Samstag, 28. Februar 2015

Isabel Parra & Quilapayun - Lieder aus Chile (Amiga, 1972)

 
Isabel Parra is a famous Chilean singer-songwriter and interpreter of Latin American musical folklore. She was part of the "Nueva canción" (Spanish for 'new song') movement -  a movement and genre within Latin American and Iberian music of folk music, folk-inspired music and socially committed music. Nueva canción is widely recognized to have played a powerful role in the social upheavals in Portugal, Spain and Latin America during the 1970s and 1980s. Salvador Allende´s Unidad Popular government had enormous support among Nueva canción musicians who composed the campaign song "Poder Popular" for the presidential election of 1970 and recorded "El pueblo unido jamás será vencido" in June 1973.

Isabel Parra was born in Chile in 1939 and began her career in music at the age of 13 when she made her first recording with her world-renowned mother, the folklorist Violeta Parra. She has since interpreted and recorded the songs of some of the most famous Latin American folk singers. After the September 11, 1973 Chilean coup d’etat she lived in exile in Argentina and France for many years. She returned to Chile when democracy returned to her country.

Isabel Parra has toured extensively during her career and was a distinctive figure in the Nueva Canción Chilena (New Chilean Song) movement. Isabel Parra is also the sister of the famous folk singer Ángel Parra and the niece of the famous poet Nicanor Parra.

Isabel Parra visited the GDR several times in the 1960s and 1970s -  for example to take part in the "X. Weltfestspiele der Jugend" in 1973. 
In 1971 Gerhard Siebholt and Karl Heinz Ocasek produced this album with Isabel Parra and the musicians from Quilapayun in the AMIGA studio, East Berlin. It was released in 1972 and is a part GDR's support for the struggle of the Chilean people and the Unidad Popular government of Salvador Allende for a better tomorrow, one of equality and free from tyranny - music as "a weapon in the anti-imperialist struggle".
Tracklist:
 
01 - La muralla
02 - A desolambrar
03 - Que dira el Sto, Padre
04 - Ayudame, Valentina
05 - Canto de la cuculi
06 - Deme su voz, deme su vano
07 - Por Vietnam
08 - Lo que mas quiera
09 - Quiaquenita
10 - En septiembre canta el gallo
11 - Elegia al Che
12 - El desconfiado
13 - Solita duermo en mi cama
14 - Amores Bailando
15 - Comienza la vida nueva
 
(320 kbps, cover art included)
 

Mittwoch, 25. Februar 2015

Werkstattwoche der FDJ-Singeclubs (1968, Amiga)

"Singe-Bewegung" and "Oktoberklub" in East Germany, part 7.

Until the 1960s, Anglo-American dance music is regarded in the GDR as valueless "Western Arts". As a Socialist alternative to the rock ' n' roll, 1959 even a private dance, the "Lipsi", is being developed. As a result of the cultural and political opening in 1963, many beat groups were formed and a GDR's own "Liedermacher" and singer-songwriter scene emerges.
 
The "Free German Youth" (FDJ) tried to instrumentalize this music movement. The FDJ organized "Deutschlandtreffen 1964" presented for the first time music in English language. In the context of poetry events of the FDJ, Manfred Krug and Wolf Biermann present critical lyrics. In 1965 the SED gave order to dismiss a guitar competition organized by the FDJ. After the end of the political thaw period, the FDJ tried to integrate the singer-songwriter and the beat groups in the FDJ and SED influenced "Singebewegung"
 
With several thousand Singeklubs, in which mainly folk music is made, the FDJ tried to bring their ideological and political work into everyday life of young people. The "Vorzeigesingeklub" was the Berlin based "Oktoberklub", which established in 1969 also the first discotheque in the GDR. Although not without success, the Singebewegung couldn´t replace the beat music. In the following years the unbroken beat enthusiasm of young people forced the GDR leadership to an offensive strategy: The development of an own DDR-specific rock music scene since the 1970's, as well to use this media for ideological and political messages.


The GDR radio programm "Jugendsender DT 64" organised between September, 24 and October, 1, 1967 in Hally the "1. Werkstattwoche der FDJ-Singeclubs". This albums features recordings from this workshop with 300 artist and 16 "Singeclubs".

Tracks:
(01) Bernd Walther & Folkloregruppe der TU Dresden - Carpe Diem
(02) Wolfgang Grahl & FDJ-Singestudio Müritz - Spottlied auf einen Moskaubesucher
(03) Antje Kankel - Das ist unser Tag
(04) Folkloregruppe der TU Dresden - Zygan Chodit
(05) Panajota Ruli & Klaus-Georg Eulitz - Kathe Mera
(06) Kurt Demmler - Zart soll es bleiben
(07) Kurt Demmler - Kastanie, Kastanie
(08) Antje Thümmler & Ulrich Stephan & Folkloregruppe der TU Dresden - O lenke durch die Welle
(09) Singklub Leipzig - Abendgedanken
(10) Herbert Lappe & Folkloregruppe der TU Dresden - Und darum trägt unsere Welt heut ein neues Gesicht
----
(11) Nora Löhr & Wolfgang Gregor - Venezolanisches Marktlied
(12) Jörn Fechner & Oktober-Klub Berlin - Mamita Mia
(13) Henry Jäger - Musja Pikinson
(14) Barbara Kellerbauer & Folkloregruppe der TU Dresden - Lied von der unruhvollen Jugend
(15) Frank Obermann & Sing-Klub 67, Karl-Marx-Stadt - Unsere Welt hat ein Millionengesicht
(16) Hartmut König & Oktober-Klub Berlin - Die Front der Patrioten ruft
(17) Panajota Ruli & Folkloregruppe der TU Dresden - Drapetis
(18) Nora Löhr & Wolfgang Gregor - Auseinandergehen
(19) Dorit Gäbler - Icke
(20) FDJ-Singestudio Müritz - Wir singen, weil wir jung sind

Werkstattwoche der FDJ-Singeclubs (1968)
(256 kbps, front cover included)

VA - Wir singen ein neues Lied (Eterna, 1970)

"Singe-Bewegung" and "Oktoberklub" in East Germany, part 10.

The "Werkstattwochen der FDJ-Singeklubs" were an important communication platform for the East German "Singe-Bewegung". They took place every year between 1967 and 1988 in another town in the GDR and were an annual meeting point for the scene with hundreds of participants from all over the GDR. Establishd ensembles and solist presented their new programms, new "Singeklubs" introduced themselves. The artists practised songwriting, composing and interpetation in workshops.

The album "Wir singen ein neues Lied" is a live recording from the final event of the "III. Werkstattwoche der FDJ-Singeklubs" at the wonderful Babylon film theatre in East Berlin, July 11, 1969.


Tracks:
A1 Singeklub "Livia Gouverneur" der BBS "Neues Leben" Dresden - Hört doch mal zu
A2 Singegruppe der NVA Neubrandenburg -  Links, zwei, drei, vier
A3 Singeklub der EOS Hoyerswerda - Lied der neuen Zeit
A4 Singeklub "Geschwister Scholl" Wismar - Hiring, Aal un Kabeljau
A5 Singeklub der EOS "Humboldt" Leipzig - Lied der Neulandfahrer
A6 Singeklub vom "Haus der Jugend" Cottbus - Bergen op Zoom
A7 FDS-Singe-Club der EOS Bützow - Lied von der blauen Fahne


B1 Stephan / Gruppe "pasaremos" Dresden - Der Weg
B2 Heiner und Stephan / Gruppe "pasaremos" Dresden - Lorelei 1969
B3 Mikis Theodorakis-Klub Berlin - Wenn der Krieg vorbei ist
B4 Katja / Oktober-Klub Berlin - Die Taube
B5 Magdeburger Singeklub beim Klubhaus "Junge Talente" - Elektrischka
B6 Singegruppe "Kurt Barthel" Rostock - Vagel Kran
B7 Michael / Singeklub "Geschwister Scholl" Wismar - Der Wal
B8 Joan & José (Spanien) - Wenn du eines Tages willst...
B9 FDJ-Singe-Club der EOS Bützow - Brüder, seht, die rote Fahne
(320 kbps, vinyl rip, front & back cover included)

6. Festival des politischen Liedes - Rote Lieder (1976, Eterna, vinyl rip)

From 1970 to 1990 there was the "Festival des politischen Liedes" ("festival of the political song") in Berlin, capital of the German Democratic Republic. The festival was a meeting place for politically engaged musicians from the whole world and and interested audience. You find information about the participants and history in the archive on www.songklub.de

The 6th "Festival des politischen Liedes" happened in Eat Berlin in February, 7th to 14th, 1976 and featured artists like Perry Friedman, Pete Wyoming, Ted McKenna, Santocas, Oktoberclub and many more.

Tracklist:

01 - Mannesmannballade [Peter, Paul und Barmberk]
02 - Scottish folk dances [The Whistlebinkies]
03 - Auf,auf zum kampf [Perry Friedman]
04 - Bjelorusski woksal [Studentisches Liedtheater]
05 - Kampf dem schicksal [Gruppe Rafidain]
06 - The blackleg miner [Ted McKenna]
07 - Poder popular [Santocas]
08 - Ein Friendenslied [Oktoberklub]
09 - Kapitalens almene krise [Sören Sidevinds Spillemänd]
10 - Se abrirán las grandes alamedas [Angel e Isabel Parra]
11 - Freedom [Pete Wyoming]
12 - Les communistas [Pia Colombo]
13 - Optimistisches Lied [Gruppe Schicht]
14 - Experiencia [Luis Cilia und Pedro Cabal]
15 - Nos vemos en la Habana [Grupo Moncada]


6. Festival des politischen Liedes - Rote Lieder (1976, vinyl rip)
(192 kbps, cover art included)

Dienstag, 24. Februar 2015

Neil Young - Buffalo Springfield - Down To The Wire (Live 1965)

This bootleg collects some early and rare Neil Young recordings.
The Wichita Falls tracks are solo acoustic (pre-Springfield). Very good sound qualities for the time. There are also two Buffalo Springfield outtakes. As well, there are two 45 single demos with Neil’s Canadian group the Squires.

Tracks 1-7; 10 and 11 were recorded live in Wichita Falls, Texas, 1-12-65

Tracks 8 and 9 are Buffalo Springfield studio outtakes.

Track 12, called "Sultan" and track 13 ("Aurora") are from The Squires' and Neil Young's first single, produced by Bob Bradburn, a DJ at CKRC in Winnipeg in 1963.

(192 kbps, cover art included)

Montag, 23. Februar 2015

VA - Rote Lieder - 9. Festival des politischen Liedes (1979)

Looking forward to this years "Festival Musik & Politik". So it is time for another volume of recordings done at the "Festival des politischen Liedes".

The album "Rote Lieder - 9. Festival des politischen Liedes" was recorded in February, 1979 in East Berlin. It features artists like Amparo Ochoa, Macchina Maccheronica, Carlos Mejía Godoy, Schicht, Oktoberklub, Maria Farandour and many more.

VA - Rote Lieder - 9. Festival des politischen Liedes (1979)
(256 kbps, cover art included)

Sonntag, 22. Februar 2015

VA - Rote Lieder - 13. Festival des politischen Liedes (1983)


Next weekend we will have this years "Festival Musik und Politik".

So this gives cause for sharing the recordings from the 13th festival of political songs, which happened in february, 1983.

This album is a collection of live recordings by artist like Dick Gaughan, Sands Family, Letta M`Bulu, Inti-Illimani, Mikis Theodorakis and many more. The festival ended with a manifestation against the "NATO-Doppelbeschluss".

The "NATO Double-Track Decision" was a NATO strategie to offer the Warsaw Pact a mutual limitation of medium-range ballistic missiles and intermediate-range ballistic missiles combined with the threat that in case of disagreement NATO would deploy more middle-range nuclear weapons in Western Europe. This strategie was criticized by the strong peace movement of these years.

VA - 13. Festival des politischen Liedes (1983)
(256 kbps, cover art included)

Mittwoch, 18. Februar 2015

VA - Encuentro De La Canción Protesta. Casa de las Américas, Cuba (1967)


The term "nueva canción" was first mooted in public at a key event which took place in Cuba from 29 July until 10 August 1967: the "Encuentro de la Canción Protesta". This first international meeting of artist performing protest songs was organized by the "House of Americas"
Fifty musicians from eighteen countries were given the opportunity to hear each other perform, exchange ideas and experiences, discuss the role of singer and song and establish friendships and contacts. Artist from four continents were brought together at a time of political upheavel in different parts of the world.
The appearance of Gerry Wolff, film actor and singer in the GDR, is another clue for the connection between the GDR song movement ("Singebewegung") and international revolutionary artists as mentioned before in the "Canto Libre" posting.
 
Daniel Viglietti, who participated in those days, said that "the meeting was an opportunity to discover that if you had fallen into the error of thinking we were alone, we were not alone". Singing in many languages, artists from all around the world expressed solidarity with the oppresed people and their fight for a better world.
 
The various stages reached in the development of movement in individual countries with different economic, social and political conditions and musical cultures had resulted in the usage of different terms: "Canción protesta", "canción comprometida", "canción politica revolucionaria" and "nueva canción". Other names used before and after include "canción folklórica", "cancion popular", "canción politica", "canciones de lucha y esperanze", "canto libre" and "canto nuevo".
 
Musicians, especially those who are members of, or allied to, the Communist Party, met intermittently before and after the Cuban "Encuentro" at Youth Festivals held every four years in the Socialst countries, as they also do at "International Festivals of Political Songs" held annualy in the GDR, at "Victor Jara Festivals", "Concert for Peace", various solidarity concerts and more recently "Nueva Canción" and "Canto Nuevo" Festivals held in Latin America. At the Cuban meeting, an "Encuentro", not a Festival, it was resolved that song should play an important role in the liberation struggles against North American imperialism and against colonialism, as it was agreed that song possessed enormous strength to communicate with the people and break down barriers, such as those of illiteracy, and taht in consequence it should be a weapon at the service of the people, not a consumer product used by capitalism to alienate them. Protest singers (as they continued to call themselves despite the debate) should be engaged in a constant enriching search for artistic quality, in itself a revolutionary activity. They should work amongst their people, confronting problems within their societies. For some of those involved this merely reflected what they wer doing already.
 
Tracklist:
01. Me gustan los estudiantes – Ángel Parra
02. A yime yo be Singing – Jean Lewis
03. Canción para mi América – Daniel Viglietti
04. Certainly Lord – Julius Lester
05. Mia cara moglie – Ivan Della Mea
06. Hasta siempre – Carlos Puebla
07. The ballad of Ho Chi Minh – Ewan Mccoll
08. Porque los pobres no tienen – Isabel Parra
09. Epigrama – Luis Cilia
10. The cutty wren – John Faulkner, Sandra Kerr y Terry Yarnell
11. Mi honda es la de David – Oscar Chávez
12. Vous – Martha Jean Claude
13. Bella ciao – Giovanna Marini, Elena Morandi e Ivan Della Mea
14. El pobre y el rico – Los Olimareños
15. Lettera del condennatto a morte – Elena Morandi
16. Juventud – Carlos Molina
17. Le coq chant – Onema Djamba Pascal
18. Lullaby for the times – Sandra Kerr
19. El mensú – Ramón Ayala
20. San Sang Ban – Tran Drung y Pham Duong
21. Der Hammer – Gerry Wolff
22. Coplas al compadre Juan Miguel – Alfredo Zitarrosa
23. Diguem no – Raimon
24. Coplera del viento – Oscar Matus y Armando Tejada Gómez
25. Hitler Ain’t Dead – Peggy Seeger
26. Coplas del pajarito – Rolando Alarcón
27. Hell no – Barbara Dane
 
(192 kbps, cover art included)

Dienstag, 17. Februar 2015

Tom Rush - Tom Rush At The Unicorn (1962)

Originally self-released on Tom Rush's own label (a rare thing for 1962) and later reissued by CBS, "Tom Rush at the Unicorn" is a warts-and-all live recording of medium fidelity featuring the young folksinger on stage at Boston's leading folk spot, The Unicorn, one of the hotbeds (along with Cambridge's Club 47) of the local folk revival.

The 12-track set list is composed entirely of traditional songs, from old familiars like "The Old 97" and "Ramblin' on My Mind" to Woody Guthrie's modern classics "Pretty Boy Floyd" and "Talking Dust Bowl Blues."

Rush delivers his material with élan, but in comparison to his later original songs, there's something missing here. Tom Rush here sounds like the collegiate folk fan he was, not the sensitive, nuanced singer/songwriter he would become by the time of 1965's Elektra debut, "Tom Rush". "Tom Rush at the Unicorn" is interesting, but it's juvenilia.  - allmusic.com

Tracklist
Ramblin' On My Mind3:00
San Francisco Bay Blues3:21
The Old 973:55
Every Night When The Sun Goes Down3:45
Walkin' Blues2:53
Make Love To You2:24
Poor Man3:25
Orphan's Blues4:35
Pretty Boy Floyd3:25
Julies Blues4:50
Talking Dust Bowl3:12
Old Blue5:20


Tom Rush - Tom Rush At The Unicorn (1962)
(192 kbps, cover art included)           

Mittwoch, 11. Februar 2015

Woody Guthrie - Talking Dust Bowl (1950)

This is a Folkways LP that came out in 1950, but it collects some of the first commercial recordings that Guthrie made - for RCA Victor in 1940. On the A side you will find four classic dust bowl ballads; on the flip side, songs about the migrants who were chased from the southwest by the storms of the 1930s. These include a piece that Guthrie based on John Steinbeck's Tom Joad character.

It's interesting that Guthrie, thought of as a true folk artist, was influenced by Steinbeck's novel and (according to the notes to this album) even the film of the Grapes of Wrath. His work in turn became part of the collective consciousness, in a sense - I remember singing So Long and This Land Is Your Land in elementary school in the 1950s, well before I ever heard of Woody himself.

Guthrie's RCA session was tremendously successful artistically - this record doesn't include Do Re Mi, Vigilante Man, and Pretty Boy Floyd, all of which he recorded at the same session.

The cover of this album, by an artist named Carlis, is perfect for its contents. A great record and great package.

Thanks to http://big10inchrecord.blogspot.com/ for the original upload and the informative text.

Tracklist
Dust Bowl Ballads
A1Dust Storm Disaster
A2So Long (Dusty Old Dust)
A3Talking Dust Blues
A4Dust Can't Kill Me
Migrant Worker's Songs
B1Blowing Down This Road
B2Dust Bowl Refugee
Tom Joad (Ballad Based On John Steinbeck's "Grapes Of Wrath")
B3Tom Joad, Part 1
B4Tom Joad, Part 2

Woody Guthrie - Talking Dust Bowl (1950)
(256 kbps, front cover included)

Montag, 9. Februar 2015

The Village Fugs – Sing Ballads Of Contemporary Protest, Point Of Views, And General Dissatisfaction (1965 LP Folkways 304)

"The Village Fugs ‎– Sing Ballads Of Contemporary Protest, Point Of Views, And General Dissatisfaction" was the first Fugs album, released in 1965 with the instructive subtitel.

Poets Tuli Kupferberg and Ed Sanders couldn’t play any instruments, but they sure knew all about the spirit of rock & roll. Sanders edited … Full Descriptionand published a profanely titled arts magazine in post-Beat, early-‘60s Greenwich Village, and local friends, including Peter Stampfel and Steve Weber of the Holy Modal Rounders, and guitarist Ken Weaver, provide most of the music on this underground classic.

Alternately angry, beautiful, rude, and gut-bustingly hilarious, these songs, recorded in 1965, are both folk classics and among the first and best punk anthems ever recorded. Weaver’s “I Couldn’t Get High” is a garage-rocking stomper that wouldn’t sound out of place in the NUGGETS series, and Weber’s ironic masterpiece “Boobs A Lot” says more about locker-room culture in two minutes than volumes of social studies. An essential album!

Peter Stampfel (fiddle, hca, vo)
Vinny Leary, Steve Weber (g, vo)
John Anderson (bag, vo)
Ken Weaver (d, vo)
Tuli Kupferberg (per, vo)
Ed Sanders (vo)

Tracklist:

01. Slum Goddess (2:01)
02. Ah, Sunflower Weary Of Time (2:15)
03. Supergirl (2:19)
04. Swinburne Stomp (2:51)
05. I Couldn’t Get High (2:08)
06. How Sweet I Roamed From Field To Field (2:15)
07. Carpe Diem (5:10)
08. My Baby Done Left Me (2:21)
09. Boobs A Lot (2:14)
10. Nothing (4:17)

The Fugs - The Village Fugs (1965)
(192 kbps, front cover included)

Donnerstag, 5. Februar 2015

Woody Guthrie - Struggle (1941)

This album was originally released by Moses Asch, founder of the Folkways label, on Asch Records in 1941 as "Struggle: Documentary No. 1".

It was re-released by him in 1976 to commemorate the bicentennial of the American Revolution with a special series of liner notes by Asch explaining the importance of Woody Guthrie's history of the working class through song.

Both Guthrie's songs and the liner notes are stuff of supreme cultural importance. In the notes, Asch lays out a theory that the American Revolution has not yet been completed and there is a need for a "continuing struggle for human rights and equality."
As a collection of songs, this is surely one of the best Guthrie collections, especially once it's known how important it was to him personally. In many ways, it seems as if this album was the fulfillment of a very personal vision, which starts with the songs but is only realized in their collectivity.

Included here are such excellent songs as the unsettling "Hang Knot," the elliptic "Union Burying Ground," and the finely spun "Pretty Boy Floyd." These songs define Guthrie at his best, never didactic in tone but supreme in import. The album also features the Cisco Houston (Guthrie's sometime tramping companion) number "Get Along Little Doggies," as well as his vocal accompaniment on several tracks. Sonny Terry guests on "Lost John," lending his harmonica to Guthrie's tale of a chain gang escapee. Both as a historical artifact and as an amazing Guthrie album, this is required listening.

(320 kbps, cover art included)