Dienstag, 31. Oktober 2017

VA - Wien - Zoten und Pikanterien - Rare Schellacks 1906 - 1932

Throughout the world, the rise of mass culture in the 19th century brought the music of the common man to the forefront of the popular agenda. Expressions of "high culture" no longer dominated in the big cities. The taste of recently-urbanised country migrants was increasingly catered for.

Since the turn of the 20th century popular melodies, folk songs, humorous commentaries and dance music with a hard edge gained widespread acceptance. In the suburbs of Vienna, Berlin, Munich, Leipzig and Dresden new types of urban folk singers and entertainers emerged at the cutting edge of recreation. Their songs reflected the dissonant and raucous reality of urban life in harsh and critical lyrics, but always modified by a pinch of irony and a considerable amount of humor.

The commercial recording industry recognized the mass appeal of these emergent syncretic forms and a representative sample from that early period is featured on this series.

Tracklist:
Die Erbsünd - Freddy Wellmann
Der Grillenkitzler - Karl Huber mit Lenz Quartett
Brombeerlied - Franz Niernsee mit Lenz Quartett
Der Pfannenflicker - Brder Breier mit "Neuwirth" Quartett
Wiener Lokal-Verse - Franz Mika mit Neustifter Schrammel Begleitung
Das Lied ist modern - Scheimbauer & Lenz mit Mojka-Nast Schrammelbegleitung
Roserl, wie schön bist du im Hoserl - Richard Waldemar mit Klavier Begleitung
Weil ich anstnädig bin - Fritzi Rolly mit Orchesterbegleitung
Im roten Hahn - Franz Mika mit original Lanner-Quartett
Die Müllerin - Jungbauer mit Lenz-Quartett
Wo's Wasser herrauscht - Franz Niernsee mit Schrammelquartett "Lenz"
Breier G'stanzeln - August Breier begleitet vom "Neuwirth-Quartett"
Stilleben - Mika und Drechsler mit Schrammelbegleitung "Pischinger"
Hansi Führer am Telefon - Hansi Fhrer mit Klavierbegleitung
Schnauzbart-G'stanzln - Karl Huber mit Butschetty-Quartett
I hab mei Freud mit die Vögln - Mika & Drechsler mit Schrammel-Terzett
Unterm Paraplui - Rudi Hermann mit Schrammel-Terzett
Der Landkirtag - Scheimbauer & Lenz mit Schrammelquartett Moja-Nast
Bauerng'stanzeln - Karl Huber mit "Quartett Lenz und Ernst"
Beim Heurigen in Ottakring - Mika & Drechsler mit Schrammelbegleitung "Pischinger"
Laternderl - Franz Niernsee begl. Vom Wiener Salon Orchester "D`Geigerbuben"
I hab an alten Daimler - Rudi Hermann mit Schrammel-Terzett
Das Vergissmeinnicht - Franz Mika mit Original-Lanner-Quartett
Bauerng'stanzeln - Rudolf Heller mit Klavierbegleitung
Brunnstangl - Lenz und Scheimbauer mit Schrammelbegleitung

VA - Wien - Zoten und Pikanterien - Rare Schellacks 1906 - 1932
(192 kbps, cover art included)

Montag, 30. Oktober 2017

Django Reinhardt et son Quintette du HCF - Concert A Bruxelles 1948

From the liner notes:

"This is a recording in which every Django Reinhardt admirer will be interested. It is the only public performance we know and it had been recorded on an amateur tape recorder he bought in Brussels.

When Mrs. Reinhardt played it to us after Django´s death, we immediately thought that such a rarity had to be issued, although the recording quality is poor.

So here is Django Reinhardt with his quintet on the stage of the Theatre des Galeries in Burssels in December 1948 featuring Hubert Rostaing, Louis Vola, Arthur Motta and his older son Henri "Louson" Baumgartner."



Tracklist:

A1Artillerie Lourde4:19
A2Micro1:57
A3Bolero3:57
A4Cadillac Slim2:43
A5Nuages3:44
B1Place De Broukere2:49
B2Improvisation2:28
B3Improvisation Sur Un Theme Mineur4:20
B4Festival 481:48
B5Minor Swing2:17

Django Reinhardt et son Quintette du HCF - Concert A Bruxelles 1948
(320 kbps, cover art included)

Sonntag, 29. Oktober 2017

Thatcher On Acid - Curdled (1987)


Thatcher On Acid were an anarcho-postpunk band from the United Kingdom. They formed in Somerset during 1983. Their name is a satirical reference to former U.K. prime minister, Margaret Thatcher.

"Curdled" was released in 1987, using the occasional samples of media speech pasted into a variety of styles, from harsh, whirring amps and drums stuff to wistful acoustic rock.

It seems almost dead and buried now, sadly, but "agitpop" was once a genre, of bands (predominantly English) that combined post-punk rock in the spirit of Killing Joke, U.K. Decay, Theater of Hate, Banshees, and Gang of Four with scathing sociopolitical awareness. Maybe it went bye-bye with Thatcher's fall and Reagan's retirement, but to borrow a Dead Kennedys lyric, post-punk "kids today sit on their ass" (there are exceptions, of course).

Thatcher On Acid - Curdled (1987)
(192 kbps, front cover included)

Samstag, 28. Oktober 2017

Anti Social Workers And The Mad Professor - Punky Reggae Party (1983)

This album is a kind of a hybrid classic, deleted for years. It was released in 1983 on the Ariwa label, produced by Mad Professor. Definitely a cult favourite, though the hardcore stance never prevented Maggie to rule for a good number of years!

Thanks a lot to the original uploader on  the Roots Stone blog, a bonanza for everyone interested in reggae and dub.

Tracklist:

A1Every Dog Has It's Day
A2Who's Watching You?
A3Democracy Is....
A4Waiting For The Crackdown
A5Shit For Brains
B1Pagan Man
B2Great Romance Rip-Off
B3Vandalise The Vatican
B4Simon Say's
B5Red Rap
B6England (Is A Name For A Piece Of Land And A Football Team)



Donnerstag, 26. Oktober 2017

Buffy Sainte-Marie - Many A Mile (1965)

Buffy Sainte-Marie has enjoyed a long career that has seen her rise to stardom on the folk circuit and try her hand at country, rock, soundtrack themes, acting, activism, and children's television. For most listeners, she remains identified with the material she wrote and sang for Vanguard in the mid-'60s. Her songs that addressed the plight of the Native American, particularly "Now That the Buffalo's Gone" and "My Country 'Tis of Thy People You're Dying," were the ones that generated the most controversy. Yet she was also skilled at addressing broader themes of war and justice ("Universal Soldier") and romance ("Until It's Time for You to Go"). She was also a capable interpreter of outside material, although her idiosyncratic vibrato made large-scale commercial success out of the question.

Sainte-Marie's second LP was most notable for the original version of her most famous composition, "Until It's Time for You to Go," which is her most melodic and memorable track. The rest of the album is more traditional and rough-hewn than some would expect, including a ballad with a "Greensleeves"-like melody ("Must I Go Round"), the Bukka White blues "Fixin' to Die," the oft-done ballad "Lazarus," an Irish-American murder ballad, and a traditional tune accompanied only by mouthbow ("Groundhog"). Of more interest are Sainte-Marie's own compositions, including "Los Pescadores" (which has some of her most uncompromising vibrato) and "Welcome Welcome Emigrante."

Buffy Sainte-Marie - Many A Mile (1965)
(192 kbps, cover art included)

Mittwoch, 25. Oktober 2017

VA - Canto A La Revolución De Octubre (1978)

Today marks the 100th anniversary of the Russian Revolution. An event that created the Union of Soviet Socialist Republics and its seven-decade experiment in Marxist government.

The Russian Revolution, commonly referred to as Red October, the October Uprising, the Bolshevik Revolution, or Bolshevik Coup was a revolution in Russia led by the Bolsheviks led by Vladimir Lenin that was instrumental in the larger Russian Revolution of 1917. It took place with an armed insurrection in Petrograd on the 25th of October (7 November, New Style) 1917.
It followed and capitalized on the February Revolution of the same year, which overthrew the Tsarist autocracy and resulted in a provisional government after a transfer of power proclaimed by Grand Duke Michael, brother of Tsar Nicolas II, who declined to take power after the Tsar stepped down. During this time, urban workers began to organize into councils (Russian: Soviet) wherein revolutionaries criticized the provisional government and its actions. After the Congress of Soviets, now the governing body, had its second session, it elected members of the Bolsheviks and other leftist groups such as the Left Socialist Revolutionaries to important positions within the new state of affairs. This immediately initiated the establishment of the Russian Socialist Federative Soviet Republic, the world's first self-proclaimed socialist state. On 17 July 1918, the Tsar and his family were executed with Lenin's approval.
The revolution was led by the Bolsheviks, who used their influence in the Petrograd Soviet to organize the armed forces. Bolshevik Red Guards forces under the Military Revolutionary Committee began the occupation of government buildings on 7 November 1917 (New Style). The following day, the Winter Palace (the seat of the Provisional government located in Petrograd, then capital of Russia), was captured.
The long-awaited Constituent Assembly elections were held on 12 November 1917. In contrast to their majority in the Soviets, the Bolsheviks only won 175 seats in the 715-seat legislative body, coming in second behind the Socialist Revolutionary Party, which won 370 seats, although the SR Party no longer existed as a whole party by that time, as the Left SRs had gone into coalition with the Bolsheviks from October 1917 to March 1918. The Constituent Assembly was to first meet on 28 November 1917, but its convocation was delayed until 5 January 1918 by the Bolsheviks. On its first and only day in session, the Constituent Assembly came into conflict with the Soviets, and it rejected Soviet decrees on peace and land, resulting in the Constituent Assembly being dissolved the next day by order of the Congress of Soviets.
As the revolution was not universally recognized, there followed the struggles of the Russian Civil War (1917–22) and the creation of the Soviet Union in 1922.

The album "Canto A La Revolucion De Octubre" was edited by the "Juventudes Comunistas de Chile" as a tribute to the 60th anniversary of the Russion Revolution in 1977. Originally released in France in 1977 on "Le Chant Du Monde", it was later distributed in Spain via "Movieplay". The compilation features Nueva Canción artists like Victor Jara, Quilapayun, Isabel and Angel Parra, Inti-Illimani and Osvaldo Rodriguez.


Tracklist:

1. Manifiesto – Víctor Jara
2. Por montañas y praderas – Quilapayún
3. Ayúdame, Valentina – Isabel Parra
4. La patria – Osvaldo Rodríguez
5. Pájaro Chile – Ángel Parra
6. Himno de las JJ.CC. de Chile – Quilapayún
7. Venceremos – Coro del ejército soviético
8. Hacia la libertad – Inti-Illimani
9. Lautaro – Patricio Castillo
10. 1917 (versión de “Canción sin límites”) – Patricio Manns
11. Al creador de la grandeza – Taller Recabarren
12. Octubre – Taller Recabarren
13. Día de la victoria – Quilapayún



VA - Canto A La Revolución De Octubre (1978)
(192 kbps, cover art included)

Dienstag, 24. Oktober 2017

Kendra Smith – Kendra Smith Presents The Guild Of Temporal Adventurers (1992)

A founding member of the Dream Syndicate, Kendra Smith was also one of the creative forces behind the California psychedelic band Opal in the mid-'80s. She left during the band's final tour and was replaced by Hope Sandoval (Opal changed its name to Mazzy Star after that tour). Smith next formed the Guild of Temporal Adventureers for one eponymous EP in 1992, and then remained silent until the 1995 release of "Five Ways of Disappearing", her solo debut, which features a number of different sounds and styles.

Kendra Smith resurfaced for the first time since the dissolution of Opal with this engaging effort recorded in tandem with Jonah Corey and A. Philip Uberman; although "The Guild of Temporal Adventurers" doesn't stray far from the trademark neo-psychedelic sound of Smith's previous work, the record's absorption of Eastern sounds and textures lend it a deep, meditative quality finely attuned to the warmth and simplicity of tracks like "Stars Are in Your Eyes" and "Wheel of the Law."

Kendra Smith - The Guild Of Temporal Adventurers
(cover art included, flac)

Joshua White & His Carolinians - Chaing Gang (1940)

Most blues enthusiasts think of Josh White as a folk revival artist. It's true that the second half of his music career found him based in New York playing to the coffeehouse and cabaret set and hanging out with Burl Ives, Woody Guthrie, and fellow transplanted blues artists Sonny Terry and Brownie McGhee. When I saw him in Chicago in the 1960s his shirt was unbuttoned to his waist à la Harry Belafonte and his repertoire consisted of folk revival standards such as "Scarlet Ribbons." He was a show business personality — a star renowned for his sexual magnetism and his dramatic vocal presentations. What many people don't know is that Josh White was a major figure in the Piedmont blues tradition. The first part of his career saw him as apprentice and lead boy to some of the greatest blues and religious artists ever, including Willie Walker, Blind Blake, Blind Joe Taggart (with whom he recorded), and allegedly even Blind Lemon Jefferson. On his own, he recorded both blues and religious songs, including a classic version of "Blood Red River." A fine guitar technician with an appealing voice, he became progressively more sophisticated in his presentation. Like many other Carolinians and Virginians who moved north to urban areas, he took up city ways, remaining a fine musician if no longer a down-home artist. Like several other canny blues players, he used his roots music to broaden and enhance his life experience, and his talent was such that he could choose the musical idiom that was most lucrative at the time.
- Barry Lee Pearson, AMG

"Chain Gang" was a set of four 78rpm records recorded June 4, 1940 in New York City and released in the same year by Columbia with the follwing tracks:

- Chain Gang Boun'
- Nine Foot Shovel

- Trouble
- Goin' Home Boys

- Cryin' Who Cryin' You (part 1)
- Cryin' Who Cryin' You (part 2)

- Told My Cap'n
- Jerry

"Chain Gang" was produced for Columbia records in 1940, under the sponsorship of John Hammond, and within the next year Josh would become ubiquitous in the leftist folk music world. He was singing on Alan Lomax’s CBS radio programs, and acting as accompanist and sometimes vocalist for the Almanac Singers, the loose-knit group of agit-prop folkies centered around Pete Seeger, Lee Hayes, Fred Hellerman, and often Woody Guthrie. Featuring a vocal group called the Carolinians that included White's brother Bill and future civil rights leader Bayard Rustin, "Chain Gang" moved White's music further in the direction of pointed social commentary.

From the liner notes:
"Columbia Records proudly presents what is perhaps the most genuine folk music of our times...seven Negro laments of the chain gang sung by Joshua White and his Carolinians"

(192 kbps, front cover included)

Sonntag, 22. Oktober 2017

Mahalia Jackson - In The Upper Room

Supported by Mildred Falls, the Southern Harmonaires and the Melody Echoes (the two vocal groups are on different tracks), Mahalia Jackson turns in a typically rousing effort with "In the Upper Room".

All of the songs are classic spirituals and sacred songs, and while this was recorded a little later in her career, Jackson nonetheless sings with an incendiary passion that rivals her classic '40s recordings. Anyone looking to round out their Mahalia Jackson collection should look here, as "In the Upper Room" is one of her finest latter-day efforts.     

Mahalia Jackson - In The Upper Room
(256 kbps, cover art included)

Donnerstag, 19. Oktober 2017

Joe Gibbs & The Professionals - African Dub All-Mighty - Chapter 3

The third (and most impressive) of four volumes of dub mixes from the studio of producer Joe Gibbs, "African Dub, Chapter 3" finds engineer Errol Thompson getting a bit more adventurous than he had on the earlier installments. More of these dub versions keep shreds and snatches of the original vocal tracks in the mix, which is almost always a plus in a dub context - little snippets of disembodied vocals float through the otherworldly musical atmosphere, lending a sometimes spooky human element to the sound and often casting new and refracted light on the meaning of the original lyrics.

And on this volume, Thompson seems to be taking a few cues from his competitor Lee "Scratch" Perry, throwing such extramusical elements as water sounds (on "Freedom Call") and ringing telephones (on "Jubilation Dub") into the mix along with the usual gossamer shreds of guitar, horn, and keyboard. Highly recommended.               


Tracklist:

Chapter Three
Rema Dub
Tribesman Rockers
Freedom Call
Jubilation Dub
The Entebbe Affair
Angolian Chant
Zion Gate
Jungle Dub
Dub Three

Joe Gibbs & The Professionals - African Dub All-Mighty - Chapter 3
(320 kbps, cover art included)

Dienstag, 17. Oktober 2017

Nico - Desertshore (1970)

While Nico was the member of the Velvet Underground who had had the least experience in music prior to joining the group (while she had recorded a pop single in England, she'd never been a member of a working band before Andy Warhol introduced her to the Velvets), she was also the one who strayed farthest from traditional rock & roll after her brief tenure with the band, and by the time she recorded "Desertshore", her work had little (if anything) to do with traditional Western pop.

John Cale, who produced and arranged "Desertshore", once described the music as having more to do with 20th century classical music than anything else, and while that may be going a bit far to make a point, even compared to the avant-rock frenzy of the Velvet Underground's early material, "Desertshore" is challenging stuff. Nico's dour Teutonic monotone is a compelling but hardly welcoming vocal presence, and the songs, centered around the steady drone of her harmonium, are often grim meditations on fate that are crafted and performed with inarguable skill and intelligence, but are also a bit samey, and the album's downbeat tone gets to be rough sledding by the end of side two. Cale's arrangements are superb throughout, and "My Only Child," "Afraid," and "The Falconer" are quite beautiful in their own ascetic way, but like the bulk of Nico's repertoire, "Desertshore" is an album practically designed to polarize its listeners; you'll either embrace it's darkness or give up on it before the end of side one. Then again, given the thoroughly uncompromising nature of her career as a musician, that's probably just what Nico had in mind. 

Tracklist:

Janitor Of Lunacy 4:01
The Falconer 5:39
My Only Child 3:27
Le Petit Chevalier 1:12
Abschied 3:02
Afraid 3:27
Mütterlein 4:38
All That Is My Own 3:54


Nico - Desertshore (1970)
(320 kbps, cover art included)             

Samstag, 14. Oktober 2017

Paulinho da Viola - Paulinho da Viola (1971)

This album, originally from 1971, was reissued in CD format in 1996 with the original cover and was digitally remastered at the Abbey Road studios in London. While Brazil was still dominated by the frenetic sounds and images of the declining Tropicália, it is surprising that this subtle release could met such success.

The vigorous anti-commercialism branded in his previous album, centered in his somewhat melancholic and discrete personality, was even enhanced in this one, which was his fourth solo release. "Dona Santina e Seu Antenor" is a humorous chronicle of the life in the hills. "Para Um Amor No Recife" is a delicate bossa that was re-recorded by Fafá de Belém, Zé Ramalho, and Marina Lima. The re-recording of forgotten classics by important sambistas like Monarco, Francisco Santana, Elton Medeiros, Otávio de Moraes, Raul Sampaio, Benil Santos, Valzinho, Orestes Barbosa, Mauro Duarte, Walter Nunes, and others evidence his generosity in sharing his opportunities with his brothers. "Depois da Vida" (Nelson Cavaquinho/Guilherme de Brito/Paulo Gesta) aroused considerable polemics with its morbidity.               


Tracklist:

A1Num Samba Curto2:48
A2Pressentimento2:47
A3Para Ver As Meninas2:47
A4Nas Ondas Da Noite2:06
A5Filosofia Do Samba2:10
A6Consumir E Viver2:42
B1Lapa Em Três Tempos (Musica Incidental: Abre A Janela)2:48
B2Coração2:05
B3Minha Vez De Sorrir2:47
B4Reclamação2:50
B5Abraçando Chico Soares2:00
B6Vinhos Finos... Cristais2:23

Paulinho da Viola -  Paulinho da Viola (1971)
(128 kbps, cover art included)

Freitag, 13. Oktober 2017

VA - Bob Dylan & The Band´s Basement Tapes Influences - Original Versions Of The Big Pink Recordings

The recordings that took place during 1967 in the quiet backwaters of upstate New York, near the town of Woodstock, probably represent Bob Dylan's most productive song writing period to date. In March of 1967, almost nine months after falling from his motorcycle, Dylan recommenced music-making and in May/June he began recording informal sessions with the Hawks - soon to become The Band - in the Red Room at his Byrdcliffe home. The distractions of family life soon became too much however and the musicians relocated to the unremarkable pink painted property that would come to be known as The Big Pink . Dylan would later tell Rolling Stone, That's really the way to do a recording, in a peaceful, relaxed setting in somebody's basement. With the windows open... and a dog lying on the floor. Working in their makeshift studio became a daily ritual and between June and late October 67, the musicians committed well over a 100 songs to tape. The sessions, which would become known as The Basement Tapes, produced a kaleidoscope of American music and more. Alongside the tracks composed by Dylan, the musicians summoned up cowboy songs ( Cool Water ); sea shanties ( Bonnie Ship The Diamond ); blues (John Lee Hooker s I m In The Mood ), country (Hank Williams and lots of Johnny Cash) and several traditional songs ( The Trees They Do Grow High , Hills Of Mexico ). Guitarist Robbie Robertson told Greil Marcus: [Dylan] would pull these songs out of nowhere. We didn't know if he wrote them or if he remembered them. When he sang them you couldn't tell. This compilation collects together the originals - or the version that Dylan likely knew - of 26 of the tracks recorded during this sublime period of creativity, undertaken while the majority of American and British act were dabbling in acid fuelled psychedelia, the majority of which today sounds nothing but dated.           

Tracklist:

- Joan BaezThe Trees They Do Grow High2:57
Roscoe HolcombThe Hills Of Mexico2:32
Luke The DrifterBe Careful Of Stones That You Throw2:59
Hank SnowA Fool Such As I2:29
The Rays Silhouettes2:45
Judy CollinsBonnie Ship The Diamond2:19
Dinah WashingtonI Don't Hurt Anymore3:13
Glenn YarbroughSpanish Is The Loving Tongue3:13
Clancy BrothersRosin Le Beau3:23
Barbara Dane900 Miles2:18
Bob NolanCool Water2:42
Elizabeth CottenGoin' Down The Road Feelin' Bad2:11
James Carter Po' Lazarus4:32
Elvis PresleyI Forgot To Remember To Forget2:28
Ronnie HawkinsYou Win Again2:08
Sonny BurnsWaltzin' With Sin2:38
Johnny CashBig River2:32
Johnny CashFolsom Prison Blues2:42
Pete SeegerThe Bells Of Rhymney5:22
John Lee HookerTupelo Blues3:25
John Lee HookerI'm In The Mood2:44
Gid TannerYa Gotta Quit Kickin' My Dog Aroun'3:06
Bobby BareThe All American Boy3:09
Carter FamilyWildwood Flower3:11
Sonny KnightConfidential2:33
Blind Lemon JeffersonSee That My Grave Is Kept Clean2:55

VA - Bob Dylan & The Band´s Basement Tapes Influences - Original Versions Of The Big Pink Recordings
(320 kbps, cover art included)

Mittwoch, 11. Oktober 2017

Gil Scott-Heron & Brian Jackson - Secrets (1978)

Gil Scott-Heron and Brian Jackson made a lot of incredible music together and "Secrets" is no exception. Soul and Jazz come together with the brilliance that is Gil Scott-Heron's mind and the result is truly inspiring. This 1978 album from the poet/musician, an album that continues the journey started on the 1977 album, "Bridges".

"Angel Dust" warns of the dangers of drug abuse. "Show Bizness" is a hilarious look at the perils of the music business ('they'll take care of everything for only 95%'), whilst "Madison Avenue" talks of the over commercialization of western society ("buying is all that's asked of you..."). "Better Days Ahead" and "Prayer For Everybody" see Gil in a more optimistic light hoping for a better future.

Gil Scott Heron was rapping and telling it like it is long before hip hop even thought about running its course. This album was a good example of Gil's finest works.

Tracklist:
1. Angel Dust
2. Madison Avenue
3. Cane
4. Third World Revolution
5. Better Days Ahead
6. 3 Miles Down
7. Angola Louisiana
8. Show Bizness
9. A Prayer For Everybody To Be Free


Gil Scott-Heron & Brian Jackson - Secrets
(192 kbps, front cover included)

Harry Belafonte - Belafonte Returns To Carnegie Hall (1969)

On May 2, 1960, Harry Belafonte returned to Carnegie Hall for what was supposed to be one of the last concerts in the venerable hall's last season.
Carnegie was scheduled to be torn down, although this was an edict that was thankfully short-lived. The hall was instead renovated and remains one of New York's premier showplaces.

The first Carnegie Hall recording from the previous year had had such an impact on the recording industry that it opened up new vistas for live recordings. Belafonte faced the challenge of living up to his own legend.

For this concert, he began what would be a concert tradition for him: sharing the spotlight with up-and-coming folk performers. Representing the new collegiate folk singing group trend was the Chad Mitchell Trio, currently appearing at New York's Blue Angel, where Belafonte had seen them perform. South African singer and activist Miriam Makeba, another Belafonte discovery, also performed, as did folk and blues singer Odetta, and the Belafonte Folk Singers.

The guest stars nearly upstaged Belafonte, but this turned out to be de rigueur for his concerts. Highlights include Odetta's powerhouse medley of the work songs "I've Been Driving on Bald Mountain" and "Water Boy," the Folk Singers' exciting "Ox Drivers Song," Makeba and Belafonte's charming duet on "One More Dance," and the Mitchell Trio's exuberant Israeli song "Vaichazkem."
For a finale, Belafonte turned to the Mexican folk dance "La Bamba," treating it to an eight-minute-long heels-flying festive romp.

  1. "Jump Down Spin Around" - Harry Belafonte and the Belafonte Folk Singers - 2:14
  2. "Suzanne" - Harry Belafonte - 5:50
  3. "A Little Lyric of Great Importance" - Harry Belafonte and the Belafonte Folk Singers - 1:29
  4. "Chickens" - Harry Belafonte and the Belafonte Folk Singers - 3:10
  5. "Vaichazkem" - The Chad Mitchell Trio - 1:34
  6. "I Do Adore Her" - The Chad Mitchell Trio - 3:18
  7. "The Ballad of Sigmund Freud" - The Chad Mitchell Trio - 3:28
  8. "I've Been Driving On Bald Mountain / Water Boy" - Odetta - 2:20 & 4:35
  9. "A Hole In the Bucket" - Harry Belafonte and Odetta - 5:19
  10. "The Click Song" - Miriam Makeba and The Belafonte Folk Singers - 3:46
  11. "One More Dance" - Harry Belafonte and Miriam Makeba - 3:43
  12. "The Ox Drivers" - Belafonte Folk Singers - 2:59
  13. "The Red Rosy Bush" - Belafonte Folk Singers - 2:51
  14. "Didn't It Rain" - Belafonte Folk Singers - 5:27
  15. "Hene Ma Tov" - Harry Belafonte and the Belafonte Folk Singers - 3:46
  16. "I Know Where I'm Going" - Harry Belafonte and the Belafonte Folk Singers - 3:27
  17. "Old King Cole" - Harry Belafonte and the Belafonte Folk Singers - 4:59
  18. "La Bamba" - Harry Belafonte and the Belafonte Folk Singers - 8:04
Harry Belafonte - Belafonte Returns To Carnegie Hall (1960)
(192 kbps, cover art included)

Dienstag, 10. Oktober 2017

Ewan MacColl & Peggy Seeger - The Wanton Muse

Ewan MacColl’s sleeve notes:

All the songs recorded for this album have in common the theme of sexual encounter and desire, a theme which is shared in some measure by the overwhelming majority of English and Scots folksongs. The amatory pieces presented here, however, differ in some respects from the general run of traditional love songs.

For one thing, they are all more concerned with the act of love than with an abstract idealisation of it; indeed, they are scarcely concerned at all with romantic love, with its sighs and protestations of fidelity, its frustrations and betrayals instead they deal with physical desire and the joys and pleasures attendant on the consummation of the body’s appetite. They are, in short, erotic folksongs.

‘Euphemistic’
They differ, too, in the manner of their treatment of the subject. All of them may be broadly described as euphemistic. In some of them, the action flows, so to speak, from a single extended metaphor; in others, a series of analogies are skilfully combined like a set of variations on a musical theme. In one or two cases a single phrase or even a single word embedded in the text informs us that the song is in code and at the same time serves as a key to unlock the code.
The metaphors may be as delicately oblique as in ‘The Bird in the Bush’, ‘The Gairdener’s Chylde’ and the ‘Furze Field’- or as obvious as those used in ‘The Cobbler’ or the Thrashing Machine’. They can be tender, boastful, sly, lusty – but they are never coy.

‘Unexpurgated’
A third point of difference between the songs in this collection and the main corpus of traditional love songs is that most of the pieces here remained unpublished until comparatively recently, or were printed in versions from which erotic detail was almost entirely expurgated.
Allowing for the fact that some collectors bowdlerized folksong texts with an eye to popular publication, and in particular to school publication, it is still odd that these revised versions can also occasionally be found in the pages of folk society journals.
Equally strange and irritating are those isolated single verses followed by a note informing the reader that the remainder of the text ‘is of a character unsuitable for the pages of this journal’. One asks oneself why it is suitable to print John Donne’s rapturous climactic line ‘0 my America, my Newfoundland !’ and why a Norfolk farm labourer’s enormously satisfying cry of ‘Then I entered the bush of Australia’ is unsuitable.

‘Unsuitable for publication
Aristophanes, in The Lysistrata, has the magistrate say: ‘Another (husband) will go to the cobbler, a great strong fellow with a great long tool, and tell him: “The strap of one of my wife’s sandals presses her little toe, which is extremely sensitive; come in about mid-day to supple the thing and stretch it.” ‘ Balzac, in the opening sentence of the short story, entitled Innocence, swears: ‘By the double red crest of my chanticleer and by the pink lining of my love’s black slipper!’ Publishers, even in Victorian times, did not consider Aristophanes or Balzac to be unsuitable for publication; why then, is a traditional song like ‘The Cobbler’ who ‘to the bedroom goes mending ladies’ shoes’ confined to manuscript collections?
Again, why is it necessary when commenting on traditional songs such as ‘The Molecatcher’ or The Furze Field’ to describe their affectionate euphemisms for male and female genitals as ‘the lingua franca of the folk’? It is also the ‘lingua franca’ of Shakespeare, Jonson, and the whole tribe of Elizabethan poets and dramatists, not to mention Plautus, Terence, Sappho, Virgil, Ovid, Chaucer, Burns and indeed almost every poet who has ever concerned himself with the most absorbing of all themes.

‘Sex makes it interesting’
Gershon Legman, in his magnificent work on erotic folklore and bibliography (wittily entitled THE HORN BOOK), writes:’Erotic folklore is to be collected for the same reason that it is proliferated : because it is about sex. That is what makes it interesting both to the “oral source” and to the collector – who is supposed to be a human being, with all the organs and impulses of a human being – that is what makes it socially valuable and historically important.
‘Sex, and its folklore, are far more interesting, more valuable, and more important in every social and historical sense, than, for instance, the balladry of murder, cruelty, torture, treachery, baby-killing, etc., which are the principal contents, to give only one familiar example, of the Child ballads.’
An emphatic statement, but no more emphatic than the one made by Beatrice in John Marston’s Dutch Courtesan: ‘We pronounce boldly robbery, murder, treason, which needs be far more loathsome than an act which is so natural, just and necessary as that of procreation. You shall have an hypocritical vestal virgin speak that with close teeth publicly which she will receive with open mouth privately … I love no prohibited things, and yet I would have nothing prohibited by policy but by virtue, for as in the fashion of time, those books that are called in, are most for sale and request, so in nature those actions which are most prohibited are most desired.” ‘

Ewan MacColl’s liner notes to the songs:

Ballad of the Trades
This comprehensive catalogue of the tools of the trades might be said to sum up the contents of this album. Each of the songs has been conceived in the terminology of the trade of its maker, each process of work honed down to fine shades of description, each symbol exactly mirroring or extending the tool(s) used, or the medium in which the trade is carried on.
Such a song could well be extended into modern life, what with the myriad of new professions, trades and skills daily being developed – as long as the eye remains receptive to impressions of shape, the hand to impressions of texture and the mind open to analogous sensation and creation, ‘The Ballad of the Trades’ could well have thousands of verses ! (Source : a collation of several broadside texts, with tune by the singer.)

The Shepherd Lad
‘The Baffled Knight’, the title by which Professor Child designates this ballad type (No 112 in his collection), was first printed in the Deuteromelia of Thomas Ravenscroft, in 1609. It was henceforth a favourite with broadside printers. A second, third and fourth part of the ballad was written towards the end of the 17th century and were later combined into the version found in the Pepys ballads. A similar story is found in ballads from Spain, Portugal, Italy, France, Germany and Denmark. (Source: from the singer’s father, William Miller, with some verses collated from Greig’s LOST LEAVES.)

The Wanton Seed
Gershon Legman : ‘The folklore, the science, the religion and the songs of people living this (agricultural) are filled, in a sincerely accepted way, with the profound sexual tonality, both open and symbolized, that is basic to its fabric. The sexuality and fertility of the human being becomes his or her principle feature, as it is in biological fact, and the prime concern of the husbandman. He sees it, he accepts it, and he celebrates it in his folklore and song, precisely as he accepts the same immanent sexuality of every other part of his life, with the superb simplicity of Shakespeare’s ANTONY AND CLEOPATRA II, ii. 242 : “He plough’d her, and she cropt.” ‘ (Source: text: Reeves, p. 276; tune: from the Hammond Collection in the Cecil Sharp House, London, D.404.)

The Wind Blew The Bonnie Lassie’s Plaidie Awa’
Robert Ford printed a version of this spirited song in VAGABOND SONGS AND BALLADS and, in a note, writes: My friend, Mr. D. Kippen of Crieff, has it that the song was composed by an Irishman who lived in Crieff near to the cross in the early years of the present century (early 1800’s) and who was known by the name of “Blind Bob”.’ Ford describes the version in his book as ‘a little high-kilted”, though ‘by no means rudely indelicate.’ In actual fact the kilt stops short at the ankle and only the most bigoted Presbyterian might be expected to register shock at the sight of a mere inch or two of bare leg. Our version on the other hand, has abandoned the kilt completely and goes tripping by with bare hurdies, unabashed and unrepentant. (Source: Hughie Graeme, Galloway singer.)

The Coachman and his Whip
A somewhat longer version of this can be seen in the collection of Original Broadsides in the Nottingham University Library. This particular version was learned from Sam Larner of Winterton, Norfolk, in 1961.

The Thrashing Machine
It is easy to place a time-limit at which this song could have been started, for the threshing machine came of age in the late 1780’s. The song is delicately balanced, not only in its use of the machine analogy, but the fact that threshing is a harvesting process, closely tied up with the concepts of fruition. The adopting of such a machine as a symbol is but an extension of the older type of song which glorified the ‘tearing scythe’ or the reaper’s hook, and so on. And, for people who lived close to the land and depended upon it for their sustenance, they themselves might often have seemed but extensions of the same natural sequence of events which provided them with their living. (From the singing of Anne O’Neil, Belfast tinker woman, N. Ireland.)

Maid of Australia
This is a great favourite among country singers in Norfolk, although it appears to be unknown elsewhere. Learned from the singing of Sam Larner, of Winterton, Norfolk.

The Cuckoo’s Nest
Like ‘The Bird in the Bush’, this fragment is the terse versification of a good sexual analogy. (Source: learned from Jeannie Robertson, Aberdeen.)

The Gairdener Chylde
No. 219 in Child’s definite collection, this ballad seems to have been collected only from northern sources and even then but rarely. Its first appearance in print was in a rather corrupt form in an Edinburgh chapbook dated 1776, The floral codes for desire, love, rejection, etc., are common in country songs, but rarely is the code as elaborate as it is here. (Source: from the singer’s mother, with verses collated from Greig’s LOST LEAVES,)

The Vintner
Broadside versions of this piquant story can be found in both the Roxburghe and the Bagford collections under the title of ‘The Fair Maid of Islington’, or The London Vintner Over-reached’. The version given here was collected by Peter Hall, of Aberdeen, from Jessie MacDonald, a 97-year-old MacDuff (Banffshire) woman.

Andrew and his Cutty Gun
The earliest published song under this title appeared in Alan Ramsay’s TEA-TABLE MISCELLANY (1740). Robert Burns, in a letter to George Thompson in 1794, described the version given here as ‘the work of a master’. (Source: Merry Muses of Caledonia, p. 1 20.)
The Game of ‘All Fours’
All Fours (or High Low Jack and the Game) was still a popular card game as late as the mid-1930’s. The song to which the game gave its title has, apparently, been collected in many parts of England but, until Frank Purslow published Gardiner’s version in MARROWBONES, appears never to have got into print. The version here is from the singing of Sam Larner of Winterton, Norfolk.

The Cobbler
From the singing of George Spicer, Copthorne, Sussex. An almost identical text can be seen in the collection of Original Broadsides in Nottingham University Library.

The Modiewark
Of all the creatures abounding in field, river, forest and mountain, the most celebrated is neither deer nor dog, fish nor fowl, It is the modiewark, or mole, which enjoys the most popularity as an erotic symbol in Scots and English country songs. This witty example of the gype was collected by Burns. (Source: text, Merry Muses of Caledonia, tune from Johnson. No. 354.)

The Furze Field
This is a curious and unique song – it is obviously passionate, obviously directed at one person (a man), hence meant to be sung by a woman. Yet it is the kind of song one almost never hears sung by a woman! It was collected from Mr. Moses Mills at Preston Candover, Alresford, Hants, in 1907 by George Gardiner. It is the kind of song which was the staple fare of the chapbooks, the cheap, popular collections of songs sold on the streets from the early 1700’s onwards. Its circular, almost fugue-like melody, its incremental repetition, the tenderness and gentleness of conception and utterance, set it quite aside in atmosphere from the rest of the songs on this album.

The Long Peg and Awl
Nearly every male country singer in southern England has such songs as this in his repertoire, although hardly ever do such songs as this appear in print or get sung in mixed company. The symbol is, of course, too obvious to ignore, too common in communities where the small craftsman plying the tools of his trade is a commonplace. This particular piece has chiefly been collected in southern England, in eastern Canada and northern United States. (Source: from the singing of Harry Cox, Catfield, Norfolk.)

The Maid Gaed to the Mill
This defiant assertion of the right to be wanton is a central theme in Scots literature and a constantly recurring one in traditional Scots songs. An English version The Miller and the Lass’ can be found in the Cecil Sharp manuscripts. (Source: from the singer’s father, collated with verses from David Herd.)

The Bird in the Bush
This is one of the most intensely amorous songs in the entire English repertory. The quiet, leisurely action and the disarmingly simple language succeed in producing an atmosphere compounded equally of sensuousness and mystery. The Scots air which accompanies the text is from Christie’s TRADITIONAL BALLAD AIRS.

She was a Rum One
For the north-east Scots ploughman, the horse was a sacred beast, and women were often described in horsey terms, compared to horses in build, stride and character. The final verse, although very direct, is typical of the bothy songs made by these plowmen. As Rob Donald, the Gamrie shepherd, commented after hearing this song for the first time, ‘That a gey rough sang, but it gets richt to the hairt o’ the maitter.’ And that is an understatement, (Source: from the singing of Jeannie Robertson, Aberdeen.)


Tracklist:

A1Ballad Of The Trades
A2The Shepherd Lad
A3The Wanton Seed
A4The Wind Blew The Bonnie Lassie's Plaidie Awa'
A5The Coachman And His Whip
A6The Thrashing Machine
A7Maid Of Australia
A8The Cuckoo's Nest
A9The Gairdener Chylde
B1The Vintner
B2Andrew And His Cutty Gun
B3The Game Of 'All Fours'
B4The Cobbler
B5The Modiework
B6The Furze Field
B7The Long Peg And Awl
B8The Maid Gaed To The Mill
B9The Bird In The Bush
B10She Was A Rum One

Ewan MacColl & Peggy Seeger - The Wanton Muse
(ca. 256 kbps, cover art included)

Montag, 9. Oktober 2017

Hanns Eisler - Klingende Dokumente IV (1982)

Hanns Eisler´s reflections "On the task of music in our time" ("Über die Aufgabe der Musik in unserer Zeit") suggest that music, by exerting a cathartic effect on human feelings, should help produce people who are "better equipped" for socialism. Such views strike us as antiquated today. But the words he then added appear to have gained a new relevance in the complex world situation we are facing at the beginning of the 21th century in the light of the near-total collapse of the socialist world and the worldwide triumph of capitalism, but also in view of an incresingly widespread sense of apocalyptic resignation: "There exists a facile cynicism, a facile objectivism, a facile tendency to look at our weakneses and denying our merits and virtues which fills me with gloom and anger."

The "White Bread Cantata " ("Weißbrot-Kantate", after an Italian peasant legend) belongs to a group of small cantatas for vocalists and several instruments composed in 1934.

The "Peace Song" ("Friedenslied") figures among a group of children´s songs which were written around 1950 while Eisler was composing the "New German Folk Songs " based on texts by Johannes R. Becher.

The "Lenin Requiem" (words by Brecht) was finished in exile as early as 5 August 1937, but it was not until 22 November 1958 that it received its first perfomance in Berlin. The cantata "The Carpet-Weavers of Kuyan-Bulak" ("Die Teppichweber von Kujan Bulak", Brecht) was composed in 1957 and had its premiere on 17 February 1958.

Tracklist:

(01) Vom Sprengen des Gartens
(02) Haltung zum Lehrer Schönberg - Treue des Schülers zum Lehrer (Bunge-Gespräch, 1958)
(03) Lenin - Requiem für Alt- und Baritonsolo, Chor und Orchester
(04) Eisler - ein politischer Komponist?
(Herrmann-Gespräch, 1961)
(05) Aus ,,Die Weissbrotkantate"
Nr.3 Abschließende Bemerkung
(06) Die Weißbrotkantate
(07) Friedenslied
(08) Die Tage der Kommune
Aus der Bühnenmusik Nr.1-3
(09) Brecht, Eisler und Chaplin
(Bunge-Gespräch, 1958)
(10) Galileo Galilei
Ballade Nr.9 aus der Bühnenmusik
(11) Lebensfreude - ohne Konformismus zur Vergangenheit hin (Bunge-Gespräch, 1958)
(12) Der Held der westlichen Welt
Vier Lieder aus der Bühnenmusik
(13) Über die Aufgabe der Musik unserer Zeit
(Herrmann-Gespräch, 1960)
(14) Die Teppichweber von Kujan-Bulak
Kantate für Sopran und Orchester

Hanns Eisler - Klingende Dokumente IV (1982)
(320 kbps, no cover art)

Freitag, 6. Oktober 2017

Jorge Ben‎ - Fôrça Bruta (1970)

The combination of Jorge Ben and Trio Mocotó had already produced great things when "Força Bruta" first appeared in 1970. Ben's self-titled album of the year before had reeled off a succession of Brazilian hits, including "País Tropical" and "Cadê Teresa," and made the four musicians very busy as a result.

"Força Bruta" was a slightly different album, a slice of mellow samba soul that may perhaps have been the result of such a hectic schedule during 1969. One of the hidden gems in Jorge Ben's discography, it's a wonderful album because it kept everyone's plentiful musical skills intact while simply sailing along on a wonderful acoustic groove that may have varied little but was all the better for its agreeable evenness. The songs may have been more difficult to distinguish - virtually every one began with acoustic guitar, similar instrumentation, and Ben's caressing vocals over the top - but it made the record one of the best in Ben's hearty career.   

Tracklist:

A1Oba, Lá Vem Ela
A2Zé Canjica
A3Domenica Domingava Num Domingo Linda Tôda De Branco
A4Charles Jr.
A5Pulo, Pulo
B1Apareceu Aparecida
B2O Telefone Tocou Novamente
B3Mulher Brasileira
B4Terezinha
B5Fôrça Bruta

Jorge Ben‎ - Fôrça Bruta (1970) 
(192 kbps, cover art included)