Samstag, 30. Januar 2016

Peter, Paul & Mary - A Song Will Rise (1965)

By their fifth album, Peter, Paul & Mary had fallen into a consistency of approach that could be viewed as either dependable or predictable. This had the usual assortment of traditional songs ("Motherless Child," "The Cuckoo"), songs that had first gained an audience during prior folk revivals ("Wasn't That a Time"), a bit of original material, mediocre blues ("San Francisco Bay Blues" and Paul Stookey's "Talkin' Candy Bar Blues"), and a Bob Dylan song ("When the Ship Comes In").

The biggest find, material-wise, was the Gordon Lightfoot composition "For Lovin' Me" (a #30 hit single), which gave the Canadian songwriter (who had yet to release his first United Artists LP) some of his first wide exposure in the United States.

Overall, the trio's sound and balance of repertoire had still changed little, if at all, from their debut. They were at their best on folk tunes with sad melodies and harmonies, as on "Jimmy Whalen" and "Ballad of Spring Hill."                

Side One
  1. "When the Ship Comes In" (Bob Dylan)
  2. "Jimmy Whalen"
  3. "Come and Go With Me"
  4. "Gilgarra Mountain" (Trad arr Peter Yarrow)
  5. "Ballad of Spring Hill (Spring Hill Disaster)" (Peggy Seeger, Ewan MacColl)
  6. "Motherless Child"
Side Two
  1. "Wasn't That a Time" (Seeger/Hays/Gilbert/Brooks/Coigney)
  2. "Monday Morning"
  3. "The Cuckoo"
  4. "The San Francisco Bay Blues" (Jesse Fuller)
  5. "Talkin' Candy Bar Blues" (Noel Paul Stookey)
  6. "For Lovin' Me" (Gordon Lightfoot)


Peter, Paul & Mary - A Song Will Rise (1965)
(192 kbps, cover art included)

Freitag, 29. Januar 2016

VA - In 50 Jahren ist alles vorbei - Originalaufnahmen aus dem alten Wintergarten und seiner Zeit

This is an album with orignal recordings of cabaret artists of the 1920s, 30s and 40s, related to the famous "Alter Wintergarten", a large variety theatre in Berlin-Mitte. The album features artists like Otto Reutter, Rosita Serrano, the Comedian Harmonists, Fritzi Massary, Paul Lincke, Gustav Gründgens, Claire Waldoff, Josephine Baker and Marlene Dietrich.

The Central Hotel opened in the year 1880 in Friedrichstraße. A special attraction for its guests was the “jardin de plaisanterie” or winter garden. Situated in a magnificent glass hall reminiscent of a crystal palace, it covered some 2,000 sq. m. and was unrivalled in quality and size at the time. The guests at the plush hotel delighted in promenading through the garden with its palm trees, evergreen shrubs and creepers, fountains and grottoes. The first concerts were held the same year.

In 1888 the stage was extended and fitted with the large, semicircular apron later regarded as its hallmark. The appropriate technical facilities were installed to allow for performances by acrobats. Both the management of the theatre and the press refered to the Wintergarten for the first time as a variety theatre.

In the year 1895 the Wintergarten scored a world premiere when the Skladanowsky brothers brought the sensational new art of cinematography to the stage.

In 1900 the management was changed and further conversion work was carried out. The famous starry sky was installed in the auditorium, which has already been fitted with a concert shell, main stage and scene bay. The Wintergarten ranked as the best of the 80-odd variety theatres in Berlin at the turn of the century. No new act, no sensation and no great entertainer could afford to ignore the Wintergarten. The theatre played host to many opera and circus stars, the best-known dancing girls, virtuoso performers, the clowns, Grock and Charlie Rivel, the marvellous juggler, Rastelli, and the incredible escape artist, Houdini. Stars, entertainers and muses of every nationality regarded an engagement at the Wintergarten as an honour.

Variety theatre boomed in the Roaring Twenties and the Wintergarten was in its heyday. During these crazy years full of eccentric fashions, demure divas and talented characters it were Claire Waldoff and Otto Reutter, in particular, who leaved their mark on the Wintergarten.

After 56 years of shows and a final performance on 21 June 1944 the Wintergarten was destroyed in a bombing raid. The most spectacular variety theatre Germany has ever known lied in ruins.

The name "Wintergarten" was taken on by a theatre in Potsdamer Strasse in 1992.

VA - In 50 Jahren ist alles vorbei - Originalaufnahmen aus dem alten Wintergarten und seiner Zeit
(256 kbps, cover art included)

Donnerstag, 28. Januar 2016

Prince Far I - Cry Freedom Dub

A far more appropriate title for this set would have been "Roy Cousins Meets Roots Radics at Channel One Studio", for there's very little Prince Far I within to justify the title. In fact, the late, great, gravel-voiced sermonizer is heard on only two tracks -- "Free Jah Jah Children" and "Famine in Africa," with virtually the entire rest of the set comprising vocal-less instrumental dubs. There again, it would be wrong to assume that Cousins was merely cashing in on the DJ's name, better to think of "Cry Freedom Dub" as a tribute set.

Prince Far I was, of course, recording a new album, "Umkhonto We Sizwe" (aka "Spear of the Nation"), with Cousins right before his death, so profoundly affected by his murder was the producer that he emigrated from Jamaica soon after. So, in many ways this set could be considered a labor of love, a final farewell to Far I. To this end, the album is an overwhelmingly celebratory affair, almost joyous in mood, and far removed from the militancy that defined Channel One's sound. The bulk of the riddims are sublime versions of Studio One classics, and although the Radics had given most of them a sharp edge, Cousins' production smoothes much of that away. Like many singing producers, Cousins loved melody, and laced virtually all the dubs here with it.

Engineers Scientist and Lancelot "Maxi" McKenzie are given some room to maneuver however, most obviously on the "classic" deconstruction styled dubs of "Idlers Rest," "Famine in Africa," and "Freed Jah Jah Children." In contrast "Tired Fe See the Mothers Cry," "Rudeboy Anthem" and "Tribute to Cry Cry" are almost dub instruction manuals, honing in specifically on the guitars, keyboards, and drums respectively. Most magnificently "Mothers Cry" actually creates one of the most laid-back guitar duels of all times. From the brooding "Love Rasta" and "Ethnic Cleansing," two of the moodiest tracks on the set, to the gorgeous "We Will Be Free from Poverty" and the almost breezy "Sacrifice for the Truth," "Cry Freedom" is filled with sublime music, a diversity of atmospheres, and an uplifting aura, with the track titles a pointed reminder of Prince Far I's deeply cultural concerns. All told it makes for a glorious set, a fitting homage to one of Jamaica's most revered artists.    

Tracklist:
1Free Jah Jah Children
2Blood At The Corner Of Orange Street
3Idlers Rest
4Tired Fe See The Mothers Cry
5Rudeboy Anthem
6Tribute To Cry Cry
7Love Rasta
8Famine In Africa
9Ethnic Cleansing
10Will We Be Free From Poverty
11Posse For Hire
12Sacrefice For The Truth
13Feed Jah Jah Children
14Peace Brokers
      
Prince Far I - Cry Freedom Dub
(192 kbps, cover art included)    

Mittwoch, 27. Januar 2016

Christiane Oelze - Verbotene Lieder - Komponisten im Exil


Christiane Oelze is one of the leading German sopranos to have emerged in the latter decades of the twentieth century. Her repertory includes a broad range of works in the operatic, concert, and lieder realms by composers, including J.S. Bach, Mozart, Richard Strauss, Schubert, Brahms, Mahler, and Schoenberg. She possesses a bright, somewhat delicate voice whose graceful quality makes her style both uniquely appealing and easily recognizable.

Oelze was born in Cologne, Germany on October 9, 1963. Her first important study came at the Musikhochschule in Cologne with Klesie Kelly-Moog. She later took master classes with Elisabeth Schwarzkopf, and then had further vocal training with Erna Westberger.

Her album "Verbotene Lieder" features "Forbidden Songs" by German composers branded "degenerate" by the NS dictatorship. Some of them (Grosz, Weill, Korngold) reached life-saving exile, Viktor Ullmann was murdered in the concentration camp Auschwitz in 1944.

Tracks:

Wilhelm Grosz - Lieder an die Geliebte:
1 1. Du allein... "Sieh, wiederum hab ich mir eine Träne der Trauer fortgewischt"
2 2. Schicksal "Ich bin verwirrt in meinem Liebessehnen"
3 3. Wenn ich Dichter wäre... "Bei dir, Geliebte, ruht mein Herz sich aus!"
4 4. Das Singen deines Mundes "Ich lausche deinem lieblichen Gesang"
5 5. Und doch... "All diese schönen Lieder"

Viktor Ullmann - Sechs Lieder nach Gedichten von Albert Steffen:
6 1. An Himmelfahrt "An Himmelfahrt im Vogelbau"
7 2. Drei Blumen "Uchtblume blüht im Herbst"
8 3. Dreierlei Schutzgeister "Pilinko, Tilinko, fröhliche Flötisten"
9 4. "Es schleppt mein Schuh"
10 5. "Wie ist die Nacht"
11 6. "Aus dem Häuschen in den Garten"

Erich Wolfgang Korngold - Drei Lieder für Gesang und Klavier
12 1. "Was du mir bist" (Elenore van der Straten)
13 2. "Mit dir zu schweigen" (Karl Kobald)
14 3. "Welt ist stille eingeschlafen" (Karl Kobald)

Aus dem Liederzyklug "Unvergänglichkeit":
15 1. Unvergänglichkeit "Deine edlen weißen Hände" (Eleonore van der Straten)

Wilhelm Grosz - Kinderlieder nach Texten von Christian Morgenstern:
16 1. Schlummerliedchen "Schlaf, Kindlein, schlaf"
17 2. Fips "Ein kleiner Hund mit Namen Fips"
18 3. "Die Enten laufen Schlittschuh"
19 4. Von dem großen Elefanten "Kennst du den großen Elefanten"
20 5. In der 'Elektrischen' "Du bist ja ein Hamster"
21 6. die drei Spatzen "In einem leeren Haselstrauch"
22 7. Der Mohr "Schlaf, Kindlein, schlaf"

Viktor Ullmann - Hölderlin-Lieder:
23 1. Abendphantasie "Vor seiner Hütte ruhig im Schatten"
24 2. Sonnenuntergang "Wo bist du? Trunken dämmert die Seele mir"
25 3. Der Frühling "Wenn auf Gefilden neues Entzücken keimt"

Kurt Weill - Drei Songs nach Texten von Bertolt Brecht:
26 1. Der Matrosen-Song "Hallo, jetzt fahren wir nach Birma hinüber"
27 2. Die Seeräuber-Jenny "Meine Herrn, heut sehn Sie mich Gläser abwaschen"
28 3. Der Bilbao-Song "Bills Ballhaus in Bilbao" / "Alabama Song"

Christiane Oelze - Verbotene Lieder - Komponisten im Exil
(192 kbps, front cover inlcuded)

Esther Bejarano - Vögel träumen auf Zweigen - Lieder aus dem Widerstand


 

Today is the Holocaust Memorial Day, dedicated to the remembrance of the victims of the Holocaust. The chosen date is the anniversary of the liberation of Auschwitz concentration camp by the Soviet Army in 1945.


Esther Béjarano (born 15 December 1924 in Saarlouis) is among the last survivors of the Girl orchestra of Auschwitz.

Béjarano was born as Esther Loewy as a daughter of the Head Cantor of a Jewish municipality. The father encouraged his daughter to get interested in music and Esther learned to play the piano. At age 15 she had to separate from her parents, in order to prepare for emigration to Palestine. This emigration was thrwarted by the Nazis. She carried out two years of hard labour in Neuendorf Labour Camp close to Fürstenwalde/Spree. On 20 April 1943 all members of the labour camp were deported to Auschwitz. There she had to drag stones until she joined the Girl orchestra of Auschwitz. In the orchestra, she played the accordion. The orchestra had the task of playing for the daily march of the prisoners through the camp gate. She survived Auschwitz and was brought to the concentration camp Ravensbrück. She had the chance to excape on a "death march" in March, 1945. She emigrated to Palestine and returned later to Germany. At the beginning of the 1980s, with her daughter Edna and son Joram, she created the musical group "Coincidence". They sing songs from the ghetto and Jewish as well as anti-fascist songs. Béjarano lives today in Hamburg. She is a co-founder and chairman of the International Auschwitz Committee and honorary chaiman of the Union of Persecutees of the Nazi Regime. She was awarded the Carl von Ossietzky medal and holds the Cross of Merit, First class of the Order of Merit of the Federal Republic of Germany.

In the last years, Esther Bejarano recorded an antifascist album along with the hip hop crew "Microphone Mafia".

Esther Bejarano:
"I had great luck that in the block, in which I stayed overnight. One evening, Mrs. Tschaikowska, a Polish music teacher, was looking for women who could play an instrument. The SS had instructed her to set up a girl orchestra. I introduced myself, said that I could play piano. We do not have a piano here, said Mrs. Tschaikowska. If you can play accordion, I will audition you. I had never played an accordion before. I had to try, so I would not have to haul boulders any more. I said to her that I could play also accordion. She instructed me to play Du hast Glück bei den Frauen, Bel Ami, a popular German song. I knew this song, asked her for a few minutes of patience, so I could warm up. It was like a miracle. I played the song, even with accompaniment, and was accepted to the orchestra with two friends. (...)
The function of the girl orchestra in Auschwitz-Birkenau was to stand at the gate and play when the gangs marched out in the morning and in the evening, and when they returned to the camp. We all had a bad conscience, because we "helped", so to speak, that the prisoners had to march in step, had to march to our music.
But there was worse. The SS instructed us to stand at the gate and play when new transports arrived, in which innumerable Jewish people from all parts of Europe sat, trains that were led to the tracks that went right to the gas chambers and where everyone was gassed. The people waved at us, they thought certainly, where music is played, it certainly can't be that bad. Those were the tactics of the Nazis. They wanted all the people to go to their deaths without a fight. But we knew where they were being led. We played with tears in our eyes. There was nothing we could do to resist because the SS henchmen were standing behind us with their rifles."

Here´s the album "Vögel träumen auf den Zweigen - Lieder aus dem Widerstand", recorded in 1987 in Hamburg. Esther Bejarano is accompanied by Edna and Joram Bejarano and some other musicians. The play wonderful jewish songs like "Jisrolek", "Sog nischt kejnmol", "Dos kelbl" and "Mir lebn ejbig". On this album are furthermore two Eisler songs, "Zu ejns, zwaj, draj" and his collaboration with Bertolt Brecht, "Ballade von der `Judenhure´ Marie Sanders.

Esther Bejarano - Vögel träumen auf den Zweigen - Lieder aus dem Widerstand
(192 kbps, vinyl rip, front cover included)

More infos about Esther Bejarano can be found via http://sunday-news.wider-des-vergessens.de/?p=4963 or http://www.badische-zeitung.de/ausland-1/es-ist-laengst-nicht-gut--62383916.html.

Dienstag, 26. Januar 2016

Sun Ra Arkestra - Music From Tomorrow´s World (1960)

"Music From Tomorrow's World" is a fascinating document and a boon to Sun Ra collectors. It gathers previously unheard tapes from two sources: one from the Wonder Inn club and one from Majestic Hall, probably a rehearsal. Both were recorded in 1960, toward the end of the Arkestra's Chicago period. The Wonder Inn tape is especially revealing, as it presents the Arkestra in front of a crowd.

And although Saturn album releases from the period feature Ra compositions almost exclusively, this set shows they played standards as well during their live shows. The sound is surprisingly good, although one wishes the woman near the tape recorder would shut up once in a while. (Her comments range from "You gonna take me to eat?" to "Play it, Sun Ray! Play it like you want!") The first two tunes feature flutes heavily, then John Gilmore takes over the show starting with "Space Aura." Ricky Murray croons up a storm on the Gershwin standard "S Wonderful," with great Arkestra backing vocals on both Gershwin tunes. Ra's arrangement of "It Ain't Necessarily So" is quite interesting, and his arrangement of "China Gate" was clearly the inspiration for his own "Overtones of China" on the album "Visits Planet Earth".

The sound on the Majestic Hall session is not nearly as good, but the music surely is. This set has the Arkestra concentrating on original compositions, except for Harry Revel's "Possession" (another composer fascinated by space in the '50s). Gilmore is, again, in fine form, and there is the added bonus of four tracks that have not been otherwise recorded or identified. "Music From Tomorrow's World" is a fantastic document that casts some new light on an important period of the Arkestra's career. This was when it all came together for this one-of-a-kind band: the music, the costumes, the cosmology, and overall presentation. Shortly after, the Arkestra would leave Chicago for good. The Delmark albums and Evidence reissues of Saturn albums from the period would be the first stopping place for the Sun Ra novice, but "Music From Tomorrow's World" is highly recommended for fans of this important early portion of the Arkestra's history.

Tracklist:
                                                     
Live At The Wonder Inn:
1Angels & Demons At Play3:21
2Spontaneous Simplicity3:10
3Space Aura3:26
4S'Wonderful3:34
5It Ain't Necessarily So4:40
6How High The Moon6:26
7China Gate3:58

The Majestic Hall Session:
8Majestic 14:27
9Ankhnaton3:53
10Posession6:25
11Tapestry From An Asteroid2:03
12Majestic 26:02
13Majestic 33:03
14Majestic 46:21
15Velvet4:33
16A Call For All Demons2:02
17Interstellar Lo-Ways (Introduction)0:28

Sun Ra Arkestra - Music From Tomorrow´s World (1960)
(320 kbps, cover art included)

The Fugs - No More Slavery


The 1985 release "No More Slavery" was the first studio recording by the Fugs in almost two decades. Founders Tuli Kupferberg and Ed Sanders are backed by an individually selected aggregate consisting of Steve Taylor on guitar and backing vocals, Scott Petito on bass, and Coby Batty on percussion and backing vocals.

The premise behind the Fugs - to promote the union of verbal and musical images with an extreme sensitivity to nothing but pleasure - remains eternal. As does their pursuit of truth - through a steady diet of "high art," Dadaism, and satire set to folk and rock music.

There are a few notable differences in the methods that the Fugs utilized in making records in the '80s vs. the '60s. For example, instead of sounding like they are recorded in someone's basement - although that is an admittedly endearing quality of those early Fugs recordings - "No More Slavery" has a richer sonic depth and timbre. While this is certainly a byproduct of technological advancements, the net results are that Kupferberg and Sanders verbiage is given an infinitely more generous sonic pallet from which to conceive. Although the use of drum machines somewhat date tracks such as "Cold War" and "Technology Is Going to Set Us Free" - a demo from the musical drama "Star Peace" - no amount of ornate machinery can obscure Fugs motifs of blending rock music with poetry, philosophy and satire. One such notable thematic pattern exists in the seven-part "Dreams of Sexual Perfection." Sanders effortlessly incorporates the poetic ideology of Emily Dickinson, Archilochus, as well as William Blake - whose "How Sweet I Roamed from Field to Field" was adapted by Sanders on the Fugs First Album" in 1965. As the title track suggests, "No More Slavery" is a collection of musings which amply display the Fugs verve for life and the liberties that make it worth living.

The Fugs - No More Slavery
(192 kbps, front cover included)

Montag, 25. Januar 2016

The Fugs - Live From The 60s

For anyone who thinks the the Velvet Underground was as outré as successful cult 1960s bands got, this is the real stuff: taken from the personal tape collection of Ed Sanders, it's 50 minutes of unadulterated live Fugs, from their first concert in Greenwich Village through to a bunch of dates from Sweden, Wisconsin, and Texas played between 1967 and 1969.

All of it is pretty raw, but that's good, because it's real. The material represents the different sides of the group's sound very well - "The Swedish Nada" has them sounding like the punk equivalents of the Doors, while "The Garden Is Open" ventures into VU territory, with Dan Kooch's violin creating a positively demonic sound, and "The Exorcism of the Grave of Senator Joseph McCarthy" (conducted at the senator's grave with Allen Ginsberg present) is like little else ever recorded by an alleged rock group.

There's a lot of history here, and some fascinating music captured in generally fair fidelity. The perfect gift for anyone who already has all of the Velvets' material, or thinks the Doors were poet poseurs.


Tracklist                          
1 Doin' All Right 3:13
2 The Swedish Nada 5:08
3 Homage To Catherine And William Blake 5:09
4 I Couldn't Get High 2:33
5 Johnny Pissoff Meets The Red Angel 4:46
6 J.O.B. 2:42
7 My Baby Done Left Me 2:35
8 The Garden Is Open 4:06
9 The Exorcism Of The Grave Of Senator Joseph McCarthy 11:10
10 Yodeling Yippie 3:38
11 A Medley From The Fugs' First Concert: The Ten Commandments / Swinburne Stomp 4:18

The Fugs - Live From The 60s
(192 kbps, front cover included)

The Fugs - The Real Woodstock Festival (Live 1994)

Image

Given the American social and political climate during the mid '80s, the semi-permanent reunion of founding Fugs Tuli Kupferberg and Ed Saunders could not have been more culturally apropos. "The Real Woodstock Festival" is a live two-disc set featuring Kupferberg and Saunders accompanied by Steve Taylor on guitar and backing vocals, Coby Batty on percussion and backing vocals, and Scott Petito on bass.
Also joining the festivities are two counter-cultural icons: beat poet Allen Ginsberg and "Country" Joe McDonald -- the only artist to have performed at the original event in 1969 and the Fugs "Real Woodstock Festival" in 1994.
Ironically, unlike any of the other events bearing the 'Woodstock' albatross, "The Real Woodstock Festival" was actually held in the town of Woodstock, New York -- where Ed Saunders has maintained a permanent residency since the early '70s. Likewise the two performances were held on the true anniversary of the original event -- August 13 & 14.

The loose camaraderie and rag tag frenetic madness that defined the Fugs 'high art' of blending music with socially conscious poetry is certainly alive and well on this collection. In addition to performing a handful of new compositions, Kupferberg and Saunders revived some of their most treasured works from every phase of their career. From their days on the uncompromising ESP label, "Frenzy," "CIA Man," "Morning, Morning," "How Sweet I Roamed From Field To Field" and "The Post-modern Nothing" have been modernized with new arrangements, yet remain as poetic and arguably even more relevant in this context. Likewise, there are a few rarities from the Fugs tenure on Reprise Records in the late '60s: "Crystal Liaison," "I Want To Know" and the rarely performed "When The Mode Of The Music Changes." The latter undoubtedly contains further portents as less than an hour away from this celebration, Woodstock '94 was co-opting an entire generation.

The Fugs - The Real Woodstock Fesitival 1
The Fugs - The Real Woodstock Festival 2

(192 kbps, front cover included)

Sonntag, 24. Januar 2016

Quilapayun - Cantata Américas

"Quilapayún" (Spanish pronunciation: [kilapaˈʝun]) are an instrumental and vocal folk music group from Chile and among the longest lasting and most influential exponents of the Nueva Canción Chilena (New Song) movement. Quilapayún originated in 1965 when Julio Numhauser, and the brothers Julio Carrasco and Eduardo Carrasco formed a folk music trio which they simply called "the three bearded men" (viz. Quila-Payún in the mapuche language). The group became inseparable with the revolution that occurred in the popular music of the country under the Popular Unity Government of Salvador Allende.

In 1966 Patricio Castillo joined the group and they began performing and winning notoriety for their Andean music. That same year the group met Víctor Jara and at their request he became Quilapayún's musical director. The group also backed Jara on his solo albums. After three years they assumed different paths and Eduardo Carrasco became the group's musical leadership.
Since its formation and during its forty year long history - both in Chile and during its lengthy period of exile in France - the group has seen modifications to its personnel lineup, to the subject and content of its work, and controversy regarding irreconcilable differences with the current and former group director; which has led each to maintain a distinctive - yet equally impressive - Quilapayún ensemble: one in Chile (named Quilapayún-Histórico) and one in France (named Quilapayún-France).
 
(320 kbps, cover art included)

Samstag, 23. Januar 2016

Quilapayún - Con el alma llena de banderas

Quilapayun is a Chilean group formed in 1965 by Julio Carrasco, Eduardo Carrasco, and Julio Numhauser, later joined by Patricio Castillo.

Since its beginning, Quilapayun's lyrics were inspired by social issues related to its country, combining them with autochthonous musical arrangements. In 1966, the band came in first place at the Festival de Festivales, releasing its first album that same year. Folk singer and songwriter Víctor Jara helped the band by promoting Quilapayun's music and making the record "Canciones Folklóricas de América" together. By the time Julio Numhauser decided to leave, Carlos Quezada and Guillermo Oddo joined in. As Chilean New Song's ambassador, Quilapayun went on its first European tour in 1968. When Julio Carrasco left, Hernán Gómez and Rodolfo Parada became part of Quilapayun's new lineup. Due to Chilean political and social changes in the early '70s, the group settled in foreign countries for more than a decade.

This collection was published during their time in exile, as its subtitle says, in "Homage to Victor Jara." Members of the group at that time were Edward Carrasco, Carlos Quezada, Willy Oddó, Hernan Gomez, Rodolfo Parada, Hugo Lagos, Guillermo Garcia and Ricardo Venegas.
The cover design, which became a classic, is owed ​​to George Lillo.

The title song of this collection is one of the most beautiful written by Victor Jara. It was composed in tribute to Miguel Angel Aguilera, a young militant who was shot dead by a policeman during a demonstration in 1970. The song was introduced by Victor in August of the same year at the Second Festival of the New Chilean Song.

Tracklist:

01. Canción para Victor Jara (Eduardo Carrasco)
02. Te recuerdo Amanda (Victor Jara)
03. Susurro (Rodolfo Parada)
04. Paloma quiero contarte (Víctor Jara)
05. Con el alma llena de banderas (Víctor Jara)
06. Nuestro cobre (Eduardo Yáñez)
07. Titicaca (Arr. Quilapayún)
08. Tío caimán (Chang Marie)
09. Sonatina (Hugo Lagos)
10. Patria de Multitudes (Hernán Gómez-Eduardo Carrasco)
 

Quilapayún - Con el alma llena de banderas
(320 kbps, front cover included)

The Ex – History Is What's Happening (1982)

History is What's Happening is an album by Dutch punk rock band The Ex, released in 1982.

This strong early outing had the most elliptical post-punk experiments of the Ex's discography. Keeping tracks around the minute-and-a-half mark without going for an agitprop squall, "History Is What's Happening" was well suited for fans of PiL or the Durutti Column. The demented disco of "Life Live" and the anti-superficial "H'Wood-W'ton" stood out, serious anxiety filtered down to its basic rock-based elements. With irregular rhythms and the usual unsettled guitar sounds, and also G.W. Sok's patented socialist drawl, the Ex's innate ability to make a statement collide with admirers and enemies was significant.                

 Tracklist                                                       
A1Six Of One And Half A Dozen Of The Other0:57
A2Barricades1:03
A3Life Live1:38
A4Machinery0:45
A5E.M. Why1:47
A6Moving Pictures1:32
A7Shoes1:44
A8Watch-Dogs1:49
A9Dutch Disease1:21
A10Blessed Box At The Backseat1:13
B1Who Pays2:44
B2Strong & Muscled1:30
B3Grey2:22
B4Equals Only1:46
B5H'wood-W'ton0:56
B6Sports1:01
B7$0:56
B8Pep Talk1:58
B9Attacked1:55
B101482:25

 The Ex – History Is What's Happening (1982)
(ca. 256 kbps, cover art included)

Freitag, 22. Januar 2016

Peter, Paul & Mary - Moving (1963)

The trio's second album is a little less distinctive than its predecessor, which doesn't mean that it isn't a beautiful record - just less obviously compelling in its melodies, and perhaps slightly less optimistic in mood.

Having expended some of their best material on their debut, the trio reached further for songs here, including the Paul Stookey co-authored "Big Boat" and Mike Settle's "Settle Down (Goin' Down That Highway)," neither of which clicked as singles, despite rousing vocals on both and some distinctive guitar virtuosity on the former. The group once again reached back to the 1940s activist folk song tradition with Woody Guthrie's "This Land Is Your Land," but the track that everyone ended up knowing from "Moving" was from a very different corner of the folk tradition - "Puff, the Magic Dragon" was introduced here and rose to number one as a single (and even made the Top 10 in the R&B charts), helping to propel "Moving" to number two as part of a 99-week chart run; and in those days, it was taken as a beautiful and gentle children's song that adults could enjoy, the myth of the song's supposed "drug" message not appearing until 1966.

Other highlights include the haunting "Pretty Mary" and the startlingly intricate "A 'Soalin'," which became a highlight of their live act as well. Peter Yarrow remixed this album for reissue on CD in 1989, along with much of the rest of the group's classic Warner Bros. catalog, which has resulted in spectacular clarity and immediacy.       

Tracklist:
A1Sette Down
A2Gone The Rainbow
A3Flora
A4Prettyv Mary
A5Puff
A6This Land Is Your Land
B1Man Come Into Egypt
B2Old Coat
B3Tiny Sparrow
B4Big Boat
B5Morning Train
B6A' Soalin


Peter, Paul & Mary - Moving (1963)
(192 kbps, front & back cover included)

Donnerstag, 21. Januar 2016

John Spencer´s Louts - The Last LP (1978, vinyl rip)

PhotobucketJohn B. Spencer (1944 - 2002) was a british songwriter, guitarist, bandleader, novelist and occasional record producer.

From 1978 onwards, over more than a dozen albums and a handful of singles released on a variety of British and European labels, Spencer threw himself into the recording business. His music never sold anything like the numbers that his old shelf-stacking workmate’s group would, but Spencer made his mark on the British music scene, though Jerry Williams took Cruisin’ (On A Saturday Night) into the Swedish Top 10. As John Collis wrote in 1996, Spencer retained “a faithful constituency of followers” but increasingly that following included name musicians. The scene that nurtured and sustained his songwriting blurred folk, blues, R&B, punk and pub rock. His songs were grounded in the sterling examples of Woody Guthrie, John Lee Hooker, Leadbelly and any number of people who had dealt a good three-chord trick. Interpreters such as Home Service, Augie Meyers, Martin Simpson, Norma Waterson and Jerry Williams took his songs into the wider world. Likewise, the actress Susan Penhaligon, with whom he did poetry and music performances that brought his name to still different audiences. Fast Lane Roogalator - sons Syd and Tom with a little bit of Will Spencer - made an album of twelve of their father’s songs, including Drive-In Movies (about his love-hate relationship with the USA), Only Dancing (power chords reign) and One More Whiskey (one of Spencer’s great parting glasses). Fast Lane Roogalator (2004) was produced by Graeme Taylor, incidentally.

Between 1974 and 1978 he gigged and recorded with his group, the Louts, with Chas Ambler, Johnny G. (Gotting) and Dave Thorne. “It was a pretty anarchic band, but the LP doesn’t reflect that: it’s full of pretty songs. The live gigs were something else. It preceded punk by about four years. In fact just as we were breaking up we were starting to get a few punks arriving at our gigs figuring that as we were called the Louts we were a punk band. We weren’t a punk band: we were an anarchic band. Each gig was either diabolical or fantastic. There was no middle ground.” Spencer later fondly remembered an incident at a Louts’ gig at the Half Moon at Putney as defining the band’s attitude. He had it on tape. “You hear this American voice keep calling out, ‘Haul ass, Spencer! Haul ass!’ Eventually Johnny G. behind the drums shouts back - he didn’t have to shout because he had a mike - ‘We got your money, fuck off!’ To which this American from the back cries out, ‘You didn’t get all my money. I got in for half-price.’ To which Johnny G. shouts back, ‘Then you should have fucked off half an hour ago!’ That summed up the Louts live.” The Half Moon of yore also saw the soon-to-be Elvis Costello open for him. Or maybe it was them - the Louts - because that is what the passage of the years does to people’s memories and I can’t check with Spencer now and Costello isn’t answering my calls.

"The Last LP" was - and that is no joke - the first album I ever owned. Won it on a radio prize game some month before I bought my first record player. And then it was really on heavy rotation...
It´s an album with some very good reggae influenced pub rock from the late 70's with the very underrated John Gotting (Johnny G) on guitar. Still like that tunes...

Tracklist:
A1Can't Buy My Soul
A2Mary-Lou And The Sunshine Boy
A3Crazy For My Lady
A4That's As Mean As Mean Can Get To Be
A5What You Do To My Heart
B1My Old Lady (She's Got The Meanest Fact In Town)
B2Cuba Libré
B3Sweet Sensation
B4Natural Man
B5Can't Mean It
B6No Expectations

John Spencer´s Louts - The Last LP (1978, vinyl rip)
(320 kbps, front & back cover included)

100 Jahre Deutsches Arbeiterlied - Eine Dokumentation (Eterna 1967)

This set of two longplayers was originally released in 1967 on "VEB Deutsche Schallplatten / Eterna" in the DDR, published by the "Akademie der Künste". It collects highly interesting material giving a good overview about the history and the development of working class songs in german language between 1844 and 1945.


The historic recordings are completed with spoken word explanations to the featured songs.


You will find a tracklisting in the comment section.

Thanks to a helpful person over at groovyfab forum some years ago we can present you this strongly recommended vinyl rip.





(192 kbps)

Mercedes Sosa - Homenaje a Violeta Parra (1971)



Mercedes Sosa was born in poverty, her father a day laborer, her mother a washer woman, in Tucumán, a province in northwest Argentina, on July 9, 1935.
At 15, she won an amateur-hour contest sponsored by a local radio with a two month contract for appearances as its grand prize. It turned out to be the start of her career.

By the late 50s she had moved on from traditional folk and embraced the Movimiento del Nuevo Cancionero, a fledging movement with a new approach to folk music that updated the standard folk lyrics to sing about the plight of the poor and disenfranchised. This, naturally, led her in time to champion the Nueva Canción (New Song), a movement in Latin America in the 60s that blended traditional rhythms and lyrics addressing social and political concerns. This became a deadly serious business in Latin America in the 70s, as ruthless military dictatorships took power. Sosa was detained and body searched on stage at a concert in 1979. Many in the audience were detained. In the following weeks, her concerts were cancelled after anonymous bomb threats were called in. And while there was no cause open against Sosa, her songs were banned on the radio and she was prohibited from performing.

Understandably feeling persecuted and unable to make a living, Sosa left in self imposed exile to France and Spain.
She returned to Argentina in 1982, just as the military dictatorship was beginning to disintegrate. (In fact, in retrospect, Sosa´s epochal 13-night comeback stand at the Opera Theatre in Buenos Aires, captured on the disc Mercedes Sosa en Argentina, was in itself a measure of the increasing weakness of the regime.)

Sosa had been an international artist, performing in the United States and Europe, since the 1960s, but in her condition as an exile she transcended her role as a folk singer and became a symbol of resistance and the struggle for human rights. It was a heavy mantle that she carried effectively – while also making clear to whoever wanted to listen that she was an artist first.

“Sometimes, one is made to be a big mouth or some sort of Robin Hood and it’s not like that,” she once told me, in the 90s, with an edge of frustration in her voice. “I am a woman who sings, who tries to sing as well as possible with the best songs available. I was bestowed this role as big protester and it’s not like that at all. I’m just a thinking artist.”
And being a “thinking artist” for Sosa not only meant singing questioning lyrics, but also opening up her musical world.

Since her return to Argentina and for the past 20 years, rather than basking on the warm glow of her status and playing it safe musically, Sosa increasingly crossed over stylistic boundaries, taking a Pan-Ibero-American approach. She would still sing Argentine folk music and remain true to her Nuevo Cancionero roots, but also integrate music by Brazilian artists such as Milton Nascimento, Caetano Veloso and Chico Buarque; Spanish singer songwriter Joan Manuel Serrat and rocker Joaquin Sabina. And in Argentina, where the music communities long lived in parallel worlds that rarely acknowledged, much less addressed, each other, Sosa seemed to make a point of ignoring stylistic boundaries. She worked with neo-folk singers such as Leon Gieco (a Bob Dylan-like figure) but also recalcitrant rockers such as Charly Garcia, pop rockers such as Fito Páez and new tango stalwarts such as bandoneonist Rodolfo Mederos. And it wasn’t just big names but also up-and-coming songwriters, playing sort of fairy godmother by calling attention to their work, giving them, in a word, her blessing.

Here´s her hommage to Violeta Parra, the famous Chilean composer, songwriter, folklorist, ethnomusicologist and visual artist, who set the basis for "Chilean' New Song", the Nueva canción chilena, a renewal and a reinvention of Chilean folk music which would absorb and extend its influence far beyond Chile.

Tracklist:

Defensa De Violeta
Graicas A La Vida
Segun El Favor Del Viento
Arriba Quemando El Sol
Me Gustan Los Estudiantes
Volver A Los 17
La Carta
Que He Sacado Con Quererte
La Lavandera
Rin Del Angelito
Los Pueblos Americanos 

Mercedes Sosa - Homenaje a Violeta Parra (1971)
(256 kbps, cover art included)

Mittwoch, 20. Januar 2016

John Coltrane - Blue Train (1957)

Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on "Blue Train" -- Coltrane's only collection of sides as a principal artist for the venerable label.

The disc is packed solid with sonic evidence of Coltrane's innate leadership abilities. He not only addresses the tunes at hand, but also simultaneously reinvents himself as a multifaceted interpreter of both hard bop as well as sensitive balladry -- touching upon all forms in between.

The personnel on "Blue Train" is arguably as impressive as what they're playing. Joining Coltrane (tenor sax) are Lee Morgan (trumpet), Curtis Fuller (trombone), Kenny Drew (piano), Paul Chambers (bass), and Philly Joe Jones (drums). The triple horn arrangements incorporate an additional sonic density that remains a trademark unique to both this band and album. Of particular note is Fuller's even-toned trombone, which bops throughout the title track as well as the frenetic "Moments Notice." Other solos include Paul Chambers' subtly understated riffs on "Blue Train" as well as the high energy and impact from contributions by Lee Morgan and Kenny Drew during "Locomotion." The track likewise features some brief but vital contributions from Philly Joe Jones -- whose efforts throughout the record stand among his personal best.

Of the five sides that comprise the original "Blue Train", the Jerome Kern/Johnny Mercer ballad "I'm Old Fashioned" is the only standard; in terms of unadulterated sentiment, this version is arguably untouchable. Fuller's rich tones and Drew's tastefully executed solos cleanly wrap around Jones' steadily languid rhythms.

Without reservation, "Blue Train" can easily be considered in and among the most important and influential entries not only of John Coltrane's career, but of the entire genre of jazz music as well.                


John Coltrane - Blue Train (1957)
(256 kbps, cover art included)

Dienstag, 19. Januar 2016

Oliver "Tuku" Mtukudzi - Ndega Zvangu (1997)

Oliver "Tuku" Mtukudzi (born 22 September 1952 in Highfield, Harare) is a Zimbabwean musician, businessman, philanthropist, human rights activist and UNICEF Goodwill Ambassador for Southern Africa Region. Tuku is considered Zimbabwe's most renowned and internationally recognised cultural icon of all time.

Mtukudzi began performing in 1977 when he joined the Wagon Wheels, a band that also featured Thomas Mapfumo. Their single Dzandimomotera went gold and Tuku's first album followed, which was also a major success. Mtukudzi is also a contributor to Mahube, Southern Africa's "supergroup".
With his husky voice, he has become the most recognised voice to emerge from Zimbabwe and onto the international scene and he has earned a devoted following across Africa and beyond. A member of Zimbabwe's KoreKore group, with Nzou Samanyanga as his totem, he sings in the nation's dominant Shona language along with Ndebele and English. He also incorporates elements of different musical traditions, giving his music a distinctive style, known to fans as Tuku Music. Mtukudzi has had a number of tours around the world. He has been on several tours in the UK, US and Canada to perform for large audiences.
Unlike Mapfumo, Mtukudzi has refrained from directly criticising the government of President Robert Mugabe.

According to the sleeve notes, "Ndega Zvangu" means "All Alone" and Mutukudzi is all alone, apart from his acoustic guitar, throughout. This gives a sound completely different from the faster, more percussion-based Zimbabwean music I'd heard before.
Instead, the sound is stripped-down, sometimes melancholy, but always beautiful. The album doesn't suffer from over-polished production, which makes it feel as though Mutukudzi is right there in the room with you. A wonderful album!

Tracklist:
1Cheka Ukama
2Mwana Wamambo
3Andinzwi
4Unodada Nei?
5Chirimundari
6Zivai Nemoyo
7Handiende
8Neria
9Kwawakabva
10Ndima Ndasakura
11Ndakuneta


Oliver "Tuku" Mtukudzi - Ndega Zvangu (1997)
(256 kbps, cover art included)

Montag, 18. Januar 2016

Hanns Eisler – Hollywood Songbook (Lieder of the Exile) – Dietrich Fischer-Dieskau

Hanns Eisler and his wife, Lou, spent the last five years of their exile in southern California, where he supported his family by composing film scores for RKO Studios—winning Oscar nominations in 1943 and 1944.
One of his most remarkable works—a cycle of art songs, or “lieder”, titled the “Hollywood Songbook”—was completed in this period. In a mixture of styles (twelve-tone, romantic, blues), the cycle is based on poems by Brecht, Goethe, Shakespeare, Mörike and Hölderlin.
As a whole, they confirm Eisler’s reputation as one of the most able composers of lieder in the 20th century.
Like his other work, the songs are communicative and direct—some of them last no more than one or two minutes.

Free of sentimentality, they nevertheless express a concentrated emotional clarity. The German baritone Matthias Goerne offers this admiring assessment: “For me, this chance discovery of this huge body of work by a real 20th century composer was a revelation, in that here was an artist comparable, in my opinion, to Brahms. The integrity, the consciousness of the times is so very great in Eisler that I was inspired to combine his songs with those of Schubert…. [O]ne might say that the ‘Hollywood Liederbuch’ is the ‘Winterreise’ of our times.”

Here´s the interpretation of Dietrich Fischer-Dieskau with Aribert Reimann on piano:

Hanns Eisler Hollywood Songbook (Lieder of the Exile)
(192 kbps, ca. 61 MB)

Sonntag, 17. Januar 2016

Jacques Brel - Quand On N'a Que L'amour (1957)

Jacques Brel was on tour when he learned that a song from his most recent EP release, "Quand on N'a Que l'Amour," had hit number three on the French chart. The song fell like a hand grenade into the comfortable world of French pop in the mid-1950s -- not through its sentiments (the best known English version, "If We Only Have Love," is as worthy a translation as any) or through its delivery, but via an almost intangible sense that in Jacques Brel, France had finally been gifted a hero as relevant to its modern culture as Elvis Presley was to America, or Tommy Steele to Britain. Maybe even more so.

Since the release of his debut album, Brel had launched into a period of considerable musical experimentation, pairing himself with a string of different accompanists in an attempt to find that which most suited his material. Neither Michael Legrand nor Andre Popp matched his standards, however, and Brel finally returned to Francois Raubert, with whom he had recorded the earlier mini-hit "Sur la Place." The wisdom of his decision became immediately apparent, as "Quand on N'a Que l'Amour" soared up the chart and work immediately began on completing Brel's next album. "Jacques Brel 2" can scarcely be expected to match up to either the brilliance of his debut or the magnificence of the hit. Acting to strike while the commercial iron was hot, Philips chose to draw its contents from the stockpile of material Brel had recorded over the past two years, ensuring just one other Raubert recording, the initially eerie, and utterly hymn-like "L'Air de la Betise" made the set. Other cuts were drawn from the Popp and Legrand sessions, with the occasionally less-than-sympathetic results Brel had already noted.

Nevertheless, some undisputed masterpieces emerged. "Pardons" is a slight song raised to unexpected heights by its smoky jazz club backing, while "J'en appelle" could easily have competed with the broad pop ballads which would soon be unleashed by the English likes of Billy Fury and Cliff Richard. "La Bourree Du Celibataire," better known to English audiences as "Bachelor's Dance," is a bawdily infectious singalong, while the raw violin which opens "Heureux" elucidates a pain which Brel's haunted delivery stretches to panoramic proportions. The melodic similarity to "Quand on N'a Que l'Amour," incidentally, was surely deliberate, bookending the eight-song heart of the original album release, before the set closed with the only true (but nevertheless enjoyable) throwaway in sight, "Les Bles."                


Tracklist:
01. Quand On N'a Que L'Amour
02. Qu'Avons-Nous Fait Bonnes Gens ?
03. Les Pieds Dans Le Ruisseau
04. Pardons
05. La Bourrée Du Célibataire
06. L'Air De La Bêtise
07. Saint-Pierre
08. J'en Appelle
09. Heureux
10. Les Blés
11. Quand On N'a Que L'Amour


01 to 10: from the album "Quand On N'A Que L'Amour", 1957
11: recorded on January 25th 1960

Jaques Brel - Quand On N'a Que L'amour (1957)
(320 kbps, cover art included)

Samstag, 16. Januar 2016

Joan Baez & Ennio Morricone - Sacco And Vanzetti (OST)

Ennio Morricone is well known in the film music business for his westerns and mafia film scores. But in his enormous output one can also find gems in many other genres. Sacco and Vanzetti was a film by Italian director Giuliano Montaldo about the execution of two apparent political agitators in the 1920s. With this film Morricone found a wonderful opportunity for blending his masterful melodramatic themes with a vocal performance of enormous magnitude: that of Joan Baez.

Baez, also a socially active voice in the early sixties (at those times in good company with the likes of Bob Dylan and Simon and Garfunkel), complemented Morricone's main theme in such a way that it has transcended the borders of film music and has become an immortal ballad for freedom and liberty for all. Her three part ballad is heartwrenchingly beautiful and poignant, even thirty years later. The lyrics are based on the texts of the liberties and rights of the individual in the USA ("give me your tired and your poor" refers to the inscription at the base of the statue of liberty). Morricone underscores her vocal performances almost in counterpoint but does not distract from the effectiveness of Baez's vocals.

Morricone did not employ a large orchestra; his usual orchestra for Italian movies in the seventies varied from 25 players to about 55 players. Here, the sheer simplicity of thematics, combined with an extremely effective orchestration, clearly shows an optimal effect of dramatic scoring, as the music lives on far beyond the reach of the film itself. The hopelessness for Sacco and Vanzetti is wonderfully depicted by heavily melancholic strings and woodwinds and Morricone's innovativity even reaches as far as creating a theme for the electric chair, consisting of a synthesizerlike sound, resonating and undulating with a chilling intensity. (In previous themes there is some reference to this sound, as if looking forward to an ominous ending.) The Here's To You finale again repeats some of the finest moments of thematical material, accompanied by Baez's unique vocal talents. If anyone does not know this particular piece, this is certainly the chance to hear Morricone at his very best! Although Ennio Morricone has done some remarkable things with vocal performers, this collaboration with Joan Baez is one of his most successful endeavors. A modern masterpiece of film scoring!

Tracklist
A1Hopes Of Freedom
A2The Ballad Of Sacco & Vanzetti - Part 1
A3In Prison
A4The Ballad Of Sacco & Vanzetti - Part 2
A5Sacco And His Son
B1The Ballad Of Sacco & Vanzetti - Part 3
B2Freedom In Hope
B3To Die Is A Duty
B4The Electric Chair
B5Here's To You

Joan Baez & Ennio Morricone - Sacco And Vanzetti (OST)
(192 kbps, cover art included)