Freitag, 31. August 2018

VA - I´m So Proud - A Jamaican Tribute To Curtis Mayfield (Trojan)

No matter the official history, Jamaica's rocksteady movement of the late '60s wasn't just a response to the hectic rhythms of ska and a few summers of temperatures much sweatier than usual. No, the sweetly sung, down-tempo, rhythm lurch of rocksteady was greatly influenced by one of the biggest artists on Jamaican play lists between 1965 and 1969: Curtis Mayfield and the Impressions.

Most of the classic rocksteady artists -- the Heptones, the Jamaicans, the Uniques, the Gaylads -- recorded Impressions covers during the late '60s or early '70s, and though they rarely added much to the versions other than a distinct reggae tilt, most were up to the level of all the covers done by American groups.

The Trojan compilation "I'm So Proud: A Jamaican Tribute to Curtis Mayfield" assembles 20 of the best covers (or inspired originals), and would serve well any fan of Mayfield or the Impressions; after all, it's simply not very far from the Impressions' "It's All Right" to Alton Ellis' "Rocksteady."               


1 –Derrick Morgan - It's All Right
2 –Lloyd & Glen - Keep On Pushing
3 –The Techniques - Queen Majesty
4 –Dennis Alcapone - My Voice Is Insured For Half A Million Dollars (Queen Majesty Version)
5 –The Jamaicans - Dedicate My Song To You
6 –The Uniques - Gypsy Woman
7 –The Progressions - Rocksteady Time (The Monkey Time)
8 –Joe White  - I'm So Proud
9 –Pat Kelly  - Little Boy Blue
10 –Noel 'Bunny' Brown - Man's Temptation
11 –The Silvertones - He Will Break Your Heart
12 –The Uniques - My Woman's Love
13 –The Gaylads - That's What Love Will Do
14 –Bob Marley & The Wailers - Long Long Winter
15 –Pat Kelly - Soulful Love
16 –Slim Smith - Closer Together
17 –The Heptones - I've Been Trying
18 –Bob Marley & The Wailers - I Gotta Keep On Moving
19 –The Chosen Few - Queen Majesty
20 –Marcia Griffiths - Gypsy Man

VA - I´m So Proud - A Jamaican Tribute To Curtis Mayfield (Trojan)
(320 kbps, cover art included)

VA - Tighten Up, Vol. 1 & 2 (Trojan Records)

It was the phenomenal success of the Inspirations' "Tighten Up" single, that launched Trojan's legendary reggae series. Quickly cashing in with the astutely titled "Tighten Up" compilation, the rest is history.

That's the accepted version of the story, the actual one is more mundane, and much more calculating. Trojan had so far failed to interest the British public with its albums, and three excellent single-artist compilations released in 1968 excited little attention. In desperation, a market research study was conducted; the results were a wake-up call, for what reggae fans really wanted was a cheap sound system experience in their front rooms. Trojan responded in 1969 with a budget-priced album featuring an eclectic mix of recent tracks, kicking off with "Tighten Up" itself. The reaction was phenomenal, so much so that a follow-up set was released before the year was out.

"Tighten Up, Vol. 1-2" brings these two seminal sets together on a single CD. The first volume was surprisingly the weakest, and weighed down with reggae-fied pop covers. David Isaacs' "Place in the Sun" is the best of the batch, the two instrumentals the most fun, and the Uniques' "Watch This Squad" the oddest. Of the original numbers, "Tighten Up" itself (now inexplicably credited to producer Lee Perry) is the obvious draw, but equally crucial are Derrick Morgan's soulful, skinhead fave "Fat Man," and Brother Dan All--Stars' sweet "Donkey Returns."

In contrast to this shaky start, the second volume was stuffed with smash hits and acknowledged classics. The trio of instrumentals are absolutely lethal, with the biggest, the Upsetters' "Return of Django" having moonstomped its way into the U.K. Top Five. It's obvious this set held pride of place in many future 2-Toners record collections, with the Pioneers' "Longshot Kick de Bucket," Clancy Eccles' "Fattie Fattie," and the Upsetters' exuberant "Live Injection" all providing inspiration. From calculating Casanovas to the outright rude, from sufferers to celebrators of the new sound, in Britain "Them a Laugh and a Ki Ki" when presented with reggae in all its wonder. Great music never goes out of fashion, which is why this series' popularity has never faded.            

VA - Tighten Up Vol. 1 & 2 (Trojan)
(192 kbps, front cover included)

Donnerstag, 30. August 2018

Joe Gibbs & Friends - The Reggae Train 1968 - 1971 (Trojan)

Along with Lee Perry, Bunny Lee, and Clancy Eccles, Joe Gibbs represented the second generation of star Jamaican producers. Originators in the ska era, like producers Duke Reid and Clement Dodd, trained these pioneers of the later rock-steady sound and even released many important sides in that genre as well.

Trojan Records' excellent "Producer Series" spotlights these behind the scenes heavyweights and Joe Gibbs' "The Reggae Train" stands out in particular with its wide variety of classic rock-steady and reggae sides from 1968-71. While onetime Gibb partner Lee Perry's idiosyncratic contributions like "The Upsetter" send things into the stratosphere, Ken Parker's straight soul number "It's Alright" and Tommy McCook's beautiful saxophone and trombone instrumental "Soulful Mood" help keep the proceedings down to earth. This range of musical moods was typical of the output from Gibbs and his contemporaries as ska, rock-steady, solo and trio vocal number, and early reggae were all included; the Slickers and Young Souls here contribute some nice harmony tracks while Peter Tosh's "Arise Blackman" clocks in as one of the first Rastafari anthems. 

Gibbs' house band, the Hippy Boys, which included Jamaican studio aces McCook, organist Gladstone Anderson, and trombonist Vince Gordon, keep the producer's trademark dense slab of sound consistent amongst "The Reggae Train"'s varied program with up-in-the-mix bass and drums, sinewy guitar lines, and bobbing organ chords. The Hippy Boys' dynamic and tight interplay is heard to particular advantage on Ken Parker's "Only Yesterday" and the instrumental track "Hijacked." 

Along with producer Harry J and others, Gibbs fleshed out the thin production values of ska by spreading out the beat and as a result took Jamaican music from the golden era of rock-steady into the early reggae period. Like almost all Trojan's '60s Jamaican reissues, this Joe Gibbs overview is a high-quality release and one that reveals a distinct voice of early Jamaican music.


01 – Lee Perry – The Upsetter
02 – The Versatiles – Trust the book
03 – Lee Perry – Kimble
04 – Sir Gibbs – People grudgeful
05 – The Reggae Boys – Me no born yah
06 – The Young Souls – Man a wail
07 – The Immortals – Bongo Jah
08 – The Slickers – Man beware
09 – Tommy McCook Band – Soulful mood
10 – Joe Gibbs All Stars – Hijacked
11 – Ken Parker – It’s all right
12 – The Soul Mates – Jump it up
13 – The Reggae Boys – The wicked must survive
14 – The Slickers – Mother matty
15 – The Versatiles – Push it in
16 – The Reggaeboys – The reggae train
17 – Ken Parker – Only yesterday
18 – Peter Tosh – Arise blackman

(320 kbps, cover art included)

Mittwoch, 29. August 2018

VA - Celebration - Twenty Five Years Of Trojan Records

For 50 years, Trojan Records has taken Jamaican music to the world.

"We mustn´t underplay the part that Trojan played. The kids that have grown up listening to this catalogue included a lot of the punks, the Jose Strummers, the Paul Simonons... Before the Punky Reggae Party, it was Trojan. " - Don Letts.

This double-disc set from Trojan includes classic ska, rocksteady and reggae tracks from Desmond Dekker & the Aces, Jimmy Cliff, Lee Perry & the Upsetters, the Melodians, Toots & the Maytals, Bob Marley & the Wailers, Ken Boothe, John Holt and many others. Though there are quite a few Jamaican classics missing from this history of the music, all the tracks included are quite solid.               


01. Lord Tanamo - I'm In The Mood For Ska
02. Desmond Dekker And The Aces - 0.0.7. (Shanty Town)
03. The Ethiopians - Train To Skaville
04. Desmond Dekker And The Aces - Israelites
05. Desmond Dekker And The Aces - It Mek
06. Tony Tribe - Red Red Wine
07. Jimmy Cliff - Wonderful World, Beautiful People
08. Harry J Allstars - Liquidator
09. The Upsetters - Return Of Django
10. The Upsetters - Dollar In The Teeth
11. The Pioneers - Long Shot Kick De Bucket
12. The Melodians - Sweet Sensation
13. Jimmy Cliff - Vietnam
14. Bob & Marcia - Young Gifted And Black
15. The Maytals - Monkey Man
16. Desmond Dekker - You Can Get It If You Really Want
17. Nicky Thomas - Love Of The Common People
18. Horace Faith - Black Pearl
19. Freddie Notes & The Rudies - Montego Bay
20. The Melodians - Rivers Of Babylon

01. Symarip - Skinhead Moonstomp
02. Dave & Ansell Collins - Double Barrel
03. Bruce Ruffin - Rain
04. Bob & Marcia - Pied Piper
05. Greyhound -Black And White
06. Bob Marley & The Wailers - Small Axe
07. Dave & Ansell Collins - Monkey Spanner
08. The Pioneers - Let Your Yeah Be Yeah
09. Greyhound - Moon River
10. Dandy Livingstone - Suzanne Beware Of The Devil
11. Judge Dread - Big Seven
12. Greyhound - I Am What I Am
13. Ken Boothe - Everything I Own
14. Rupie Edwards - Ire Feelings (Skanga)
15. John Holt - Help Me Make It Through The Night
16. Ken Boothe - Crying Over You
17. Susan Cadogan - Hurt So Good
18. Derrick Harriott - Eighteen With A Bullet
19. Boris Gardner - You Make Me Feel Brand New
20. Dennis Brown - Money In My Pocket

VA - Celebration - Twenty Five Years Of Trojan Records
(320 kbps, cover art included)

VA - Dance Crasher - Ska To Rock Steady (Trojan)

Probably only of interest to the most diehard reggae fans, "Dance Crasher" traces the Jamaican music scene from fast-paced ska to slower rock steady. These two forms were later to develop into what is now known as reggae. It's a fascinating chronicle with tracks from reggae superstars like the Skatalites, the Maytals, the Ethiopians, and Lee Perry and the Soulettes.

All of the songs were cut between 1962 and 1966, and many such as "Hallelujah," "Doctor Dick" and "Big Bamboo" were produced by the legendary C.S. Dodd, one of Jamaica's early studio pioneers.

Some of the recording quality leaves much to be desired, but it's still a good listen. The most interesting piece is "Shame and Scandal," a hilarious story of Jamaican family life ("your daddy's not your daddy, but your daddy don't know"),  recorded by what was then called Peter Tosh and the Wailers.   

1. Big Bamboo - Lord Creator
2. Latin Goes Saka - The Skatalites
3. Hallelujah - The Maytals
4. Garden Of Love - Don Drummond
5. Rough And Tough - Stranger Cole
6. Beardman Ska - The Skatalites
7. Shame & Scandal - Peter Tosh & The Wailers
8. Street Corner - The Skatalites
9. Bonanza Ska - Carlos Malcomlm And The Afro Caribs
10. Dance Crasher - Alton Ellis & The Flames
11. Let George Do It - Don Drummond
12. Rudie Bam Bam - The Clarendonians
13. Ska Jam - Tommy McCook & The Supersonics
14. Doctor Dick - Lee Perry & The Soulettes
15. Ball O'Fire - The Skatalites
16. Owe Me No Pay Me - The Ethiopians
17. Independece Ska - Baba Brooks & Band
18. Don't Be A Rude Body - The Rulers

VA - Dance Crasher - Ska To Rock Steady (Trojan)
(256 kbps, front cover included)        

Dienstag, 28. August 2018

VA - Trojan Explosion - 20 Highly Explosive Reggae Hits (1987)

2018 marks 50 years of Trojan Records, so we start today posting some classic Trojan albums to celebrate!

On July 28th 1967, the British-based Jamaican music company, Island Records launched a label to showcase the output of one of the most popular and successful producers of the ska and rock steady eras – Arthur ‘Duke’ Reid.
The imprint, called ‘Trojan’ after the title Mr. Reid had acquired during his early days in the music business, surprisingly failed to fulfil its potential and folded after a matter of months. And this may well have been the end of the Trojan story had it not been for the creation of a new Jamaican music company, launched in the summer of ’68, which was in need of a suitably dynamic name.
The result of a merger between by Island Records and one of its main competitors, B&C, Trojan Records promptly launched an ambitious programme of issuing singles on a variety of labels that highlighted music from every producer of note, ranging from British-based music makers such as Robert ‘Dandy’ Thompson, to such esteemed Jamaican operators as Lee ‘Scratch’ Perry, Edward ‘Bunny’ Lee and, of course, Duke Reid himself.
Trojan’s rapid growth during its first year was due in no small part to the development of a working class youth movement that embraced Jamaican music as part and parcel of its culture: skinheads.
The purchasing power of this fast developing demographic resulted in an explosion in sales and in the summer of ‘69 the company enjoyed its first mainstream hit with ‘Red Red Wine’ by a little known British-based singer Tony Tribe. Its success was soon eclipsed when the Upsetters, the Pioneers, Jimmy Cliff and Harry J’s All Stars all made their way onto the higher reaches of the mainstream listings.
The Trojan bandwagon rolled on remorselessly into the new decade, with the likes of Desmond Dekker, the Maytals and Bob & Marcia all flying high on the British Pop charts.
In the spring of 1971, Dave & Ansel Collins‘Double Barrel’ provided Trojan its first UK number one, while further chart entries followed with hit singles by Bruce Ruffin, Greyhound and the Pioneers.
Aside from their overtly commercial output, the company also highlighted music by artists largely unknown outside Jamaica, many of which would later become major international recording stars – among these were Dennis Brown, Gregory Isaacs and a Kingston-based vocal trio called Bob Marley & the Wailers.
Trojan remained hugely successful over the next year or so, with further major hits from Dandy Livingstone, John Holt, Ken Boothe and the larger than life ex-bouncer, Judge Dread, but in 1975, after experiencing financial difficulties, the label acquired a new owner in Marcel Rodd.
Rodd’s inexperience with Jamaican music proved costly and despite signing new deals with a number of up-and-coming producers, Trojan struggled, but as the seventies came to a close, the ‘Ska Revival’ brought a dramatic upturn in its fortunes.
The success of bands such as the Specials and Madness sparked renewed interest in vintage ska and reggae classics and for a time Trojan thrived once more,  with compilations, such as ’20 Reggae Classsics’ and Bob Marley‘s ‘In The Beginning’, compiled by label manager, Patrick Meads, selling particularly strongly.
Unfortunately the good times were not to last and in 1985, with the ska boom long since over, Colin Newman – an accountant by profession and avid collector by nature – purchased the label. Under Newman’s direction, Trojan’s primary focus was upon its formidable back catalogue, with various specialists employed to ensure it maintained its position as the world’s leading vintage reggae record company.
Some 15 years later, Sanctuary Records became Trojan’s fourth owners, paying over £10 million for the privilege. Over the next few years the label went from strength to strength, its already vast catalogue augmented by those of RAS and Creole, resulting in an astoundingly diverse range of releases, highlighting everything from ska to dancehall.
The Trojan Records story took its next dramatic turn in June 2007, when the Universal Music Group purchased Sanctuary in its entirety, so bringing the Jamaican music imprint back under the same roof as Island, the label that had been instrumental in its creation some 39 years before.
Universal maintained the catalogue for the next 7 years, issuing numerous acclaimed collections and reviving the much-missed Trojan Appreciation Society, before reluctantly selling the imprint to BMG, a subsidiary of one of Europe’s biggest media companies, Bertelsmann.

"Trojan Explosion" includes a bevy of ska and reggae favorites, including "Wonderful World, Beautiful People" by Jimmy Cliff, "54-46 Was My Number" by the Maytals and "You Can Get It If You Really Want It" by Desmond Dekker. Every track is a classic, this whole album is an instant party. If people aren't moving two minutes after you put this on, your obviously in a morgue.     

From the back cover: "An album that combines some of the very best tracks from the 'Explosion' series together with choice cuts from deep in the Trojan vaults - 20 highly explosive Reggae hits...Stand well back when playing, it´s pure dynamite."                 

 1. You Can Get It If You Really Want - Desmond Dekker And The Aces
  2. Reggae In Your Jeggae - Dandy Livingstone
  3. Johnny Too Bad - The Slickers
  4. Liquidator - Harry J. All Stars
  5. Wonder World, Beautiful People - Jimmy Cliff
  6. Them A Laugh And A Kiki - The Soulmates
  7. 54-46 Was My Number - The Maytals
  8. Cherry Oh Baby - Eric Donaldson
  9. Let Your Yeah Be Yeah - The Pioneers
  10. Dollar Of Soul - The Ethiopians
  11. Young Gifted And Black - Bob And Marcia
  12. Sweet Sensation - The Melodians
  13. Elizabethan Reggae - Boris Gardiner
  14. Mama Look - The Pioneers
  15. Double Barrel - Dave And Ansel Collins
  16. Small Axe - Bob Marley And The Wailers
  17. Pomps And Pride - The Maytals
  18. Return Of Django - The Upsetters
  19. 007 (Shanty Town) - Desmond Dekker And The Aces

  20. Phoenix City - Roland Alphonso

VA - Trojan Explosion - 20 Highly Explosive Reggae Hits (1987)
(320 kbps, cover art included)

Montag, 27. August 2018

Gil Scott-Heron - 1970 – Small Talk at 125th & Lenox Ave

One of the most important progenitors of rap music, Gil Scott-Heron's aggressive, no-nonsense street poetry inspired a legion of intelligent rappers while his engaging songwriting skills placed him square in the R&B charts later in his career, backed by increasingly contemporary production courtesy of Malcolm Cecil and Nile Rodgers (of Chic).

Disregard the understated title, "Small Talk at 125th and Lenox" was a volcanic upheaval of intellectualism and social critique, recorded live in a New York nightclub with only bongos and conga to back the street poet. Here Scott-Heron introduced some of his most biting material, including the landmark "The Revolution Will Not Be Televised" as well as his single most polemical moment: the angry race warning "Enough."

Still, he balances the tone and mood well, ranging from direct broadsides to clever satire. He introduces "Whitey on the Moon" with a bemused air ("wanting to give credit where credit is due"), then launches into a diatribe concerning living conditions for the neglected on earth while those racing to the moon receive millions of taxpayer dollars. On "Evolution (And Flashback)," Scott-Heron laments the setbacks of the civil rights movement and provides a capsule history of his race, ending sharply with these words: "In 1960, I was a negro, and then Malcolm came along/Yes, but some nigger shot Malcolm down, though the bitter truth lives on/Well, now I am a black man, and though I still go second class/Whereas once I wanted the white man's love, now he can kiss my ass." The only sour note comes on a brush with homophobia, "The Subject Was Faggots."

01. Intro
02. The Revolution will not be televised
03. Omen
04. Brother
05. Comment #1
06. Small Talk At 125th And Lenox
07. The Subject Was Faggots
08. Evolution (And Flashback)
09. Plastic Pattern People
10. Whitey On The Moon
11. The Vulture
12. Enough
13. Paint It Black
14. Everyday

Gil Scott-Heron - Small Talk At 125th & Lenox Ave
(192 kbps, front cover included)

Miriam Makeba - Live (1977)

This album is the German version of the South African release "'Live' For My Brothers And Sisters".

The songs are from a live concert at Théâtre des Champs Elysées in Paris in 1977. On the album are both political songs of various sorts as well as songs meant more for dance and fun ("Pata Pata" being the most recognizable).

Realistically, Makeba may have other albums of a higher recording quality out there, but the inclusion of crowd noises, monologues with the audience, and some acoustic irregularities (inherent in any live recording) make the album seem more worthy as a document of a live performance, giving the listener a feel for what a live concert by the great singer would be like.
Any fan of Makeba's music should be overjoyed upon hearing this album,


               I Shall Sing                         4:00      
               Kulala                                  3:32      
               Malaika                              5:09      
               Jolinkomo                          3:23      
               Ring Bell                             3:34      
               Pata Pata                           2:43      
               Ngoma Kurila                    5:08      
               Forbidden Games             3:29      
               Mas Que Nada                  3:50      
               West Wind                         3:38      
               Amampondo                     2:42

Miriam Makeba - Live (1977)
(256 kbps, cover art included)

Joan Baez - Gracias A La Vida (1974)

Despite her Latin heritage, Joan Baez probably wouldn't have been encouraged by her 1960s record label, the New York-based independent Vanguard, to sing an entire album in Spanish. At A&M Records, the Los Angeles firm co-founded by Herb Alpert that she joined in the early '70s, however, it would have been a different story, and it was A&M that released "Gracias a la Vida" ("Here's to Life") in 1974.

Baez demonstrates an affinity for Mexican folk music on such obvious choices as "Cucurrucucu Paloma," but it's no surprise that, a year after the assassination of leading nueva canción folksinger Victor Jara in a military coup in Chile, an atrocity that shocked the American folk community, she has not backed away from her political commitments. There is "Guantanamera," a song that may have been a Top Ten U.S. hit for the Sandpipers in 1966, but that has political implications, as Pete Seeger has been reminding listeners for more than a decade. There is a Spanish version of "We Shall Not Be Moved" ("No Nos Moveran") with a lengthy spoken introduction. There are songs like "El Preso Numero Nueve" ("Prisoner Number Nine"; repeated from 1960's "Joan Baez") and "Esquinazo del Guerrillero" ("The Guerillas Serenade"). And, inevitably, there is a song of Jara's, "Te Recuerdo Amanda" ("I Remember You Amanda"), which the slain singer wrote for his mother. But then there is also "Dida," a wordless duet with Joni Mitchell. Throughout, 

Baez demonstrates her mastery of Spanish singing over authentic arrangements while attempting to stir up her Spanish-speaking listeners just as she does their English-speaking compatriots.


"Gracias a la Vida" (Here's to Life) (Violeta Parra)
"Llegó Con Tres Heridas" (He Came with Three Wounds) (From a poem by Miguel Hernández, musicalized by Joan Manuel Serrat)
"La Llorona" (The Weeping Woman) (Traditional)
"El Preso Número Nueve" (Prisoner Number Nine) (Los Hermanos Cantoral)
"Guantanamera" (Joseíto Fernández, José Martí, adapted by Julián Orbón)
"Te Recuerdo Amanda" (I Remember You Amanda) (Víctor Jara)
"Dida" (Joan Baez)
"Cucurrucucú Paloma" (T. Méndez)
"Paso Río" (I Pass a River) (Traditional)
"El Rossinyol" (The Nightingale) (Traditional Catalan song)
"De Colores" (In Colors) (Traditional)
"Las Madres Cansadas" (All the Weary Mothers of the Earth) (J. Baez)
"No Nos Moverán" (We Shall Not Be Moved) (Traditional)
"Esquinazo Del Guerrillero" (Guerilla Warrior's Serenade) (Rolando Alarcón/Fernando Alegría)

Joan Baez - Gracias A La Vida (1974)
(320 kbps, cover art included)

Hanns Eisler - Hollywood Songbook (Matthias Goerne, Eric Schneider)

Hanns Eisler was a composer with a social conscience, but, like the poet in one of these songs, he reaped only anguish. Driven from his native Germany where his music was banned by the Nazis, he went to California and wrote excellent film scores, but was unable to reconcile himself to Hollywood's mass culture, leaving him a stranger in a foreign land. These songs - like so much in the extraordinary "Entartete Musik" series - express the experience of actual and spiritual exile, with its aching yearning for a home that no longer exists. Most of the texts are by Eisler's friend and fellow exile, Bertolt Brecht; together they create a grim picture of bleak desolation in the midst of material plenty. The songs are connected by a feeling of isolation and despair at the state of the world, as well as a pervasive strain of desperate humor and irony. The sense of rootlessness is most clearly reflected in the songs' abrupt, incomplete-sounding endings. The musical language is eclectic but highly original, ranging from echoes of Schubert, intimations of the serialism Eisler learned from Schönberg, to cabaret songs. Eisler was finally deported back to Germany during the McCarthy era, having never attained the stature he deserved. Matthias Goerne's incomparably velvety, variable, expressive voice and riveting inward concentration give the tragedy of the uprooted exile's loneliness a shattering emotional impact, and pianist Eric Schneider is terrific. It is interesting to compare Goerne's approach to that of baritone Wolfgang Holzmair, who uses a much drier sound and very pointed diction, underlining the songs' cabaret style to give them a stinging, sardonic sarcasm with stiletto-like sharpness.
"An issue of major importance, hugely impressive. Goerne has obviously been smitten by these wonderful, neglected songs: he calls them 'the 20th century Winterreise´ and in performances as gripping as these it is hard to contradict him. They are Eisler's songs of exile, written in Hollywood while the Germany for which he felt both passionate revulsion and deep nostalgia sank into the abyss. Most of the 46 short songs are settings of poems by Brecht, some written specifically for Eisler, but they also incorporate 'mini-cycles' to texts by MOrike and Eichendorff, two poems by Blaise Pascal (set in English) and one or two others including a single poem by Eisler himself.
The songs are not here sung in the order in which Eisler eventually published them, but the sequence chosen makes poignant dramatic sense, chronicling Brecht's and Eisler's horror at what was happening in Germany, their flight and exile, their reaction to the alien world of Hollywood and meditations on Germany's vanished past, hideous present and uncertain future. As performed here, the cycle ends with a loving homage to Schubert, 'On Watering the Garden', followed by the haunting and moving 'Homecoming', a vision of Berlin obliterated by bombardment, and by the intense and characteristically Eislerian lyricism of 'Landscape of Exile' ('The ravines of California at evening...did not leave the messenger of misfortune unmoved'). These were Eisler's first Lieder since his student days, and to convey his epic theme in a sequence of miniatures he ranged across all the styles available to him, from a terse, Schoenberg-derived angularity via Berlin cabaret towards, more and more as the sequence proceeds, deliberate evocation of Schubert, Schumann and Mahler.

They demand a prodigious expressive range from any singer who undertakes them. Goerne can sing 'On Suicide' with a mere thread of sound without ever losing the quality of his voice but can then swell in an instant to a formidable fff for the last syllable of the terrifying final line ('People just throw their unbearable lives away'). The sheer beauty of his voice is just what those many homages to the Lied tradition need. His English is pretty good, his diction immaculate, and he makes a memorably sinister thing of the seventh Hollywood Elegy (set in English; Brecht's German original is lost), that horrifying image of a man sinking in a swamp with a a 'ghastly, blissful smile'. Goerne has done nothing better; this is a masterly and profoundly moving achievement. His pianist is first-class, the recording admirable." -  from: Gramophone (1/1999)

Hanns Eisler - Hollywood Songbook (Matthias Goerne)
(192 kbps, front cover included)

Hanns Eisler - Choral Songs - Children´s Songs - Popular Songs (Chorlieder - Kinderlieder - Volkslieder)

On the occasion of the 50th anniversary of the death of the composer Hanns Eisler (September, 6), there was a wonderful "Long Hanns Eisler night" six years ago at the Akademie der Künste (Berlin) with artist like Sonja Kehler, Wenzel, Hanns Eisler Chor and Bremer Eisler Ensemble. One of the highlights of the evening was the appearance of Gisela May. The wonderful actress and singer had an interesting on-stage conversation with the Eisler expert Jürgen Scherbera about her collaboration with Hanns Eisler. And she gave us an interpretation of "Die haltbare Graugans".

One of the most original and prolific composers of the twentieth century, Hanns Eisler proved that expressing humanistic and political concerns does not necessarily lead to musical banalities, but can achieve his stated aesthetic ideal of "freshness, intelligence, strength and elegance" (as opposed to "bombast, sentimentality and mysticism"). Eisler´s variety of genres and writing styles surpasses anything to be found among other leading 20th-century composers. Songs of widely differing kinds and levels were the principal fruit of Eisler´s talent and ability: marching songs, ballads, lullabies, art songs, canons, anthems, chansons, choral songs and cycles.

This album is a collection of choral songs, children´s songs and popular songs, including the "Little Woodbury song book". It contains key works illustrating Eisler´s characteristic, largely song-oriented musical thinking.

Tracklist01 - 20: Woodburry-Liederbüchlein
21 - 23:  Kanons
24: Gegen den Krieg, Op. 51
25 - 29: Fünf Lieder für Kindergärten
30 - 32: Drei Kinderlieder für Gesang und Bratsche
33 - 41: Suite für Septett No. 1, Op. 92a
42 - 47: Neue deutsche Volkslieder
48: Nationalhymne der DDR

Hanns Eisler - Chorlieder - Kinderlieder - Volkslieder
(192 kbps, front cover included)

Eric Von Schmidt - The Folk Blues Of Eric Von Schmidt (1963)

Painter, illustrator, singer/songwriter, and folksinger Eric Von Schmidt was a spearhead of the folk revival that swept through Cambridge, Massachusett's Harvard Square in the early '60s. When he wasn't hosting late-night jam sessions at his apartment/studio, Von Schmidt was performing Leadbelly-influenced songs in coffeehouses and inspiring several generations of folk-rooted singer/songwriters.    

As the third generation of painters in his family, Von Schmidt was the son of famed illustrator Harold Von Schmidt, best known for his serial Tugboat Annie. Von Schmidt was the first in his family to become involved with music. Although his mother read music and played piano at Christmas, his father and brother were unable to carry a tune. Determined that their children be given a grounding in music, Von Schmidt's parents purchased a collection of records including tunes by Johnny Noble & His Royal Hawaiians, Burl Ives, Segovia, Fred Waring & His Pennsylvanians, Hoagy Carmichael, and Duke Ellington.

Von Schmidt stumbled onto folk music by chance when he heard a live broadcast by Leadbelly on radio station WNYC. The theme song was "Goodnight Irene." "I was going out with a girl called Irene, " Von Schmidt explained in 1992. "I thought, 'Boy, there's a song that I've got to learn.'"
Leadbelly's performance inspired Von Schmidt to teach himself to play guitar. In addition to learning songs from the records that he bought at a local store, he learned songs from the few music books that he could find. Much to his surprise, Von Schmidt found other high-school students in awe of folk music. Together they would travel to New York, where they would sit around playing their guitars and banjos in taverns. Among the first New York-based folksingers who Von Schmidt befriended were Ramblin' Jack Elliott and Tom Paley. At Elliott's invitation, Von Schmidt made his radio debut on a program hosted by Oscar Brand, playing "Pretty Polly" on a banjo.

Von Schmidt continued his musical education while serving in the Army. During the two years that he was stationed in Washington D.C., he searched for songs in the archives of the Folklore Department of the Library of Congress. After being discharged and spending two years studying art in Italy via a Fulbright Scholarship, Von Schmidt went to Harvard Square. Around the corner from his apartment and studio was Tulla's Coffee Grinder, a coffeehouse that served as the center of the early folk music movement.

Although the folk scene was initially relaxed and strictly amateur, things began to change around 1958 when Joan Baez made her debut appearances. The folk music craze spread quickly and new clubs opened, including Club 47 in Harvard Square and the Unicorn in Boston. One of the first folk artists to be recorded, Von Schmidt released his debut album in 1962.

An early friend and supporter of Bob Dylan, Von Schmidt was mentioned on Dylan's debut album as the source of the song "Baby, Let Me Follow You Down, " which Von Schmidt had recorded as "Baby, Let Me Lay It on You." In 1963, Von Schmidt traveled to England with Dylan and Rolf Cohn, recording an album with Dylan appearing as "Blind Boy Grunt." Von Schmidt's debut album, "Folk Blues", rests on the floor in the cover photograph of Dylan's 1965 "Bringing It All Back Home" album. Von Schmidt's original song "Joshua Gone Barbados" was recorded by Dylan and the Band during their Basement Tapes sessions and was included on the bootleg album "The Genuine Basement Tapes, Vol. 5".

The folk scene was still going strong when Von Schmidt, who had been divorced from his first wife, left for Florida in 1970. After meeting the woman who would become his second wife, he relocated to Henniker, New Hampshire. He continued to record albums until the late '70s. Although he released an album with the Cruel Family on Philo in 1977, the label was experiencing severe problems and failed to promote the recording. The album was never included in the label's catalog. Baby, Let Me Lay It on You, a book about the Boston/Cambridge folk years that Von Schmidt co-wrote with folksinger and record producer Jim Rooney, was originally published in 1979; the book was later reissued by the University of Massachusetts. For much of the 1980s and early '90s, Von Schmidt concentrated on his artwork. His illustrations were featured on numerous record albums and exhibited in several galleries and museums.
After meeting guitarist and vocalist Linda Clifford, Von Schmidt began performing again. In 1995, he recorded Baby, "Let Me Lay It on You" -- his first album in 18 years. In addition to 15 new songs, the album featured reworkings of "Joshua Gone Barbados" and the title track. Eric Von Schmidt died at age 75 on February 2, 2007 in Fairfield, Connecticut, after having suffered a stroke in August of the preceding year.  


A1Crow Jane
A2Gulf Coast Blues
A3Brave Wolfe
A4Junco Partner
A5De Kalb Blues
B1Champagne Don't Hurt Me. Baby
B2Buffalo Skinners
B3Jack O' Diamonds
B4He Was A Friend Of Mine
B5Cocoa Beach Blues
B6Down On Me

Eric Von Schmidt - The Folk Blues Of Eric Von Schmidt (1963)
(320 kbps, cover art included)

Samstag, 25. August 2018

Joe´s All Stars - Brixton Cat (Trojan, 1969)

Joe Mansano was the man behind the Trojan owned ‘Joe’s Record Store’ which could be found at 93 Granville Arcade in Brixton between 1967 & 1976.
The shop was a roaring success, but not content with just selling records, Joe wanted to start producing them too. His first productions were released on the Blue Cat label; ‘Life On Reggae Planet‘ in 1968 & ‘The Bullet’ by Rico Rodriguez in 1969.

Trojan were so impressed by Joe’s success they rewarded him his own label (called Joe) in May 1969. It was then that he collaborated with Jamaican Ska & Reggae vocalist Dice The Boss on arguably his greatest track Brixton Cat, Big & Fat‘.

A love song of sorts, ‘Brixton Cat, Big & Fat’ is an authentic cut of vintage reggae which Joe later clarified as a cheeky reference to a certain lady in his life at the time. The track was so popular Trojan asked Joe to release a "Brixton Cat" album which he did later that year under the name Joe’s All Stars.

The cover for the LP featured Joe’s sister-in-law at the time standing on the corner of Electric Avenue.


A1 –Since I Met You Baby
A2 –Reggae On The Smoke
A3 –The Judge
A4 –But Officer
A5 –The Bullet
A6 –The Proud One
A7 –Friendly Persuasion
B1 –Sugar Serenade
B2 –Hey Jude
B3 –Brixton Cat
B4 –Snake Poison
B5 –Funky Reggae
B6 –Reco's Torpedo
B7 –Honky

Joe´s All Stars - Brixton Cat (Trojan, 1969)
(320 kbps, cover art included)

Freitag, 24. August 2018

Richie Havens - Electric Havens (1968)

This was one of two albums (the other being "The Richie Havens Record") comprised of overdubbed solo demos, probably from sometime between 1963-1965, that Havens had done prior to recording for Verve and making his official recording debut.

In the late '60s, as Havens rose to stardom, producer Alan Douglas took the original solo demos and overdubbed them with electric instruments. The albums were pulled from circulation and are hard to find today. One would understand why Havens might have disapproved of their release, but "Electric Havens" really isn't bad.

The eight-song set is oriented toward the kind of traditional material that he was likely doing in clubs around that time, such as "Oxford Town," "C.C. Rider," and "900 Miles From Home," as well as an early Dylan cover, "Boots & Spanish Leather." Havens sings with his usual spontaneous conviction, and although the electric backing sounds a bit awkward - and, unsurprisingly considering the circumstances, wavering in time keeping - it's not overdone, or completed in such a fashion that it's difficult to enjoy the performances. Different years of release have appeared in discographies for both this and "The Richie Havens Record", incidentally; it's almost certain that both came out in the late '60s, with 1968 serving as the best-guess year in both cases.


A1: Oxford Town
A2: 9000 Miles
A3: I´m A Stranger Here
A4: My Own Way

B1: Boots And Spanish Leather
B2: C. C. Rider
B3: 3´10 To Yuma
B4: Shadown Town

Richie Havens - Eectric Havens (1968)
(320 kbps, cover art included)

Donnerstag, 23. August 2018

Ofra Haza - Yemenite Songs (1984)

This was the break-through album for World Music and for Ofra Haza: when the Diva met the Diwan and the beat box bumped into 400-year-old Yemenite songs. Songs of joy, yearning and devotion all delivered with that voice of pure gold, taken away from us by her tragic early death.

Ofra Haza's death on February 23, 2000, at the age of 41 deprived the world of a lovely woman, a great vocalist, and a fearless cultural advocate. Her 1984 album of boldly reimagined traditional Yemenite songs, brought her international fame, and decades later, it retains its ability to delight and inspire. The set list consists of secular tunes plus examples of a festive devotional style called diwan, which is common to all Oriental Jewish communities and can be sung in Hebrew, Aramaic, or Arabic. Each group has specific traditions, but the Yemeni variant is especially remarkable for its poetry, much of which was written by rabbis as far back as the 17th century. Most diwan consist of three separate sections: the a cappella nashid (prelude), the shira (singing), during which celebrants bang on copper trays, empty gasoline cans, or whatever else is handy, and a postlude called the hallel, or song of praise. The unusual percussion accompaniment came into use following the destruction of the Temple, when Jews were forbidden to play conventional musical instruments, and also as a result of periodic oppression by Muslim fundamentalists.

In Haza's hands, these sinuous tunes are further spiced up by drum machines and synthesizers, pumping out the hypnotic dance beats that catapulted the album onto dancefloors throughout the world. It is important to remember that this recording long predated the flood of world/techno fusions that have since overwhelmed the marketplace. Transglobal Underground, Afro-Celt Sound System, and Scandinavian groups like Garmarna all owe Haza a debt of gratitude. But despite the historic electronic flourishes, it is the siren-like charm of the singer's voice that creates the most indelible impression.            


Im Nin' Alu 5:16
Yachilvi Veyachali 3:24
A'Salk 4:42
Medley: 5:44
Tzur Menati
Se'i Yona
Sapri Tama
Galbi 4:14
Ode Le'Eli 3:29
Lefelach Harimon 5:06
Ayelet Chen 6:29

Ofra Haza - Yemenite Songs (1984)
(256 kbps, cover art included)  

Mittwoch, 22. August 2018

VA - Let Freedom Sing - This Land Is Your Land, Vol. 2

While everyone doesn't agree on what patriotism means, even left-leaning folksingers celebrate the promises of America. Promises, however, sometimes fall short. So if singers like Phil Ochs, Joan Baez, and Cisco Houston point out America's shortcomings in protest songs, they don't consider themselves unpatriotic: they're only reminding Americans of their original principals. 

"Let Freedom Sing" travels back to the early-to-mid '60s, the golden age of the protest song, for the majority of its material. Since Vanguard signed so many top folk acts during the time, the major voices from the era are represented here. There's a live take of Dylan singing "Playboys and Playgirls" with Pete Seeger and a live, acapella version of Baez singing "Oh Freedom." Patrick Sky and Buffy Sainte-Marie weigh in on Native-American rights on the "Ballad of Ira Hayes" and "Now That the Buffalo's Gone" respectively. 

While most of this collection is rather somber, Mimi & Richard Farina's "House Un-American Blues Activity Dream" and the Chad Mitchell Trio's "The John Birch Society" offer a slight reprieve. Two Woody Guthrie classics get overhauled by Houston ("Deportee") and Ramblin' Jack Elliott ("1913 Massacre"), while the Weavers sing the rousing "Which Side Are You On?" 

This is an excellent collection that entertains while reminding Americans that there are many types of patriotism. -, Ronnie D. Lankford, Jr.


1 –Phil Ochs - I Ain't Marchin' Anymore
2 –Phil Ochs  - There But For Fortune
3 –Bob Dylan & Pete Seeger  - Playboys and Playgirls
4 –Bob Dylan - Blowing In The Wind
5 –Joan Baez - Oh Freedom
6 –Joan Baez - A Hard Rain's A-Gonna Fall
7 –The Weavers - Which Side Are You On?
8 –The Weavers - Miner's Life
9 –Patrick Sky  - Ballad of Ira Hayes
10 –Eric Andersen - Thirsty Boots
11 –Judy Collins - Carry It On
12 –Mimi & Richard Farina - House Un-American Blues Activity Dream
13 –Tom Paxton  -The Death Of Stephen Biko
14 –The Chad Mitchell Trio - The John Birch Society
15 –Buffy Sainte-Marie - Now That the Buffalo's Gone
16 –Ramblin' Jack Elliott - 1913 Massacre
17 –Cisco Houston - Deportee
18 –Odetta - No More Auction Block For Me

VA - Let Freedom Sing - This Land Is Your Land, Vol. 2
(320 kbps, cover art included)

Dienstag, 21. August 2018

Fela Kuti & Africa 70 - Kalakuta Show (1976)

By the time of 1976's "Kalakuta Show",
Fela Kuti's releases were becoming to seem not so much like records as ongoing installments in one long jam, documenting the state of mind of Nigeria's leading contemporary musician and ideological/political dissenter.

Thus, any one album works better on its own than it does when it has to bear comparison with the rest of his mountainous output. The track "Kalakuta Show" was unexceptional by his own standards, though it was a respectable lock-groove song that followed the usual graph of Kuti's song progressions. The lyrics, at any rate, go far outside the usual funk/pop spectrum, detailing his harassment at the hands of the Nigerian police.

"Don't Make Garan Garan" was musically more effective, particularly in its use of the artist's characteristically eerie, out-of-sync-sounding electric keyboards.

A Kalakuta Show 14:30
B Don't Make Ganran Ganran 16:03

Fela Kut & Africa 70 - Kalakuta Show (1976)
(320 kbps, front cover included)

Montag, 20. August 2018

VA - Get Up, Stand Up! - Jamaican Protest Songs

Reggae has always been synonymous as the planet´s most significant and ubiquitous rhythm of resistance. The list of protest songs coming out of Jamaica since the 1960s is large and multifaceted. Racial pride, calls to arms and brotherhood, pleas for peace and over-standing, and the demanding of an end to Apartheid have all been themes for roots artists in spreading their messages. Often Jamaican artists have been at the forefront of these higly charged movements of change.

This collection brings togehter songs of protest form Jamaican musical history with some of the most noteworthy American protest anthems (recorded specifically for this collection) in an reggae tour de force of word, sound and power. 

Protest music identifies inequities, calls for their eradication, and offers avenues into a more perfect future. Here are some of the best ever, mixing decades and styles and artist all of whom have one common pjrpose, nothing less than changing the word. The message is clear and it will always remain strong. A luta continua!


1 –Luciano  - Eve Of Destruction 3:35
2 –Junior Reid  - One Blood 3:39
3 –Beres Hammond  - Putting Up Resistance 3:55
4 –Peter Tosh  - Get Up, Stand Up 3:30
5 –Freddie McGregor  - For What It's Worth 3:38
6 –Black Uhuru  - Solidarity 4:26
7 –Bushman - Working Class Hero 3:34
8 –Tenor Saw - Ring The Alarm 3:17
9 –Yvad The Universal Soldier 2:32
10 –Third World - 1865 (96° In The Shade) 4:21
11 –Dennis Brown - Revolution 5:03
12 –Bob Marley & The Wailers - Soul Rebel 3:19
13 –Don Carlos - Blowin' In The Wind 3:26
14 –Hugh Mundell - Africa Must Be Free By 1983 2:31
15 –Israel Vibration - The Same Song 4:08
16 –Delroy Wilson - Better Must Come 2:44
17 –Half Pint - Greetings 3:36
18 –Steel Pulse - No More Weapons 4:32

VA - Get Up, Stand Up! - Jamaican Protest Songs
(320 kbps, cover art included)

Sonntag, 19. August 2018

VA - Jah Children Invasion - Dancehall Classics Volume 2 (Wackie´s, 1983)

Following hot on the heels of 1983′s Vol. 1, the Wackies unleashed "Jah Children Invasion: Dancehall Classics Vol. 2"  before the year was out. Like its predecessor, this compilation boasts two riddims and ten tracks.

Horace Andy introduces the first with his excellent cover of Derrick Harriott s rocksteady hit Solomon.” Producer Lloyd "Bullwackie" Barnes gives the riddim further sparkle for Tristan Palmer’s strong cultural offering Rebel.” Patrick Andy, too, delivers lessons in righteousness and survival, the lyrics stronger than his vocals, unlike Maxine Miller, whose smooth delivery should have gone down like a charm with lovers rock fans. And finally, the studio band showcases the Solomon” riddim in all its glory. Tristan Palmer superbly kicks off the second half of the set with the comforting knowledge that Jah Is in Charge.” Steve Harper, who delivered a strong cultural number on Vol. 1 , now showcases his romantic side with Tender Love,” while Anthony Green, another returnee, sticks with culture, bemoaning the state of the world and offering righteous lessons before throwing in the towel, determined to Leave out a Babylon.” DJ Sniper didn’t make much impact on the scene, but one can’t fault his devotion, and Hear My Prayer” is one of the most impassioned singjay toasts from the time.

The Wackies Rhythm Force’s Dub Version” completes the set, showcasing the superb riddim, a minimalist but still sparkling version of Love Me Forever.” Although its Andy and Palmer who inevitably created this set’s cache at the time, it’s the forgotten talent that make the compilation so vital and exciting today.


1 –Horace Andy - Solomon 3:48
2 –Treston Palma - Rebel 3:47
3 –Patrick Andy Can't Afford To Let 3:52
4 –Maxine Miller You've Changed 3:50
5 –Wackie's Rhythm Force Dub Slot 3:48
6 –Treston Palma Jah Is In Charge 3:35
7 –Steve Harper Tender Love 3:48
8 –Anthony Green Leave Out A Babylon 3:35
9 –Sniper Hear My Prayer 3:38
10 –Wackie's Rhythm Force* Dub Version 3:37

VA - Jah Children Invasion - Dancehall Classics Volume 2 (Wackie´s)
(320 kbps, cover art included)

VA - Jah Children Invasion - Dancehall Classics Volume 1 (Wackies, 1983)

A follow-up to 1982's "Jah Son Invasion", "Jah Children Invasion: Dancehall Classics Vol. 1" rounded up another ten Wackies singles, this time concentrating on crowd-pleasing club numbers.

The two riddim 1983 set kicks off in style with Sugar Minott's "Original Lovers Rock," a romantic triumph over an inspired, minimalistic version of "Full Up." While Minott luxuriates in the glories of love, Chuck Turner isn't sure if his festivities are ending or just beginning on the emotive "She's out of My Life." Deeze Smood knows what he's feeling - passionate - and melts the disc with his smoldering "Jungle Love." Spragga Lexus, in contrast, has no time for romance, he's too busy just trying to survive on the hard-hitting "I Am Justa Youth." Producer Lloyd "Bullwackie" Barnes brings this section to an end with the hefty "Tickle Dub."

Steve Harper launches the second half of the set with his potent cover of the Wailers' "Jah Live" over a dread drenched militant version of the riddim, followed by Anthony Green's even more powerful "Victim," hitting virtually every cultural touchstone along the way. Minott returns on "Gi Mi a Reason," turning to the personal realm and his tortured state of his relationship. The growling Spragga Lexus is also back, now a "Conquering Lion" smacking down the ragamuffins, the wicked, and everyone else in his path, all in the name of Jah of course. After which, Barnes and his Wackies Rhythm Force let loose with "Unchain Dub" taking the riddim to its apotheosis.

Wackies released a steady stream of strong singles across the first half of the '80s, and although the vocalists didn't always do his riddims justice, this compilation from stars and barely remembered artists is proof of the label's and producer's power. 

01. Sugar Minott - Original Lovers Rock
02. Chuck Turner - She's Out Of My Life
03. Deeze Smood - Jungle Love
04. Spragga Lexus - I Am Justa Youth
05. Wackie's Rhythm Force - Tickle Dub
06. Steve Harper - Jah Live
07. Anthony Green - Victim
08. Sugar Minott - Gi Mi A Reason
09. Spragga Lexus - Conquering Lion
10. Wackie's Rhythm Force - Unchain Dub 

VA - Jah Children Invasion - Dancehall Classics Volume 1 (Wackies, 1983)
(320 kbps, front cover included)      

Samstag, 18. August 2018

VA - This Land Is Your Land - Songs Of Freedom

Woody Guthrie composed "This Land Is Your Land" in 1940 as an answer to Kate Smith's version of "God Bless America," which he had heard countless times on car radios and on café jukeboxes during a cross-country hitchhiking trip. This Land Is Your Land: Songs of Freedom is a collection of folk songs drawn from the vaults of Vanguard Records, and includes Cisco Houston's version of "This Land Is Your Land," along with selections by performers like the Weavers, Ian & Sylvia, Judy Collins, and Odetta. Two of the tracks - Joan Baez's live version of "The Times They Are a-Changin'" and the Chambers Brothers' somber take on Curtis Mayfield's "People Get Ready" - are released here for the first time.

Although this is a fairly good compilation of songs, mostly well-known, from the 1950s and (mostly) 1960s folk revival, the common threads between the tunes are vaguer than what the title might portend. Indeed, some of these 16 tracks are specific songs of freedom and struggle: Cisco Houston's "This Land Is Your Land," the Weavers' "If I Had a Hammer," and the Chambers Brothers' previously unreleased version of "People Get Ready." Others would probably be more properly described as songs of protest (Buffy Sainte-Marie's "The Universal Soldier," or the duet by Bob Dylan and Joan Baez on "With God on Our Side"), or songs of unity (Judy Collins' live version of "Get Together"). Others, though quality compositions, really fall into no fixed boundary: Collins' versions of "Blowin' in the Wind" and Pete Seeger's "Turn, Turn, Turn," the Kingston Trio's "All My Sorrows," Joan Baez's "There But for Fortune," and Ian & Sylvia's cover of Joni Mitchell's "The Circle Game." Perhaps this could have been called "songs of freedom, protest, conscience, and the spirit," or something else so blanket as to be almost uselessly all-encompassing. At its root, it's just an above-average anthology of songs from Vanguard's hallowed folk catalog.       


1 –The Weavers - Rally 'Round The Flag 2:19
2 –Cisco Houston - This Land Is Your Land 2:43
3 –The Weavers - If I Had A Hammer 2:16
4 –The Weavers - Kumbaya 2:51
5 –Odetta - He's Got The Whole World In His Hands 2:01
6 –Joan Baez - There But For Fortune 3:15
7 –Ian & Sylvia - The Circle Game 2:59
8 –Judy Collins - Turn! Turn! Turn! 4:03
9 –The Kingston Trio - All My Sorrows 2:52
10 –The Chambers Brothers - People Get Ready 4:00
11 –Odetta - Battle Hymn Of The Republic 3:54
12 –Judy Collins - Get Together 2:55
13 –Buffy Sainte-Marie - The Universal Soldier 2:17
14 –Judy Collins - Blowin' In The Wind 4:22
15 –Bob Dylan & Joan Baez - With God On Our Side 6:22
16 –Joan Baez  - The Times They Are A-Changin' 2:53

Tracks 10 and 16 were previously unreleased.

VA - This Land Is Your Land - Songs Of Freedom
(320 kbps, cover art included)

Samstag, 4. August 2018

Gone Fishin!

Have a good time, greetings!

Donnerstag, 2. August 2018

Velvet Underground - A Young Person´s Guide To

Photobucket"A Young Person´s Guide To Velvet Underground" is a collection of various rare cuts, pre-Velvet-Underground tracks, studio demos and Max's live tracks. It comes with an 8-pages photo book and covers the early years of VU.

The included song "Waves" was the working title for "Ocean".

1. Inside Of Your Heart (2:26)
2. White Light/White Heat (2:48)
3. Rock'n Roll (5:21)
4. Waves (5:23)
5. I've Got A Tiger In My Tank (2:12)
6. You're Driving Me Insane (2:22)
7. Index (4:29)
8. VU Noise (1:49)
9. Sweet Jane (4:51)
10. I'm Set Free (5:12)
11. You Better Walk It, As You Talk It (1:59)
12. Lonesome Cowboy Bill (3:48)
13. Sneaky Pete (2:10)
14. I'm Waiting For My Man (4:34)

1, 3, 4 : rough mix acetate demos / 2 : mono mix, 1967 / 5, 6, 13 : pre-VU tracks / 7 : Andy Warhol's Index book flexi / 8 : The East Village Other LP / 9 : Max's Kansas City, August 23, 1970 / 10, 12, 14 : Max's Kansas City, July 26, 1970 / 11 : Max's Kansas City, rehearsals, Summer 1970.

Velvet Underground - A Young Person´s Guide To
(320 kbps, cover art included)