Mittwoch, 31. August 2016

The Ex - 1936 - The Spanish Revolution (1986)

In 1986, the Dutch anarchist punk group the Ex marked the 50th anniversary of the Spanish Revolution (in which factions led by two anarchist trade unions, the CNT and the FAI, waged a successful revolt against Franco's fascist leadership, until Franco defeated the people's forces with the help of German, Italian, and Russian troops) with the release of "1936: The Spanish Revolution".

This ambitious release paired four songs on two 7" singles with an impressive 144-page hardcover book that featured several short essays on the revolution, along with a remarkable collection of photographs taken by journalists aligned with the revolutionary forces. If the book is hardly the final word on the Spanish Revolution, it's a powerful and enlightening visual document that casts a fresh light on a major historical event little understood by most of nowadays people.

In many ways, the book is such a strong piece of work that the music which accompanies it nearly pales in comparison, though it certainly finds the Ex in excellent form. The lyrics to all four songs were adapted from songs and essays by leaders of the 1936 revolt, with two in Spanish and two in English; on "El Tren Blindado" the band even trades in their traditionally jagged electric guitar sound for an acoustic arrangement that approaches the tone of Spanish folk music. Rabble-rousing has always been high on the Ex's list of priorities, and this music - especially the passionate "They Shall Not Pass" and "People Again" - find them inviting the spirit of the revolution as if it occurred five minutes ago, not 50 years past. It's heady, powerful stuff. This remarkable package was reissued in 1998, with the two 7" singles replaced by a pair of 3" CD's, and it's well worth seeking out for students of radical history as well as followers of passionate, uncompromising rock & roll.        

A1They Shall Not Pass3:47
A2El Tren Blindado3:06
B1Ay Carmela3:13
B2People Again4:30

The Ex - 1936 - The Spanish Revolution (1986)   
(256 kbps, cover art included)

Dienstag, 30. August 2016

Neil Young & Crazy Horse - Danny By The River (Bootleg, Cincinnati, February, 25, 1970)

"Danny By The River" presents an almost complete soundboard from the first show on one of Neil Young’s early tours with Crazy Horse.

Recordings from this show have been released before on the two LP vinyl release "Winterlong". The acoustic set has been released on "Acoustic Tokens" and "The Loner" (along with tracks from the January 21st, 1971 Boulder, Colorado tape). The electric set has been issued as "Electric Prayers". This recording is listenable and considered one of the better tapes from this tour, but it is incomplete with only a fragment of “Don’t Let It Bring You Down” and “The Old Laughing Lady” missing from the first half.

This soundboard tape has been issued before on the two cdr set "Winterlong" on The Swingin’ Pig (TSP-CD-042-2) but the master reel-to-reel surfaced recently with much better sound. Seymour was the first to press it on to silver disc with "Danny By The River". There are faint traces of hiss during the acoustic set and the emphasis is upon the middle frequencies with an overall dull and quality. The mix of the instruments is very good in the electric set with only a cut eighteen minutes into “Down By The River” eliminating some words of the final verse of the song. The sound quality is very good to almost excellent and, compared to the audience recordings circulating, offers the best sounding document.

Young played six shows with Crazy Horse in February 1969 at The Bitter End in New York, but Cincinnati is the first show on the first proper tour with his band as he explains before “Broken Arrow”, “This is the first of a series of concerts with Crazy Horse, mostly in the east. Only one west coast gig. Even though we live there we play here.” They played ten shows over a month and this is one of the longest with sixteen different songs performed over an acoustic solo set at the beginning and a full band electric set in the second half. “On The Way Home” opens the show and is followed by the Buffalo Springfield tune “Broken Arrow”, which Neil sings in a very shaky and out-of-tune voice. Before “Dance Dance Dance” he becomes very chatty and asks, “should I play one of those up temp ones for you? I don’t have many up-tempo ones. I live up tempo but play down tempo. This is a new song. It’s going to be on the next Crazy Horse album… It could have been a big hit by Tommy Roe” which ends abruptly after two verses with Neil saying “this is where the chicks start singing and I can’t do anymore”. Only a minute and a half of the new song “Don’t Let It Bring You Down”, making its stage debut, is played before segueing into “The Old Laughing Lady”. Whenever Young plays a solo acoustic set he brings warmth that add a lot. The electric set comprises is the bulk of the show. What warmth is lost is balanced by the intensity of the band playing together. “It Might Have Been” makes its live debut and is introduced as a song Young learned at a church dance and “kinda hokey”.

“Down By The River”, which reached thirty minutes in the Philadelphia show following this one, reaches a mere twenty in Cincinnati and is the only epic performed. It isn’t noted on the liner notes, but the post show talking is tracked separately. It is three and a half minutes of the audience calling for an encore and an announcer saying that the band are finished playing since they’ve gone past their contract.

Thanks to for informations.


1-1On The Way Home3:39
1-2Broken Arrow5:48
1-3I Am A Child3:43
1-5Dance, Dance, Dance3:30
1-6Sugar Mountain6:04
1-7Don't Let It Bring You Down2:27
1-8The Old Laughing Lady5:50
1-9The Loner5:29
1-10Everybody Knows This Is Nowhere4:23
1-12Come On Baby Let's Go Downtown4:36
2-1It Might Have Been6:10
2-2Down By The River19:40
2-3Cinnamon Girl4:43
Bonus Track : Philadelphia, February 28, 1970
2-5Down By The River31:49

Neil Young - Danny By The River (Cincinnati, February, 25, 1970) - CD 1
Neil Young - Danny By The River (Cincinnati, February, 25, 1970) - CD 2
(320 kbps, cover art included)

Now the second zippy-file includes the bonus track "Down by the river". Sorry for the mistake!

Oscar Chávez - Canciones de la Guerra Civil y Resistencia Española - España 1936-1939-1975 (1975)

It was 80 years ago  – July 18, 1936 – that Spanish Gen. Francisco Franco launched his military rebellion against the left-wing Popular Front government and resulted in a bloody civil conflict which tore Spain apart and left half-a-million people dead and caused nearly that many to flee their homeland altogether.
Óscar Chávez (born 20 March 1935 in Mexico City) is a Mexican singer, songwriter and actor. He was the main exponent of the Nueva Trova in Mexico in the sixties and seventies. He studied theatre at the UNAM and has produced and acted in several plays and movies and telenovelas in Mexico. He has achieved international fame performing his music, with such songs as Por Tí and Macondo achieving status of standards in most of Latin America, but also recording many Mexican folk songs. He is also noted for his strong social commitment as well as for the left wing ideas expressed in his lyrics. His impressive discography spans four decades.

This is a collection of songs referring to the Spanish Civil War and the resistance against the Franco regime.

01. La hierba de los caminos
02. Que será (son del fascismo)
03. Los dos gallos
04. El tren blindado (El 5º Regimiento)
05. Ya se fue el verano
06. Si me quieres escribir
07. Sin pan
08. El caballero cristiano
09. En el Pozo María Luisa
10. Los cuatro generales
11. Ay Carmela
12. Españoles
13. Canción de Grimau
14. Adiós con el corazón
15. Dende o tronco
16. Canción de soldados
17. Coplas del tiempo
18. Vuela, paloma
19. Pueblo de España
20. A la huelga
21. La cigarrera
22. En España las flores

Oscar Chávez  - Canciones de la Guerra Civil y Resistencia Española  - España 1936-1939-1975 (1975)
(128 kbps, small front cover included)

Montag, 29. August 2016

VA - Songs Of The Spanish Civil War, Vol. 1 (1961)

Written on July, 18, 2011:
Today is the 75th anniversary of the beginning of the Spanish Civil War. Or yesterday was, depending on where you count from. Like everything to do with this conflict it isn’t clear and straight forward. In this case you have two choices, - the rising in Morocco that took place on the 17th, or the rising on the mainland that took place on the 18th.
Released to mark the 25th anniversary of the start of the Spanish Civil War in 1936, Folkways Records' 1961 LP, "Songs of the Spanish Civil War, Vol. 1", combines the contents of two albums of 78 rpm records originally issued in the '40s, "Six Songs for Democracy" (Keynote Records, July 1940) and "Songs of the Lincoln Brigades" (Asch Records, 1944).

The latter, taking up Side One of this disc, is a collection of six songs recorded in March 1944 by Pete Seeger (on leave from the U.S. Army) and three of his fellow folk musicians, Tom Glazer, Baldwin "Butch" Hawes, and Bess Lomax (who later married Hawes). They sing in English and Spanish, employing old folk tunes to comment on life among the troops and pay tribute to the international brigade that went to Spain to fight the Fascists in the '30s. Their performances are stirring, even though the sound quality is iffy.

Side Two contains the six tracks from the Keynote album performed by the German singer Ernst Busch and a chorus that was actually recorded in Spain during the conflict in June 1938. Busch mostly sings in German in a theatrical style reminiscent of the work of Kurt Weill, which is not surprising, given that Weill's old partner, Bertolt Brecht, provided the lyrics for "Das Lied von der Einheitsfront (Song of the United Front)."

These are historical recordings marking an important and tragic conflict that presaged World War II. The album cover's notation, "authorized recording," is meant to cast aspersions on an earlier LP reissue of some of this same material, Stinson Records' "Songs of the Lincoln and International Brigades". Folkways head Moses Asch lost master recordings of the Seeger music in a dispute with Stinson. Typical of Folkways, this version is much better annotated, with an extensive booklet containing liner notes and lyrics.

(320 kbps, front cover inlcuded, complete album, missing tracks included)

Remembering the Spanish Civil War on its 80-year anniversary

"Europe’s current refugee crisis has been at the center of global attention and political negotiations for over a year now—with fears stoked in the United States about whether to join the EU bloc in taking in Syrian refugees, and the swell cited as one major reason Great Britain voted to leave the European Union late last month. But this is not the first time swaths of displaced, war-weary people have caused nations to fumble.

It has been eighty years since conditions leading up to World War II set the stage for a calamity of dislocation. It has been eighty years since General Francisco Franco and his foot soldiers launched a military uprising against the newly elected Spanish Republican government of Santiago Casares Quiroga. It was a revolt that would spark a three-year civil war and decades of fascist rule, backed by Adolf Hitler and Benito Mussolini—but not before displacing hundreds of thousands of Spaniards.
On July 17, 1936, Franco and his Nacionales-aligned Army of Africa—comprised of fighters from Spanish Morocco—rose against the Second Spanish Republic and swarmed the south of Spain, taking Seville with relative ease. By July 18, Franco had assumed command of the legion and begun dealing with opposition fiercely.

Civilians, in response, organized militias and mobilized to defend the Republic against the Nationalist threat. Anarchist workers emerged in Barcelona; factories were collectivized and money abolished in parts of Catalonia. For a time, there was hope that the revolt could be the impetus for a socialist revolution, as the Republican government in Madrid scrambled to build a popular front. The war that was later immortalized by George Orwell and Ernest Hemingway in literary works influenced by their experiences on the frontlines, the destruction of which was embodied by Pablo Picasso’s Guernica, would go on until 1939.

In that time, countless Spaniards were displaced by bombing raids and gunfights. Entire cities were leveled and opposition fighters executed or exiled. When Franco’s forces started their push through Catalonia, a persistent stream of refugees poured over the border into France. It is estimated that 450,000 refugees crossed that border by winter of 1939, just before Franco and his troops advanced on Madrid and took the city, previously the site of Republican infighting, in just two days. Thousands were executed, thousands more fled, and Europe came to face a compounded refugee crisis.
In 1937, the aerial bombardment of Spain’s northwestern Basques brought about a deal to save approximately 200,000 Basque children, aged 2-14, from war and starvation, by relocating them among six of seven countries that responded to the autonomous Basque government’s appeal: Belgium, Britain, Denmark, Mexico, Switzerland, the Soviet Union and the United States. All but the U.S. went on to accept children, despite the efforts of Eleanor Roosevelt, which were blocked by opposition from the Catholic Church and Congressional inaction.

By the time the great surge of Spanish refugees arrived to French borders in 1939, growing totalitarianism on the European continent had created the conditions for refugees fleeing Nazi Germany and, with more difficulty, the Soviet Union. The Spanish refugees hoped to be welcomed by the French and viewed as honorable, if failed, fighters in the name of liberty, but the democratic republic of France feared a turn toward communism—considering communist and anarchist factions in the civil war—and the refugees were instead met with suspicion and hostility. The French decided to allow the refugees to enter, but not freely.

The Spaniards—by this point often referred to as “criminals” and “radicals”—were herded into concentration camps on the beaches of Argeles-sur-Mer, St, Cyprien, and Barcares, where temperatures in the winter were freezing and where food and medical supplies scarce. The French tried everything to get the Spanish refugees to return to their country and by the end of the year about half did, in time for World War II to become visible on the horizon.

In Spain, Franco continued to hold power until his death in 1975.

Today, the United Nations Refugee Agency (UNHCR) estimates that 1,015,078 refugees arrived by sea to Europe from Africa and the Middle East in 2015. There have been 218,382 documented arrivals by sea so far in 2016, with another 2,868 refugees dead or missing just in the first six months of the year—and these numbers account only for those journeying across oceans.

Meanwhile, the continued struggle around how to manage the influx, including documenting, processing and relocating refugees, has thrown the continent into social and political upheaval, feeding into right-wing, nationalist political factions and threatening the European Union.
Here, we look back on the photographic works of Robert Capa, David Seymour and Gerda Taro, who documented the Spanish Civil War and the plight of its refugees 80 years ago—highlighting iconic images, like Capa’s Falling Soldier, which has since been reexamined and marked by controversy."  

-  By


Rolando Alarcón - Canciones de la Resistencia y de la Guerra Civil Española

La Nueva Canción Chilena (New Chilean Song) is the musical voice of a social/political movement that lived in Chile in the 1960s and early 70s. The movement championed labor organization, land reform, anti-racism, and anti-imperialism. It supported the North Vietnamese in their struggle against the U.S.

Pinochet and the Fascist military junta seized power in Chile on Sept. 11, 1973. The New Chilean Song movement (along with most leftist political and social organizations) was destroyed, and its leaders murdered. The CIA and other U.S. agencies were heavily involved in installing Pinochet and keeping him in power. His thugs learned torture techniques at the U.S.-sponsored School of Americas.

Rolando Alarcón was a Chilean singer/songwriter of the 60s and early 70s, being a part of La Nueva Canción Chilena.
Alarcón's lyrics are romantic, humanist, patriotic, profound and beautiful. His music blends a strummed-guitar folk sound with the drums and panpipes of indigenous Andean music, and the harmony is fresh and creative. The overall sound is unique.

Alarcón died in 1973. In an interview, Patricio Manns says that Alarcón suffered an internal hemorrhage and was taken to a first-aid station instead of a hospital, that the doctors there refused to operate on him because they were enemies of Allende, and that he died after five days. This was about 6 months before the Pinochet coup. (A relative of Alarcón says this story is apocryphal: that Alarcón was in Chañarall and had a bleeding ulcer, that he travelled to Santiago, was admitted to a hospital, and died on the operating table.)

This is a compilation of songs referring to the spanish civil war and the anti-fascist resistance.


1. El Ejercito del Ebro
2. Si Me Quieres Escribir
3. Puente de los Franceses
4. Yo Me Subí a un Pino Verde
5. No Hay Quien Pueda
6. Cancion de Bourg Madame
7. Ya se fue el Verano
8. Nubes de Esperanza
9. En España las Flores
10. Muerte en la Catedral
11. Que Culpa Tiene el Tomate

Rolando Alarcon - Canciones de la Resistencia y de la Guerra Civil Espanola
(128 kbps, front cover included)

Thanks to for the background information.

Rolando Alarcon - Canciones de la Guerra Civil Espanola (1968)

On 18 July 1936, a group of military officers attempted a coup to overthrow the leftwing Popular Front government that had come to power in February. That date marks the beginning of the Spanish civil war, which killed 500,000 people and resulted in 450,000 fleeing Spain.

Here´s the another fine compliation with Rolando Alarcon´s recordings of songs related to the spanish civil war. It was released in 1968.


01. Si me quieres escribir
02. El quinto regimiento
03. El turu ru ru ru
04. Las morillas de Jaen
05. Dime donde vas, morena
06. Viva la quinta brigada
07. Eres alta y delgada
08. Los cuatro generales
09. Nubes y esperanza
10. No pasaran

Rolando Alarcon - Canciones de la Guerra Civil Espanola (1968)

(128 kbps, cover art included)

Los Anarquistas - Marchas Y Canciónes De Lucha De Los Obreros Anarquistas Argentinos (1904 - 1936)

"Los Anarquistas 1904 - 1936" is an album with marches and songs of the struggles of the anarchist workers in Argentinia (1904-1936). It was ripped from an LP, so the file has only two tracks, side A and B.

1-Hijo Del Pueblo (anarchist anthem)
2-Recitado (letter to the anarchists when starting their actions in the early twentieth century)
3-Milonga Social Del Payador Libertario (anonymous1902)
4-Milonga Anarquista (anonymous 1906)
5-La Verbena Anarquista (anonymous 1905)
6-Este Y Aquel. (lyrics by F. Gualtieri 1923)
7-Guajiras Rojas (anonymous 1918)
8-Marsellesa (anonymous 1907)
9-Semana Trágica (lyrics by F.Gualtieri 1919)
10-Maldita Burguesía (Habanera) (anonymous 1907)
11-Maldición De Un Maldito  (F. Gualtieri 1926)
12-Guitarra Roja (Martín Castro 1928)
13-Guerra A La Burguesía (Tango, anonymous 1901)
14-El Deportado (anonymous 1920)
15-El Héroe
16-Sacco Y Venzetti (Martín Castro 1928)
17-A Las Barricadas (Hymn of the anarchists in the spanish civil war)

Los Anarquistas - 1004 - 1936
(192 kbps, cover art included)

You will find the lyrics on this website:

VA - Songs of the Spanish Civil War, Vol. 2 (1962)

Written in July 2011:
July 18 marks the 75th anniversary
of the beginning of the Spanish Civil War.

Time Magazinze, Monday, Aug. 04, 1941, writes about "We Behind the Barbed Wire":

"World War II has yet to produce a great song, but last week some of its saddest were heard in the U.S. The League of American Writers produced an album of records ($2.75) called "Behind the Barbed Wire" - six songs of the French, Spanish, Italian and German anti-fascists who now rot in the French concentration camps of Gurs, Vernet d'Ariège, Argelès-sur-Mer.
The six songs were recorded in Manhattan by a Netherlands-born fighter in the Spanish Civil War, Bart van der Schelling. He wears his chin in a brace, is called "official singer" for the U.S. survivors of the International Brigades of the Loyalists. Singer van der Schelling is backed by an "Exiles Chorus" directed by Earl Robinson (Ballad for Americans). Some of the songs - the Spanish "Joven Guardia", the Italian "Guardia Rossa", the German "Thaelmann-Bataillon", the French "Au Devant de la Vie" (music by Soviet Composer Dmitri Shostakovich) - were composed during the Spanish War. Most of them are in rough, plodding march time. The one which gives the album its name was composed by a German, Eberhard Schmitt, in the camp at Gurs. Its chorus, translated (not quite so lame in the original):

Behind the wire, our courage is unbroken
We yield to no one! We're not broken reeds!
Jail or internment, we're masters of our lives,
Nothing counts with us but deeds!
For where Germany's and Austria's sons may be,
One goal they cling to: Liberty! . . ."


Woody Guthrie and Ernst Busch accompanied by Chorus and Orchestra01- Jarama 2:55
02- On the Jarama Front 2:46
03- Ballad of the XI Brigade 3:10
04- Hans Beimler, Comrade 2:55
05- The Thaelmann-Column (German) 2:45
Songs We Remember
06- Santa Espina 2:21
07- Sevilllanos 2:24
08- The Road to Aviles 2:41
Behind the Barbed Wire, by Bart Van Der Schelling and the Exiles Chorus directed by Earl Robinson
09- La Guardia Rossa (Italian) 2:24
10- Wie Hinterm Draht (Behind the Barbed Wire)  (Composed in French internment Camp of Gurs by Eberhard Schmitt) 2:49
11- La Joven Guardia (Spanish) 2:20
12- Au Devant de la Vie (French) Music by Dmitri Shostakovich 2:48

VA - Songs Of The Spanish Civil War, Vol. 2 (1962)
(320 kbps, front cover included)

Ernst Busch - Six Songs For Democracy - Discos De Las Brigadas Internacionales (New York, Keynote Recordings, 1940)

The legendary album "Six Songs For Democracy" was originally issued by Keynote in 1940. It was a reissue of six songs recorded by Ernst Busch in 1937/38 in Barcelona during the spanish civil war. In 1937 Ernst Busch joined the International Brigades to fight against Fascism in Spain. His wartime songs were then recorded and broadcasted by Radio Barcelona and Radio Madrid.

These 6 songs by prominent German singer and stage actor Ernst Busch, a political refugee from Nazi Germany, who fought with the antifascist International Brigade during the Spanish Civil War were recorded with a chorus of soldiers, purportedly in the men's barracks, with noises of wartime activity in the background. As translated from their Spanish titles, the songs included are "The Four Generals," "Song of the United Front," "Song of the International Brigader," "The Thaelmann Column," "Hans Beimler," and a song from the Nazi concentration camps, "Song of the Peat Bog Soldiers."

The photograph below shows Ernst Busch with comrades from the XI Brigade of anti-fascist forces in Spain during the Spanish Civil War. (As printed in "Ernst Busch: Canciones de las Brigadas Internationales", VEB Deutsche Schallplatten, Berlin: Aurora-Schallplatten, 1963). Note: Busch is the only man in the photo not in uniform.

Ernst Busch - Six Songs For Democracy (192 kbps, front cover included)

VA - Spain In My Heart (Songs of the Spanish Civil War)

This July was the 80th anniversary of the beginning of the Spanish Civil War.
We will post and repost some related albums in the next days...

A collection of songs to pluck at the heart strings of all those with a sense of history, especially the history of the anti-fascist stugggle in the 30's and even more so of the part played in that struggle by the progressive men and women of Spain and their allies in the International Brigades.
The album collects seventeen recordings of old and new songs performed by iconic figures of American folk, Latin and country: Pete Seeger, Arlo Guthrie, John McCutcheon, the bluegrass singer and fiddler Laurie Lewis, Aoife Clancy (former member of Cherish the Ladies), Shay Black (The Black Family), Quetzal, the Mexican Lila Downs, Guardabarranco (the duo of siblings Katia Cardenal of Nicaragua and Salvador), Eliseo Parra, Uxía ...

  • 01. Jarama Valley (El Valle del Jarama) [Arlo Guthrie & Pete Seeger] - 5:05
  • 02. En la Plaza de Mi Pueblo [Michelle Greene] - 3:41
  • 03. The Abraham Lincoln Brigade [John McCutcheon] - 3:40
  • 04. Asturias [Guardabarranco] - 2:45
  • 05. El Quinto Regimiento [Lila Downs] - 3:44
  • 06. The Bantry Girls' Lament (El lamento de las chicas Bantry) [Aoife Clancy] - 3:42
  • 07. García y Galán [Uxía] - 3:53
  • 08. Los Cuatro Generales [Joel & Jamaica Rafael] - 3:36
  • 09. Llegó Con Tres Heridas [Eliseo Parra] - 3:17
  • 10. Noche Nochera [Guardabarranco] - 4:19
  • 11. Viva la Quince Brigada [Shay Black & Aoife Clancy] - 4:17
  • 12. Si Me Quieres Escribir [Quetzal] - 3:11
  • 13. Tú Que Brillas [Michele Greene] - 3:26
  • 14. Los Marineros [Uxía] - 3:10
  • 15. Peat Bog Soldiers (los soldados de la turbera) [Laurie Lewis] - 2:55
  • 16. Viva la Quince Brigada [Quetzal] - 3:06
  • 17. Taste of Ashes (Sabor a cenizas) [Laurie Lewis] - 4:07
VA - Spain In My Heart - Songs Of The Spanish Civil War
(192 kbps, front cover included)

    Freitag, 12. August 2016

    Ramblin' Jack Elliott - Ramblin' Jack Elliott Sings Woody Guthrie And Jimmie Rodgers & Cowboy Songs

    This 24-song CD is spellbinding for the different styles and approaches that Elliott takes to the three distinct bodies of work (drawn from two separate LPs) contained within.
    His covers of a half-dozen Woody Guthrie songs emphasize his vocals and their expressiveness, with the accompaniment subordinate to the singing.
    The Jimmie Rodgers stuff, by contrast, shows off some very attractive playing by all concerned, with wonderfully smooth guitar and fiddle work, and a very fine produced sound. The two sets of six songs sound very dissimilar to each other -- Elliott has more of a drawl on the Guthrie material and a fine yodel on the Rodgers songs. And then the Western songs show off another, more rudimentary sound -- Elliott's voice has more of a twang here, and the playing is, once again, usually somewhat subordinate to the singing. Elliott and his producers were careful to juxtapose contrasting songs, so that the bracing Western swing-style number "Sadie Brown," with its jaunty fiddle, is followed by the haunting, unaccompanied "Night Herding Song," highlighted by Elliott's glorious near-falsetto yodel.
    Also in contrast to the Rodgers and Guthrie songs, the cowboy songs show almost no use of stereo separation. These versions have a beguiling air of authenticity despite their being recorded long after the point they were written -- on "Jack O' Diamonds," in particular, Elliott compares favorably with Tex Ritter (who turned the song into a hit as "Rye Whiskey"), complete with the alcoholic whooping and hollering that helped make Ritter's version so beguiling and endearing. Elliott covers at least three styles here, with little overlap; it's more than one hour of excellent material that's the equal of any of his various best-of compilations from different labels.     

    Ramblin' Jack Elliott - Ramblin' Jack Elliott Sings Woody Guthrie And Jimmie Rodgers & Cowboy Songs
    (160 kbps, front cover & booklet included)  

    Donnerstag, 11. August 2016

    VA - The Early Blues Roots Of Bob Dylan

    "The Early Blues Roots of Bob Dylan" collects Dylan's early heroes of the genre, including Sleepy John Estes, Blind Willie McTell, Mississippi John Hurt, Leadbelly, and Bo Carter. These 20 remastered tracks are an excellent sampling of predominantly country blues from the '30s. While listening to these originals, it becomes obvious that Dylan didn't change much, wisely capturing the honest grittiness found on this set. Whether a fan of Dylan or the original blues masters, this is a recommended compilation that will more than satisfy both.        

    Bob Dylan is an icon of popular American culture who transformed the folk music world in the 1960's. What many pop fans didn't realize was that he drew heavily from artists of over 4 decades of Blues and popular music. This collection brings together the original versions of songs that he either recorded or songs that greatly influenced him.

    1Sleepy John Estes Broken Hearted, Ragged & Dirty Too
    2Mississippi Sheiks I've Got Blood In My Eyes For You
    3Blind Willie McTell Broke Down Engine
    4Mississippi John Hurt Stack O'Lee Blues
    5Rev. J.C. Burnett                                        Will The Circle Be Unbroken?
    6Mississippi John Hurt Frankie (And Albert)
    7Mississippi Sheiks Sittin' On Top Of The World
    8Blind Boy Fuller Step It Up And Go
    9Bo Carter Corrina Corrina
    10Henry Thomas Honey Won't You Allow Me One More Chance
    11Bukka White Fixin' To Die
    12Blind Lemon Jefferson See That My Grave Is Kept Clean
    13Will Bennett Railroad Bill
    14Blind Willie Johnson Motherless Children
    15Leadbelly Grasshoppers In My Pillow
    16Booker T. Sapps Po' Lazarus
    17Blind Lemon Jefferson Matchbox Blues
    18Mississippi John Hurt Candyman Blues
    19Bukka White Po' Boy
    20Blind Willie Johnson Jesus Gonna Make Up My Dyin' Bed

    VA - The Early Blues Roots Of Bob Dylan
    (256 kbps, cover art included)

    Bobby Darin - Golden Folk Hits (1963)

    "Golden Folk Hits" was Bobby Darin's second collection of folk songs. Guest musicians included Glen Campbell, Phil Ochs, and Roger McGuinn of the Byrds. The songs Darin selected include many popularized by some of the most popular folk artists of the time: Pete Seeger's "Mary Don't You Weep," "If I Had a Hammer," and "Where Have All the Flowers Gone"; Bob Dylan's "Don't Think Twice" and "Blowin' in the Wind"; the Kingston Trio's "Greenback Dollar"; the New Christy Minstrels' "Green, Green"; and Peter, Paul & Mary's "Settle Down (Goin' Down That Highway)."

    "Golden Folk Hits" was not a commercial success at all when it was released. Time has revealed Bobby Darin to be a profoundly thoughtful artist and this album deserves to be reconsidered. Important insight can be gained by examining the music a man makes when eschewing commercial pressures. In Darin's case, his music became more organic, thoughtful, and political, and less flashy, glitzy, and (yes) entertaining. "Golden Folk Hits" showcases impressive guitar work in "Abilene," powerful vocals in "Greenback Dollar," and touching reflection in "Why Daddy Why." "Golden Folk Hits" shows an artist looking to communicate on an emotional and social level. It finds Darin daring to let the music speak for itself. (His photo does not appear on the front cover, a strong statement for 1963.) 

    "Golden Folk Hits" is an essential Bobby Darin album for anyone who hopes to further understand the aesthetic and political motivations of an inductee to the Rock and Roll Hall of Fame and the Songwriter's Hall of Fame. One of the most underappreciated Bobby Darin albums and one of the most exciting to revisit.       

    1. "Mary Don't You Weep" (Traditional)
    2. "Where Have All the Flowers Gone?" (Pete Seeger)
    3. "If I Had a Hammer" (Lee Hays, Seeger)
    4. "Don't Think Twice, It's All Right" (Bob Dylan)
    5. "Greenback Dollar" (Hoyt Axton, Kennard Ramsey)
    6. "Why, Daddy, Why" (Bobby Scott)
    7. "Michael Row the Boat Ashore" (Traditional)
    8. "Abilene" (Les Brown, John D. Loudermilk)
    9. "Green, Green" (Barry McGuire, Randy Sparks)
    10. "Settle Down (Goin' Down That Highway)" (Mike Settle)
    11. "Blowin' in the Wind" (Dylan)
    12. "Train to the Sky" (Ben Raleigh)

    Bobby Darin - Golden Folk Hits (1963)
    (320 kbps, cover art included)

    Ramblin´ Jack Elliott - Jack Elliott (1964)

    "Nobody I know—and I mean nobody—has covered more ground and made more friends and sung more songs than the fellow you're about to meet right now. He's got a song and a friend for every mile behind him. Say hello to my good buddy, Ramblin' Jack Elliott."- Johnny Cash, The Johnny Cash Television Show, 1969.
    "Jack Elliott" was Ramblin' Jack's Vanguard debut, notable also for the appearance of Bob Dylan (credited as Tedham Porterhouse) on harmonica.

    When Ramblin' Jack Elliott's name comes up in folk magazines, he's usually identified as a Guthrie copy who later passed on his skills of impersonation to Bob Dylan. This is true to a point, but a listener doesn't have to check out but three or four tracks on Jack Elliott to find out what an original oddball he is.

    It's true, he does cover Guthrie's "1913 Massacre" here, and he tends to prefer traditional material like "Will the Circle Be Unbroken" and "More Pretty Girls" over originals. But his extravagant vocals deliver this material in the strangest, most startling manner. The listener can never be sure whether he's sending up a song like "Roll on Buddy" or just determined to turn tradition on its head. The most fun and fascinating piece here is "Guabi Guabi," an African folk song that Elliott learned by copying the vocal inflections. Of course, in his typical fashion, he talks through part of song explaining that he couldn't understand a certain section of the original. In his off the cuff, just for the hell of it way, Elliott has more in common with the Holy Modal Rounders than traditionalists like Pete Seeger or the New Lost City Ramblers. "Jack Elliott" manages to pay its respects to public domain material while still being entertaining.    

    Roving Gambler
    Will The Circle Be Unbroken
    Diamond Joe
    Guabi Guabi
    Sowing On The Mountain
    Roll On Buddy
    1913 Massacre
    House Of The Rising Sun
    Shade Of The Old Apple Tree
    Black Snake Moan
    Portland Town
    More Pretty Girls

    Ramblin´ Jack Elliott - Jack Elliott (1964)
    (192 kbps, cover art included)        

    Mittwoch, 10. August 2016

    Bertolt Brecht - Galileo Galilei (Audiobook, Ernst Schnabel)

    Life of Galileo (German: Leben des Galilei), also known as Galileo, is a play by the twentieth-century German dramatist Bertolt Brecht with incidental music by Hanns Eisler. The play was written in 1938 and received its first theatrical production (in German) at the Zurich Schauspielhaus, opening on 9 September 1943. This production was directed by Leonard Steckel, with set-design by Teo Otto. The cast included Steckel himself (as Galileo), Karl Paryla and Wolfgang Langhoff.
    The second (or 'American') version was written in English between 1945–1947 in collaboration with Charles Laughton, and opened at the Coronet Theatre in Los Angeles on 30 July 1947. It was directed by Joseph Losey and Brecht, with musical direction by Serge Hovey and set-design by Robert Davison. Laughton played Galileo, with Hugo Haas as Barberini and Frances Heflin as Virginia. This production opened at the Maxine Elliott's Theatre in New York on 7 December of the same year.
    In 1955, in the wake of the Manhattan Project, Brecht prepared a third version. A production, by the Berliner Ensemble with Ernst Busch in the title role, opened in January 1957 at the Theater am Schiffbauerdamm and was directed by Erich Engel, with set-design by Caspar Neher. The play was first published in 1940.

    The action of the play follows the career of the great Italian natural philosopher Galileo Galilei and the Galileo affair, in which he was tried by the Roman Catholic Church for the promulgation of his scientific discoveries. The play embraces such themes as the conflict between dogmatism and scientific evidence, as well as interrogating the values of constancy in the face of oppression.

    This audiobook was directed by Ernst Schnabel with Friedrich Valk, Renate Densow, Manfred Lotsch, Manfred Steffen, Wilhelm Kürten and others for a radio broadcast station in Germany in 1947. It is based on the first version of the play.

    Bertolt Brecht - Galileo Galilei (Audiobook, Ernst Schnabel, German language)
    (256 kbps, small front cover included)

    Lightnin Hopkins - Free Form Patterns (1968)

    Lightnin' Hopkins originally recorded the ten tracks that make up "Free Form Patterns" on February 1, 1968, for the International Artists label. Also on that label's roster was the psychedelic group 13th Floor Elevators, which, by 1968, had basically disbanded.

    For this session, producer Lelan Rogers (Kenny's brother) teamed Hopkins up with Elevators drummer Danny Thomas and bassist Duke Davis. While not as revolutionary as John Lee Hooker's sessions with Canned Heat, "Free Form Patterns" steers clear of the late-'60s psychedelic trappings that screwed up such similar sessions as Electric Mud. No one tried to bend Hopkins to fit a foreign musical approach on "Free Form Patterns"; he made the music bend to him.


    1. Mr Charlie
    2. Give Me Time To Think
    3. Fox Chase
    4. Mr Ditta's Grocery Store
    5. Open Up Your Door
    6. Baby Child
    7. Cookings Done
    8. Got Her Letter This Morning
    9. Rain Falling
    10. Mini Skirt

    Lightnin Hopkins - Free Form Patterns (1968)
    (320 kbps, cover art included)

    Dienstag, 9. August 2016

    Maria Tănase - Vol. 1 (Electrecord)

    Maria Tănase ( 25 September 1913 – 22 June 1963) was a celebrated Romanian singer and actress. Her music ranged from traditional Romanian music to romance, tango, chanson and operetta.
    Maria Tănase has a similar importance in Romania to that of Édith Piaf in France or Amália Rodrigues in Portugal.

    In her nearly three-decade-long career, she became widely regarded as Romania's national diva, being admired for her originality, voice, physical beauty and charisma. In Romania, she is still regarded as a major cultural icon of the 20th century.

    Among her songs are Cine iubește și lasă (1937), Leliță cârciumăreasă (1939), Bun îi vinul ghiurghiuliu (1938), Doina din Maramureş (1956), Ciuleandra (1956) and Până când nu te iubeam.

    This is the first volume of her songs recorded for the Electrecord Recording Studios, Bucharest.

    1. Dragi mi-s cantecele mele
    2. Aseara ti-am luat basma
    3. Lung ii drumul Gorjului
    4. Pe vale, tato, pe vale
    5. Bun ii vinul ghiurghiuliu
    6. Aseara vantul batea
    7. Ciuleandra
    8. Marie si Marioara
    9. Hai, iu,iu
    10. Trenule, masina mica
    11. Batranete, haine grele
    12. Butelcuta mea
    13. Mi-am pus busuioc in par
    14. Marioara
    15. Colo-n vale-n gradinita
    16. Pe deal pe la Cornatel
    17. Cantec din Oas
    18. Tien, tien, tien et na!
    19. La malediction d’amour
    20. Danse montagnarde
    21. Doina din Dolj
    22. Doda, doda
    23. Toderel
    24. Ma dusei sa trec la Olt

    Maria Tănase - Vol. 1 (Electrecord)
    (256 kbps, cover art included)

    John Hartford - Morning Bugle (1972)

    John Hartford remains best known for the country-pop standard "Gentle on My Mind," a major hit for Glen Campbell and subsequently covered by vocalists ranging from Frank Sinatra to Aretha Franklin. The song remains among the most often recorded in the history of popular music, its copyright netting Hartford well over a hundred thousand dollars annually for many years. But there was more to Hartford than that curious mix of highly literary folk music and MOR romantic nostalgia, told from the perspective of a homeless man remembering days of perfect love. Hartford was a multi-talented old-time musician, a riverboat captain, a satirical songwriter, a one-man showman of exceptional talents, and one of the founders of both progressive country music and old-time string music revivalism.

    "Morning Bugle" is one of Hartford's finest records. Done mostly live in the studio with virtually no over-dubs, this is a fine collection of song covering a variety of subjects. Two of the most poignant are "Howard Hughes Blues" and "Nobody Eats at Linebaugh's," which addresses country music's abandonment of the Ryman and downtown Nashville in favor of "the park." The album features jazz double bassist Dave Holland, who performs with both Hartford and Norman Blake for the very first time. It was recorded at Bearsville Sound in Bearsville, New York and released in June, 1972. The music was all written by Hartford, except for two traditional tunes.

    John Hartford - Morning Bugle (1972)
    (192 kbps, cover art included)

    VA - Rote Lieder 70-76 (AMIGA, 1977)

    The Festival of Political Song took place in East Berlin from 1970 to 1990, held annually in February (except during the Tenth World Festival in the summer of 1973). It was one of the biggest music events in the DDR (GDR) and an "international institution" (Mikis Theodorakis, 1983).

    The album "Rote Lieder `70 - `76" features original recordings from the first to the 6th "Festival of Political Song" in East Berlin and the Festival PLX 1973 (Political Songs of the 10th World Festival, East Berlin). Artists from Ireland, Chile, Italy, Russia, India, France, Uruguay, South Africa, Greece, Cuba and the GDR represent the internatinal communist movement.

    A1: The winds are singing freedom - The Sands Family
    A2: Comienza la vida nueva (Das neue Leben beginnt) - Quilapayun
    A3: Alla mattina con la luna - Canzoniere Internationale und Duo Di Piadena
    A4: Konzertierte Aktion - Dieter Süverkrüp
    A5: Optimistisches Lied - Gruppe Schicht
    A6: Baikal-Amur-Magistrale - Gruppe Lingua
    A7: Lang lebe Bangladesh - Dr. Bhupen Hazarika
    A8: Cancion del poder popular - Inti Illimani

    B1: Kenen joukoissa seisot - Gruppe Agitprop
    B2: Grandola, vila morena - José Afonso
    B3: Les Communistes - Pia Colombo
    B4: A desalambrar - Daniel Viglietti
    B5: Afrika - Miriam Makeba
    B6: Das Meer braust weiter - Muszty & Dobay
    B7: Eviva Liberta - Gruppe Xasteria
    B8: Guantanamera - Manguaré
    B9: Wir sind überall - Oktoberklub

    VA - Rote Lieder `70 - `76 (Amiga, 1977)
    (320 kbps, front cover included)

    Tighten Up - Volume 5 & 6

    PhotobucketTrojan's Tighten Up series had always gone for variety, but Volume 5, released in 1971, hot on the heels of its predecessor, was positively anarchic.

    From the sublime, "In Paradise", to the surreal, "Hello Mother", the sweet, "It's You", to the savage, "Rod of Correction", this compilation careened madly through the reggae landscape.

    For the uninitiated, reggae may appear a monolithic musical style, defined merely by its emphasis on the offbeat, but like any other generic label, the term sheltered myriad sub-styles under its umbrella. And all of them feature on this set.

    Jamaicans always had a penchant for reggae-fied pop covers, and a pair appear hear. Instrumental versions of chart hits were equally popular, and once again three were included, although this time only one, "Ripe Cherry", boasts a DJ on top. Medleys were also all the rage, normally melding three of an artist's hits together, thus the proliferation of singles simply titled "Three in One".
    Here it's a hat trick of sweet hits from young singing star Errol Dunkley. There's also a trio of cultural numbers, including Delroy Wilson's masterful "Better Must Come".
    And in a broad hint of what was to come, The Wailers's make their sole appearance in the series with their classic "Duppy Conqueror".
    Volume 6 was to be the final album in the series, with vocal groups once again coming to the fore, alongside solo singers and DJs. The Maytals's "Redemption Song" bears no relationship to Bob Marley's own similarly titled masterpiece, bar Toots Hibbert's equally heartfelt delivery. The Chosen Few showcase their soulful side, while The Maytones are all sweet ache.

    Elsewhere Ernie Smith herded reggae out on the range, Clancy Eccles was submerged under strings, Mikey Chung took his guitar surfing, The Cimarons's (sic) organist headed for outer space, while Dandy Livingstone shot up the UK chart with his hit "Suzanne Beware of the Devil". Representing the DJs, Shortie suavely mashed up The Uniques's sublime "My Conversation", and I-Roy exploded across The Jumpers's "The Bomb". They were the future, as toasters ran rampart across the Jamaican scene. But Jackie Edwards's offered an escape, at least for Britain, with his fabulous performance on "Who Told You So", which tells one everything they need to know about lover's rock.

    It was a wild ride, and across it this seminal series defined the reggae age, bringing hits and misses to the masses, and leaving its mark on a host of future British artists and bands.

    Tighten Up - Volume 5 & 6

    Harry Belafonte - Belafonte At Carnegie Hall (1959)

    An actor, humanitarian, and the acknowledged "King of Calypso," Harry Belafonte ranked among the most seminal performers of the postwar era. One of the most successful African-American pop stars in history, Belafonte's staggering talent, good looks, and masterful assimilation of folk, jazz, and worldbeat rhythms allowed him to achieve a level of mainstream eminence and crossover popularity virtually unparalleled in the days before the advent of the civil rights movement - a cultural uprising which he himself helped spearhead.

    "Belafonte at Carnegie Hall" is a live double album by Harry Belafonte. It is the first of two Belafonte Carnegie Hall albums, and was recorded on April 19 and April 20, 1959. The stereo version of the album was released on the RCA Victor label, in the "Living Stereo" series. The concerts were benefits for The New Lincoln School and Wiltwyck School, respectively.



     Side one:"Introduction/Darlin' Cora"
    "Cotton Fields"
    "John Henry"
    "Take My Mother Home"

     Side two:"The Marching Saints"


    "The Banana Boat Song (Day-O)"
    "Jamaica Farewell"
    "Man Piaba"
    "All My Trials"

    Side three:"Mama Look a Boo Boo"
    "Come Back Liza"
    "Man Smart (Woman Smarter)"


    "Hava Nagila"
    "Danny Boy"
    "Merci Bon Dieu"

     Side four:"Cucurrucucu Paloma"

    Harry Belafonte - Belafonte At Carnegie Hall (1959)
    (192 kbps, cover art included)

    Kurt Weill - The Threepenny Opera (Ute Lemper, René Kollo, Milva)

    For all the Kurt Weill completists here´s another release of the "Threepenny Opera" recordings from RIAS Berlin, November 1988, posted in an older version on this blog some minutes ago.

    Ute Lemper shows with her interpretation of "The Threepenny Opera" her understanding of Weill's vital irreverence. Her star performance within this ensemble cast is a pleasure to behold.

    John Mauceri, a passionate advocate of Weill's less well-known works for the Broadway stage, achieves a tight sense of ensemble from the composer's iconoclastic scoring and gives the abrupt transitions of the piece a highly effective, jagged-edged quality. The spoken part of the text is drastically cut, and on the issue of which musical direction to pursue - operatic technique or cabaret campiness - this version sensibly recognizes the diversity of authentic Weill performing styles, making room in its cast for the classically trained Helga Dernesch and René Kollo as well as Ute Lemper's cabaret smarts. The result is engrossing and gives the spotlight to "Threepenny Opera's" subversive blend of irony and humor.

    Performers: Ute Lemper (Soprano); René Kollo (Tenor); Helga Dernesch (Mezzo Soprano); Milva (Soprano); Wolfgang Reichmann (Spoken Vocals); Susanne Tremper (Soprano); Rolf Boysen (Bass); Mario Adorf (Voice)

    VA - Blues at Newport - Newport Folk Festival 1959 - 1964

    "Blues at Newport - Newport Folk Festival 1959-64" offers fine performances by John Hurt, Skip James, Rev. Gary Davis, Robert Wilkins, and others. It is a compliation of blues performances recorded live at the Newport Folk Festivals, 1959-1964, produced by Samuel Charters for the Vanguard Records label.

    "You have so many memories, if you were old enough and lived close enough and knew enough to get to the Newport Folk Festival in its great days in the 1960s….And, just as certainly, you remember the blues, which was one of the richest strands in the rich weave of music and culture that was the Festival….Part of the emotional response to the blues singers was that most of them had been forgotten in the years since they’d made their handfuls of recordings for the old ‘race’ labels of the 1920s….It’s true that memories can sometimes be insubstantial, or that time can change what you heard or saw, and maybe you’ve romanticized the playing you remember or the singers you shouted for — but here on this collection of live recordings from the Newport Festival blues concerts you can hear that the music was as great as you remember it was. And if you’re hearing it for the first time — this is what it was like to be there." — Sam Charters

    (320 kbps, front cover included)

    Montag, 8. August 2016

    The Last Poets - Right On! (Soundtrack, 1971)

    The soundtrack to "Right On!", the documentary from 1971 that followed a day in the life of The Last Poets - the group of New York City black poets/musicians that were born from the late 1960s African American civil rights movement. As can be expected, you get some interesting and thought-provoking performance poetry alongside the sparse beats of the conga drum.

    Apparently, a lot of the poetry performed for the camera was lost because of faulty sound equipment. The liner notes on this LP read "All poems recorded at The Cubicolo Theatre, New York City except Soul which is from the movie soundtrack."         

    The foundation work for latter-day rappers - Afro-centric themes, improvisational vocal styles, obscenity, and a political slant.           

    Da Mirra wrote: "Never have words and voice been so dramatic to my ears. African beats and jazz instrumentals filter throughout the cd with the voices of anger, intellectualism, passion, and love exploding meaningfully like an adrenalin/steriod- induced beatnik meeting. Strong as a fist and smart as an Encyclopedia, this cd smarts. Beautiful poetry..."

    Pachamama wrote: "Right On is the soundtrack to the film of the same name which was shot in 1968 and released two years later. The film Right On had beem lost for many years except for a rough cut of it released in the mid 90's. The soundtrack however is intact and clear as if it were performed today. It's content is as true now as it was then. The Last Poets performances are powerfull and charged through out the recording. Right On is for those who seek true consciousnes in spoken word poetry and a must for those other 95 percent who snooz."

    A1Jibaro / My Pretty Nigger
    A2Been Done Already
    A3Hey Now
    A4Die Nigga!!!
    A5Un Rifle / Oracion Rifle Prayer
    A6Tell Me Brother
    A7Black Woman
    A8James Brown
    A10Today Is A Killer
    B1Willie Armstrong Jones
    B2Puerto Rican Rhythms
    B3Poetry Is Black
    B5The Shalimar
    B6Into The Streets
    B8The Library

    The Last Poets - Right On! (Soundtrack, 1971)
    (320 kbps, cover art included)