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 http://www.collectorsmusicreviews.com 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

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 http://setiweb.ssl.berkeley.edu/~davea/index.php 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: http://pacoweb.net/Cantatas/Anarco.htm

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)        

    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)

    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)

    Kurt Weill, John Mauceri, Ute Lemper Weill - The Seven Deadly Sins · Mahagonny Songspiel Ute Lemper · RIAS Berlin Sinfonietta

    Ute Lemper at the late eighties, made a marvelous, dazzling idiomatic and if you may, historical collaboration with John Mauceri at the front of the RIAS Berlin Sinfonietta, remarking with major possible fidelity, the anger, hopeless, depravation and existential bitterness of Weimar Republic.

    Of course, Lotte Lenya was always the supreme cornerstone of this piece, impossible to surmount and even beat. But Lemper adds freshness, vitality and a new interpretative perspective. The rest of the cast is terrific too in honor to the truth and the quality of sound is another high aspect to remark in this fabulous recording.
    This album "includes both works performed in their original German. After having listened to `The Seven Deadly Sins' done by several different artists, and having just reviewed a CD on which Anne Sofie von Otter does this work, I discover for the first time that the piece was written in two versions, one for a low voice and one for a high voice. Von Otter does the version for high voice and Lemper does the version for low voice that, I suspect, is the way it was originally performed by Fraulein Lenya. One service done by comparing Lemper and von Otter's performance is to see how much closer Lemper is to the original spirit of the work than is von Otter. Weill's venue was not the opera stages of Berlin or Vienna, it was the popular stage, actually much closer to what we see in the movie `Cabaret' than what we see in `Amadeus'. I enjoy von Otter's rendition, but Lemper stirs my heart where von Otter does not. Lemper also seems to have the benefit of a much better cast of supporting voices on the two works on Volume 1.

    All albums are done with the backing of the RIAS Berlin Sinfonietta, conducted by John Mauceri who seems to get just the right tone of sleaze out of his ensemble to match the tone of the composition and lyrics by Weill and his various librettists, especially Berthold Brecht.
    Lemper is a vocalist in that great European femme fatale tradition of Lenya, Piaf, and Dietrich and certainly to my lights the leading interpreter today of Weill's songs plus works by other European composers for the musical and cabaret (See her album `City of Strangers'). Compared to even some of the greatest contemporary American female vocalists on the stage such as Streisand and Minelli, both Yanks have their strength, but they can't or don't try to achieve the same depth of feeling behind the European `Weltschmertz' you hear from Lemper and her forerunners." - B. Marold

    1. Seven Deadly Sins: Prologue: Andante sostenuto
    2. Seven Deadly Sins: Sloth: Allegro vivace
    3. Seven Deadly Sins: Pride: Allegretto, quasi andantino
    4. Seven Deadly Sins: Anger: Molto agitato
    5. Seven Deadly Sins: Gluttony: Largo
    6. Seven Deadly Sins: Lust: Moderato
    7. Seven Deadly Sins: Avarice: Allegro giusto
    8. Seven Deadly Sins: Envy: Allegro non troppo
    9. Seven Deadly Sins: Epilogue: Andante sostenuto
    10. Mahagonny Songspiel, Part One: Prologue: No.1: Allegro non troppo
    11. Mahagonny Songspiel, Part One: Prologue: Kleiner March: Poco meno
    12. Mahagonny Songspiel, Part One: Prologue: No.2: Moderato
    13. Mahagonny Songspiel, Part Two: Life in Mahagonny: No.3a: Vivace
    14. Mahagonny Songspiel, Part Two: Life in Mahagonny: No.3: Allegro un poco moderato
    15. Mahagonny Songspiel, Part Two: Life in Mahagonny: No.4a: Vivace assai
    16. Mahagonny Songspiel, Part Two: Life in Mahagonny: No.4: Moderato assai
    17. Mahagonny Songspiel, Part Two: Life in Mahagonny: No.5a: Sostenuto
    18. Mahagonny Songspiel, Part Two: Life in Mahagonny: No.5: Lento
    19. Mahagonny Songspiel, Part Three: Finale: No.6: Largo

    Kurt Weill, John Mauceri, Ute Lemper  Weill - The Seven Deadly Sins · Mahagonny Songspiel  Ute Lemper · RIAS Berlin Sinfonietta
    (256 kbps, front cover included)

    King Tubbys, Prince Jammy´s, Scientist - Dubwise Revolution

    King Tubby is to this day synonymous with dub. He was a man who had a passion for fiddling with sound equipment, and turned that passion into a new musical genre and a veritable art form. He may have started his career as a repairman, but before he was done, his name was one of the most respected around the world. He worked with virtually every artist in Jamaica, and his name on a remix was like gold, a seal of quality that was never questioned.

    A member of dub's royal family, Lloyd James (aka Prince Jammy, aka King Jammy) began his career as an apprentice mixer under the late great King Tubby.

    Scientist was an employee of Tubby's, fixing transformers and televisions, when one day, after an animated conversation about mixing records, Tubby challenged the Scientist to take a shot at remixing a record.

    Guess "Dubwise Revolution" is a 1970s dub album, produced by Prince Jammy and mixed by Scientist nd King Tubby.


    Come Dub
    Iniquity Dub
    Just One Dub
    Late Night Dub
    Ants Nest
    Holy Dub
    Crisp Dub
    Echo Chamber
    Better Must Dub
    Big Dub
    Vanity Dub
    Bell The Cat Dub
    Rock A Dub
    Play On Dub

    King Tubbys, Prince Jammys, Scientist - Dubwise Revolution
    (192 kbps, front cover included)

    The Fugs - Golden Filth (1970)

    By the time of this recording on June 1, 1968 at the Fillmore East, the Fugs had evolved from their primitive beginnings into a pretty full and tight rock band. They'd also grown into a pretty large group, in fact, with ten musicians, including two drummers.

    However, most of the material was initially recorded between 1965 and 1966, ESP era. While some listeners might be disappointed by the absence of live versions of highlights from their Reprise records, this release actually has more value than the typical live album because it has notably different arrangements of well-known songs.

    On the Fugs' first recordings in particular, the sound and execution was pretty primitive, and it's good to have full, together rock versions of notable songs like "Slum Goddess," "Supergirl," "Nothing," "I Couldn't Get High," "Coca-Cola Douche," and "How Sweet I Roamed." The spoken intros haven't dated as well, with Sanders' monologues about lesbian dwarfs and zebra puke, and Kupferberg moaning at one point, "I want a titty"; what was once a shocking and taboo-breaking is now superfluous to the music. 

    A1Slum Goddess
    A3How Sweet I Roamed
    A4I Couldn't Get High
    A5Saran Wrap
    B1I Want To Know

    The Fugs - Golden Filth (1970)  
    (320 kbps, cover art included)       

    Samstag, 6. August 2016

    Audio Active - Happy Shopper In Europe EP

    This is another fine release by the UK based experimental reggae/dub label "On-U Sound" run by Adrian Sherwood.

    On-U Sound's following in Japan has been strong for many years, helped considerably by the success of Sherwood's early 1990's production work for the then recently-formed "Audio Active".
    Here then is the story of the 'Japan connection':
    Tokyo-based "Audio Active", led by shinehead Masa, got together through a mutual appreciation of reggae. These guys, however, got further than playing Bob Marley covers. That they were drawn towards dub and roots reggae, and later sometimes fusing it with hard techno beats and screaming guitars is something for which we should be truly grateful.
    United by a shared love of dub, vocalist Masa and keyboardist / programmer 2DD (pronounced "nee dee dee"), who got their start in a 10-piece ska band called "Vital Connection", formed "Audio Active" with drummer Shigemoto Nanao and bassist Takeshi Akimoto in 1991, naming themselves after an album by Jamaican reggae star Dennis Bovell. Guitarist Kasai joined later after the departure of Akimoto from the collective.

    Their big break came when Adrian Sherwood took the band under his wing in the 1992 - 93, producing some of their earliest recordings and releasing them in Britain via On-U Sound. With Bim Sherman guesting on the subsequent single "Free The Marijuana" they were already in heady company indeed!
    An occasional musician himself, Sherwood also took them with him on a tour of the United States. The band has also toured in Europe, as headliners and with "Asian Dub Foundation". On their own Beat Records label in Japan they released several singles that maybe never were heard of in Europe. They are also quite big in Australia how many can claim this for themselves?!

    Using a mix of programming and live instrumentation "Audio Active" create a dense, dub-inspired world of sound. References to outer space and time travel-interests fostered by sci-fi films and animated TV shows like Taimu Bokan abound in their English lyrics. But it's their love of the 'erb that is impossible to ignore and sets them apart on the Japanese music scene, where controversy is anathema. Titles such as "Weed Specialist", "Kick The Bong Around", "Psycho Buds", and the "Hempire Strikes Back" are just some of the many tributes to their favourite medicine contained in their back catalogue.

    "Audio Active" released the fantastic "Happy Shopper In Europe EP" in 1995.

    1Happy Shopper (Main Mix)
    2Happy Shopper (Dub Mix)
    3Happy Shopper (Live Mix)
    4Electric Bombardment (Remix)
    5Electric Bombardment (LP Mix)
    6Frog In The Well
    7Free The Marijuana (Version)
    8Mammoth Galactica

    Audio Active - Happy Shopper In Europe EP
    (256 kbps, cover art included)

    African Head Charge - Songs Of Praise (1990, On U Sound)

    Led by percussionist Bonjo I, African Head Charge formed in the early '80s and has released seven albums with a shifting lineup that also includes Prisoner, Crocodile, Junior Moses and Sunny Akpan. The band works in the same dub psychedelia territory as Adrian Sherwood's work, which isn't surprising since most of African Head Charge's albums have been released through - and produced by - Sherwood and his On-U Sound label.
    Not very many reggae albums acknowledge Alan Lomax in the credits. But then, African Head Charge (a band with a constantly changing membership led by percussionist Bonjo Iyabinghi Noah) doesn't really make typical reggae albums.

    Although the one-drop beat (provided on this album by Lincoln "Style" Scott) influences everything and the basslines have a typical tidal undertow, the stuff that Noah layers on top of the mix has more to do with ethnomusicology than the dancehall.
    The song titles say it all: "Cattle Herders Chant," a field recording of call-and-response chanting overlaid with Nyahbinghi drums and highlife guitar; "My God," eerie, minor-key African-American church singing supported by a chugging reggae bassline, bare-bones drumming, and the sound of running water; "Deer Spirit Song," an unidentifiable indigenous song in 9/8 meter with a gently driving rockers beat and occasional sound effects thrown in.

    This is an exceptionally beautiful album, but in a deeply strange way.


    1Free Chant (Churchical Chant Of The Iyabinghi)3:30
    2Orderliness, Godliness, Discipline And Dignity3:16
    4Dervish Chant7:50
    5Hold Some More6:18
    6Healing Father4:46
    7Healing Ceremony3:48
    8Cattle Herders Chant4:15
    9Ethiopian Praises1:28
    10My God4:11
    11Gospel Train3:02
    12Chant For The Spirits4:08
    13God Is Great4:16
    14Deer Spirit Song2:22

    African Head Charge - Songs Of Praise (1990)
    (256 kbps, cover art included)