' the Blues" hit the streets in 1970. The band's style had changed quite drastically from old-school blues, soul, and pop to the longer psychedelic jams heard on their international hit "Time Has Come Today." Although the mixture of live and studio selections gives the collection an odds-and-sods vibe, several of the performances are among the best of the Vault Records-era material.

Somewhat contrasting with the album's title, the Chambers actually cover a wide spectrum of music on "Feelin' the Blues". Their roots can be heard throughout the flawless interpretation of the sacred standards "Just a Closer Walk with Thee" and the excellent "Travel on My Way." Similarly, the midtempo reading of Ray Charles' "I Got a Woman" offers the Chambers an opportunity to subtly return to their gospel origins with call-and-response backing harmonies. The proceedings are far from being pious, however, as the quartet harmonizes the chorus of "Too Fat Polka" during one of the instrumental breaks. Perhaps wishing to remove some of the sting from the real storyline, the reworking of "House of the Rising Sun" - according to the spoken introduction - is told from the point of view of the receptionist (huh?) at the infamous bordello. Had the Chambers Brothers decided on a more straightforward translation, the song could easily have been one of the album's best. Other tunes worth spinning include a version of Bobby Parker's "Blues Get Off My Shoulder" - in a longer form than on 1968's "The Chambers Brothers Shout!" - and the comparatively brief but effective update of the jazzy "Undecided."

Tracklist:
A1Girls, We Love You
A2I Got A Woman
A3House Of The Rising Sun
B1Don't Lose Your Cool
B2Just A Closer Walk With Thee
B3Blues Get Off My Shoulder
B4Travel On My Way
B5Undecided

The Chambers Brothers - Feelin´ The Blues (1970)
(320 kbps, cover art included)

Dienstag, 27. Januar 2015

A Yiddish Winterreise - A Holocaust Survivor´s Inner Journey Told Through Yiddish Song (Mark Glanville, Alexander Knapp)

 Today is International Holocaust Remembrance Day, marking the passage of 70 years since the January 27, 1945, liberation of Auschwitz by Soviet soldiers. Auschwitz was a network of concentration camps built and operated in occupied Poland by Nazi Germany during the Second World War. Auschwitz I and nearby Auschwitz II-Birkenau were the extermination camps where an estimated 1.1 million people—mostly Jews from across Europe, but also political opponents, prisoners of war, homosexuals, and Roma—were killed in gas chambers or by systematic starvation, forced labor, disease, or medical experiments. About 200,000 camp inmates survived the ordeal. Today, a number of heads of states and aging survivors will attend a ceremony marking the 70th anniversary at the site in Poland, now maintained as a museum and memorial.

A Yiddish Winterreise is a sequence of songs from the Yiddish repertoire devised by opera singer and cantor Mark Glanville, recreating the original, Schubertian journey in a Holocaust context. The singer reflects on the life and world he has just seen destroyed as he flees the Vilna ghetto. Minor-key or modal melodies may evoke a sense of sadness, yet a deep-hearted joy, even triumph, are often equally evident.

An unusual disc title deserves explanation, though this disc's somewhat clunky subtitle provides an answer of sorts. It is in essence `a sequence of songs from the Yiddish repertoire devised by opera singer and cantor Mark Glanville, recreating the original, Schubertian journey in a Holocaust context. The singer reflects on the life and world he has just seen destroyed as he flees the Vilna ghetto. Minor-key or modal melodies may evoke a sense of sadness, yet a deep-hearted joy, even triumph, are often equally evident.' [Naxos]
The arranger of many here, and excellent pianist, Alexander Knapp analyses the salient features of much of the music - its indebtedness to mid nineteenth century `German classical harmony' and its frequent adoption of the minor key, straightforward form and rhythm and the use of improvisatory passages. He has not sought to improve the original melodic lines but has responded to them in a personal way, whilst respecting their essence. What emerges therefore is a sequence of songs, the poets or writers of which range chronologically from Levi Yitzchok, who was born in 1740. Mordecai Gebirtig, Abraham Brudno and Moshe Nadir died between 1942 and 1944. Both Aklexander Olshanetsky and Janot S. Roskin however died in 1946. The disc opens with the sonorous declamation of the traditional Khosn bazingns (Singing for the Bridegroom) and then leads on to the journey proper where the poet's town is ablaze. Fear, anger, and injunctions to quench the flames are the mileposts of this song but the journey is not all pogrom and flight. The putative wanderer's mental journey takes in landscape and rabbi, hearth and home, parents and children, Messiah and orphan, the chosen texts illuminate his mind's imaginative conjunctions and consonances between settings, a kind of sub-conscious or indeed conscious internalised self-communing. Therefore there are nostalgic-romantic settings, of which the reverie that is Vilna is the most prominent. The jaunty settings of What Will Happen When the Messiah Comes and The Rabbi has Bid Us be Happy attest to a double laced irony, the injunction to `be happy' sounding too much like an emotional forced march. Moments of self-pity, melismatic vehemence and fiery declamation fuse in Raisins and Almonds. The tenth setting is a of Schubert's Der Lindenbaum, an infusion that conjoins the German with the Yiddish in which language it is set. Further in the journey the impassioned and anguished peaks reached in Habeit mishomayim (Look Down from the Heavens) attest to the tormented weight pressing on the traveller though he soon relaxes to the cimbalon evocations of Der rebe Elimelekh (Rabbi Elimelech). These lead to a series of songs on childhood of which Kleyner yosem (Little Orphan) is very beautifully and simply done. In the context the twenty first setting, Un a yingele vet zey firn (And a Little Boy Will Lead Them) has some quite striking, indeed startling harmonies in the context of the journey. This questing harmonic writing, which becomes more and more incursive, leads toward the penultimate song, that urges one never to forget to say Kaddish. This in turn leads to the final setting, a spoken recitation of the Kaddish, which not only acts as a cyclical corollary of the opening recitation but which also functions as an act of praise and of deliverance. This is a story of survival after all. Glanville is the singer who guides us through this internalised human landscape. He is the orator and inquisitor, the mediator and the innocent. His voice rises to pitches of crises of recall; sinks into gauze-gentle recollections of childhood. It is the voice of rebuke and regret, the voice that embraces but must stifle self-pity. It is the voice that goes on. He and Alexander Knapp form a harmonious ensemble and have been finely recorded. There are full English texts. -- MusicWeb International, Jonathan Woolf, August 2010

A Yiddish Winterreise - A Holocaust Survivor´s Inner Journey Told Through Yiddish Song (Mark Glanville, Alexander Knapp)
(256 kbps, cover art included)

Samstag, 24. Januar 2015

VA - Bauer Maas - Lieder gegen Atomkraftwerke



Originally posted in November 2011:

A big number and high variety of actions is expected for November 23-28, 2011, due to the 13th transport of high level active atomic waste (the so-called Castor transport) from the reprocessing unit (plutonium factory) La Hague in France to the temporary repository in Gorleben, Germany.

To support the protest against nuclear waste dump in Gorleben (Wendland, Germany), we post the classic album "Bauer Maas - Lieder gegen Atomkraftwerke". It was released in 1979 on the "Pass-Op" label and contains tracks by Frank Baier, Fiedel Michel, Schmetterline and  more. This compilation contains protest songs against the atomic power plant in Kalkar.

VA - Bauer Maas - Lieder gegen Atomkraftwerke
(~160 kbps, cover art included, two tracks from the original album are missing)

More information about the protest action can be found via https://www.gorleben-castor.de/index.php or https://www.x-tausendmalquer.de/.

Donnerstag, 22. Januar 2015

Ernst Busch - Eisler - Lieder mit Ernst Busch (NOVA)

To celebrate the 115th birthday of Ernst Busch, we share the album "Eiser - Lieder mit Ernst Busch".

This collection of Hanns Eisler songs in interpretations by Ernst Busch was released in 1974 on the NOVA label.

Ernst Busch was, along with Helene Weigel, one of the best-known singer/actors who popularized Brecht's political plays in the early 30s. His powerful, "metallic" voice was a perfect instrument for outdoor rallies and large performance halls in a time when amplification was generally unavailable. Busch spent the last years of the war in a Nazi prison and, following his release, resumed his singing and acting career in East Germany.

Tracklist:
1. (00:04:01) Ernst Busch - Solidaritätslied
2. (00:03:29) Ernst Busch - Ballade von den Säckeschmeißern
3. (00:02:20) Ernst Busch - Ballade vom Neger Jim
4. (00:01:28) Ernst Busch - Stempellied
5. (00:02:27) Ernst Busch - Roter Wedding
6. (00:01:09) Ernst Busch - Einheitsfrontlied
7. (00:01:00) Ernst Busch - Der heimliche Aufmarsch
8. (00:02:37) Ernst Busch - Lenin
9. (00:02:40) Ernst Busch - Marsch der Zeit
10. (00:02:36) Ernst Busch - Lied vom Subbotnik
11. (00:03:11) Ernst Busch - Linker Marsch
12. (00:03:04) Ernst Busch - Wenn Arbeiter und Bauern
13. (00:03:20) Ernst Busch - Es sind die alten Weisen
14. (00:02:40) Ernst Busch - Deutschland
15. (00:04:11) Ernst Busch - Wir reichen euch die Hand
16. (00:01:37) Ernst Busch - Seit euch bewußt der Macht
17. (00:02:03) Ernst Busch - Lied der Werktätigen

Ernst Busch - Eisler - Lieder mit Ernst Busch
(320 kbps, cover art included)

Mittwoch, 21. Januar 2015

Robert Wyatt - Nothing Can Stop Us (1982)

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

This compilation of early-'80s singles includes some of Wyatt's finest work. Aside from "Born Again Cretin" (whose vocals recall the Beach Boys at their most experimental), all of it's non-original material that Wyatt makes his own with his sad, haunting vocals.

You could hardly ask for a more diverse assortment of covers: Chic's "At Last I Am Free" (given an eerie treatment with especially mysterious, spacy keyboards), the a cappella gospel of "Stalin Wasn't Stallin'," political commentary with "Trade Union," the Billie Holiday standard "Strange Fruit," Ivor Cutler's "Grass," and a couple of songs in Spanish.

Tracks:
01. Born Again Cretin
02. At Last I Am Free
03. Caimanera
04. Grass
05. Stalin Wasn´t Stallin´
06. Red Flag
07. Strange Fruit
08. Arauco
09. Trade Union
10. Stalingrad

Robert Wyatt - Nothing Can Stop Us (1982)
(256 kbps, cover art included)

Tuli Kupferberg - No Deposit No Return (An Evening of Pop Poetry with Tuli Kupferberg) (1966, vinyl rip)

Prior to his notable presence as the spiritual figurehead and founding member of the funky, folky Fugs, Tuli Kupferberg gained indirect notoriety as the real life "guy who jumped off of the Brooklyn Bridge and lived," immortalized in Allen Ginsberg's epic "Howl".

"No Deposit, No Return" is Kupferberg's out-of-print 1966 spoken-word solo debut.

"...'is america insane' asks the insert that came with this disk, released on the ESP-Disk label back in 1966, an LP of tuli kupferberg reading adverts from various newspapers/comics/magazines...its pop art, taking the everyday normal object and showing it in unfamiliar circumstances so it takes on different meanings...these ads when glanced at in their ordinary setting may not attract too much attention but when pulled out and presented here they show another side, they open new vistas showing the strangeness that surrounds everywhere...emminently playable when an evening of fugnacious madness is called for..." (http://stupidd.blogspot.com)


Tracklist:

01 - Pubol
02 - Social Studies
03 - The Hidden Dissuaders
04 - Lifetime Guarentee
05 - The Art Scene
06 - Want Ads 1
07 - Purina
08 - Lanoflo
09 - The Hyperemiator
10 - The Sap Glove
11 - The Bunny Mother
12 - Auto-De-Fe
13 - Fields Matrimonial Service
14 - Want Ads 2
15 - Howard Johnson's Army
16 - No Deposit, No Return

Tuli Kupferberg - No Deposit, No Return (1966, vinyl rip)
(320 kbps, cover art included)

Dienstag, 20. Januar 2015

Woody Guthrie - Woody Guthrie Sings Folk Songs (1962)



In April 1944, 31-year-old Woody Guthrie discovered a recording outlet when he hooked up with record company owner Moses Asch, who agreed to let him cut a virtually unlimited number of masters informally. Guthrie simply would turn up at Asch's studios alone or with such friends as Cisco Houston, Sonny Terry, Leadbelly, and Bess Lomax Hawes, and record his repertoire of original and traditional songs. The repository soon grew to hundreds of titles, far more than even a major label, much less a tiny independent, could release contemporaneously.
Over the decades, Asch did release many of the tracks, but by 1962, when he assembled the LP "Woody Guthrie Sings Folk Songs", he still had a significant caché of unissued material like that found on this disc. In the ensuing 18 years, the folk revival had kicked in, and such artists as Joan Baez were taking folk music into the upper reaches of the charts. Guthrie was considered the godfather of the movement, and "Woody Guthrie Sings Folk Songs" played right into that, as he could be heard singing songs like "The Rising Sun Blues" (aka "The House of the Rising Sun") and "The Boll Weevil," the same songs that the new generation of folk singers were performing in coffee houses.

In truth, with the combination of guitars, mandolin, harmonica, and fiddle, plus Houston's rough high harmonies, the arrangements often were more evocative of the old-timey country string bands of the '30s, such as the Monroe Brothers, than early-'60s urban folk. Then, too, although some of the songs were credited to Guthrie as a songwriter, this was not the Guthrie of "This Land Is Your Land," but rather Guthrie the traditional folk singer. Still, "Woody Guthrie Sings Folk Songs" was an excellent representation of rural folk music that consolidated Guthrie´s position as the newly fashionable genre's main progenitor.

Tracklist:

01. Hard Traveling
02. What Did The Deep Sea Say?
03. The House Of The Rising Sun
04. 900 Miles (Instrumental)
05. John Henry
06. Oregon Trail
07. We Shall Be Free
08. Dirty Overalls (My Dirty Overhauls)
09. Jackhammer John
10. Springfield Mountain
11. Brown Eyes
12. Boll Weevil Blues (Boll Weevil)
13. Guitar Blues (Instrumental)
14. Will You Miss Me?

Woody Guthrie - Woody Guthrie Sings Folk Songs (1962)
(192 kbps, front art included)

Samstag, 17. Januar 2015

King Tubby's Studio vs Channel One Studio In Dub

This 70s Aggrovators dub album was produced by Bunny Lee and mixed by King Tubby, Scientist and Crucial Bunny.

Tracklist:
1Channel One Feel This One
2Scientist Mash Up The Boy Crucial Bunny
3Another Extra From The King
4Knock Them Out King Tubby And Scientist
5King Tubby The Dub Ruler
6Introducing Crucial Bunny From Channel One
7Be Channel One Guest
8Straight To King Tubby And Scientist Head
9Strictly Rockers From Channel One
10Special Request More Of King Tubby & Scientist Sound Call Earthquake

(192 kbps, cover art included)

Donnerstag, 8. Januar 2015

Bertolt Brecht - An die Nachgeborenen

An die Nachgeborenen

I
Wirklich, ich lebe in finsteren Zeiten!
Das arglose Wort ist töricht. Eine glatte Stirn
Deutet auf Unempfindlichkeit hin. Der Lachende
Hat die furchtbare Nachricht
Nur noch nicht empfangen.
Was sind das für Zeiten, wo
Ein Gespräch über Bäume fast ein Verbrechen ist
Weil es ein Schweigen über so viele Untaten einschließt!
Der dort ruhig über die Straße geht
Ist wohl nicht mehr erreichbar für seine Freunde
Die in Not sind?
Es ist wahr: ich verdiene noch meinen Unterhalt
Aber glaubt mir: das ist nur ein Zufall. Nichts
Von dem, was ich tue, berechtigt mich dazu, mich satt zu essen.
Zufällig bin ich verschont. (Wenn mein Glück aussetzt, bin ich verloren.)
Man sagt mir: Iß und trink du! Sei froh, dass du hast!
Aber wie kann ich essen und trinken, wenn
Ich dem Hungernden entreiße, was ich esse, und
Mein Glas Wasser einem Verdurstenden fehlt?
Und doch esse und trinke ich.
Ich wäre gerne auch weise.
In den alten Büchern steht, was weise ist:
Sich aus dem Streit der Welt halten und die kurze Zeit
Ohne Furcht verbringen
Auch ohne Gewalt auskommen
Böses mit Gutem vergelten
Seine Wünsche nicht erfüllen, sondern vergessen
Gilt für weise.
Alles das kann ich nicht:
Wirklich, ich lebe in finsteren Zeiten!
 
II
In die Städte kam ich zur Zeit der Unordnung
Als da Hunger herrschte.
Unter die Menschen kam ich zu der Zeit des Aufruhrs
Und ich empörte mich mit ihnen.
So verging meine Zeit
Die auf Erden mir gegeben war.
Mein Essen aß ich zwischen den Schlachten
Schlafen legte ich mich unter die Mörder
Der Liebe pflegte ich achtlos
Und die Natur sah ich ohne Geduld.
So verging meine Zeit
Die auf Erden mich gegeben war.
Die Straßen führten in den Sumpf zu meiner Zeit.
Die Sprache verriet mich dem Schlächter.
Ich vermochte nur wenig. Aber die Herrschenden
Saßen ohne mich sicherer, das hoffte ich.
So verging meine Zeit
Die auf Erden mir gegeben war.
Die Kräfte waren gering. Das Ziel
Lag in großer Ferne
Es war deutlich sichtbar, wenn auch für mich
Kaum zu erreichen.
So verging meine Zeit
Die auf Erden mir gegeben war.
 
III
Ihr, die ihr auftauchen werdet aus der Flut
In der wir untergegangen sind
Gedenkt
Wenn ihr von unseren Schwächen sprecht
Auch der finsteren Zeit
Der ihr entronnen seid.
Gingen wir doch, öfter als die Schuhe die Länder wechselnd
Durch die Kriege der Klassen, verzweifelt
Wenn da nur Unrecht war und keine Empörung.
Dabei wissen wir doch:
Auch der Hass gegen die Niedrigkeit
Verzerrt die Züge.
Auch der Zorn über das Unrecht
Macht die Stimme heiser. Ach, wir
Die wir den Boden bereiten wollten für Freundlichkeit
Konnten selber nicht freundlich sein.
Ihr aber, wenn es so weit sein wird
Dass der Mensch dem Menschen ein Helfer ist
Gedenkt unsrer
Mit Nachsicht.

Donnerstag, 1. Januar 2015

Happy New Year!

Euch allen ein gutes neues Jahr!
Bonne Année!
Feliz Año Nuevo!
Felice Anno Nuovo!
Happy New Year!
Sretna Nova Godina!
Godt Nytar!
Hyvää Uutta Vuotta!
Kali Chronia!
Shana Towa!
Szczęśliwego Nowego Roku!
Um Ano Novo Feliz!
La Multi Ani!
あけましておめでとうございます !
Yeni yiliniz kutlu olsun !
שנה טובה!
Ευτυχισμένος ο καινούργιος χρόνος !
Новим роком !