tag:blogger.com,1999:blog-84605374954210828152024-03-19T01:46:05.048-07:00Zero G Sound Music melts all the separate parts of our bodies together.- Anais Ninzerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.comBlogger2713125tag:blogger.com,1999:blog-8460537495421082815.post-72705903436519841362024-03-17T03:38:00.000-07:002024-03-17T03:38:53.161-07:00Cass Elliot – The Road Is No Place For A Lady (1972)<span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqv4paUb8bXiRSaIiKvsgIWrJsHU3WhF4vU-LZwJ6Ba-Qrb_duzg1zM2k2QCwNQUDQsra3vLBF65uSkLQqRwmRWQeFA_t6euhqdU_6QXtdDMa4LhuK0Tlhl0zDGR-l7Xmw0YEBzprPU5Jwy9uyCRYsQOjuEp2Ni9FYWon2CSCHowONlU6SFEojtYQUURw/s468/R-1690541-1237154337.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="468" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqv4paUb8bXiRSaIiKvsgIWrJsHU3WhF4vU-LZwJ6Ba-Qrb_duzg1zM2k2QCwNQUDQsra3vLBF65uSkLQqRwmRWQeFA_t6euhqdU_6QXtdDMa4LhuK0Tlhl0zDGR-l7Xmw0YEBzprPU5Jwy9uyCRYsQOjuEp2Ni9FYWon2CSCHowONlU6SFEojtYQUURw/w385-h400/R-1690541-1237154337.jpg" width="385" /></a></div>"The Road Is No Place for a Lady" is the fifth and final studio album released by Cass Elliot. It was the second album she recorded after signing with RCA Records. The album was recorded over a period of two months during the summer of 1972 at London's Trident Studios, produced by Lewis Merenstein and arranged and conducted by Larry Fallon and Del Newman.</span><div><span style="font-size: medium;"><br />"There was a reason the Mamas & the Papas were such a popular band, racking up ten Top 40 hits in two and a half years, "The Road Is No Place For a Lady" is evidence of just how important Mama Cass was to the hit mix. This album is an exquisite high, from the opening piano of the Albert Hammond classic that almost made it twice -- "(If You're Gonna) Break Another Heart" to the slick adult pop of Webb's "Saturday Suit." With legendary session guitarist Cris Spedding providing little touches of wah-wah on "Walk Beside Me" to Elton John percussion guy Ray Cooper adding his magic, this album is a work of art. Just play it next to David Cassidy's failed The Higher They Climb to feel the difference. Cass exudes real power from within, and the superb arrangements by Larry Fallon and Del Newman are what give Lewis Merenstein's production real depth. </span><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">This is Elliot going deeper into her Judy Garland phase. Great album cover by photographer Ave Pildas has Elliot's living room spread out on railroad tracks, an owl in a glass case reflected in the mirror, Elliot's only company for afternoon tea. The final track on side one, "All My Life" contains all the loneliness depicted on the front and back cover photos. </span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">The tragedy of this album is that "(If You're Gonna) Break Another Heart" didn't destroy the charts upon release. It is total pop sophistication, Mama Cass' voice soaring over the strings, piano, and backing that is a Phil Spector hit without the wall of sound. Really brilliant pop to be studied and cherished. Her solo hits coming in 1969, this 1972 recording is the singer just two years before her passing. Say Hello has real pop magic that Bette Midler fully understood on her 1972 debut. This album is almost like the passing of the torch. "Who in the World is exquisite, a real departure from the rest of the album; beautiful Larry Fallon strings help Elliot convey the sentiment. Fallon hit with "Brandy" by Looking Glass that same year, and Rolling Stones producer Jimmy Miller had Fallon add strings to an unreleased version of "Wild Horses." </span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">That so many talents in their prime help Mama Cass deliver on each song, the sweeping chorus of "Love Was Not a Word," the tremendous early version of Pink Floyd producer Hurricane Smith's "Oh Babe, What Would You Say" who would hit with it just a few months later, to the title track, emphasizes what a musical time the early '70s were, and how respected Mama Cass was in musical circles. An uplifting album by an underrated star."<br />(allmusic.com)<br /></span><br /><br />Tracklist:<br /><br />(If You're Gonna) Break Another Heart 2:20<br /> Saturday Suit 2:55<br /> Does Anybody Love You 2:50<br /> Walk Beside Me 2:55<br /> All My Life 2:41<br /> Say Hello 3:09<br /> Who In The World 2:40<br /> Love Was Not A Word 2:57<br /> Oh Babe, What Would You Say 3:03<br /> The Road Is No Place For A Lady 3:09</div><div><br /></div><div><a href="https://krakenfiles.com/view/cR3vbde9ZF/file.html">Cass Elliot – The Road Is No Place For A Lady (1972)</a></div></div><div>(320 kbps, cover art included)</div>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com4tag:blogger.com,1999:blog-8460537495421082815.post-56118237166630821472024-03-17T03:27:00.000-07:002024-03-17T03:27:48.025-07:00Ramblin´ Jack Elliott - Young Brigham (1969)<span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSIfyXuIBgVeFOX68PLEXif5Aj7BQcsQm_DwhgqoJCLh5tjuoslvRXl1Zs0ZDYxjF6xfYp_yTMaEJnTKVcch6BlprgU_rMvGNX_BKqMsrkTME7jPW92mAy5zghQ0znDEv-yZ6VUfM7Pbo6prq40cPmJ1Xqnn9qyoR4S67s6XvkXd7XUAfnqmu5V2Dc3b8/s600/R-2379842-1494229867-1733.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="600" height="391" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSIfyXuIBgVeFOX68PLEXif5Aj7BQcsQm_DwhgqoJCLh5tjuoslvRXl1Zs0ZDYxjF6xfYp_yTMaEJnTKVcch6BlprgU_rMvGNX_BKqMsrkTME7jPW92mAy5zghQ0znDEv-yZ6VUfM7Pbo6prq40cPmJ1Xqnn9qyoR4S67s6XvkXd7XUAfnqmu5V2Dc3b8/w400-h391/R-2379842-1494229867-1733.jpg" width="400" /></a></div>Folksinger Ramblin' Jack Elliott is a fascinating and eccentric figure, and Young Brigham from 1968 finds him in his element. The arrangements are busier than on his previous recordings, but they never get in the way of his off-the-cuff style. His vocals are perhaps more eccentric here than usual, delivering out of the ordinary versions of If I Were a Carpenter and Tennessee Stud. </span><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">The difference between Elliott's versions and those of your average folksinger is that he sounds as though he's having a good time. This renders over-familiar material, like the above-mentioned songs, fresh. There are great versions of Danville Girl and Don't Think Twice, It's Alright, and a nice original titled, 912 Greens. Elliott usually stuck to singing other people's songs and held onto his folk roots even when singer-songwriters began to take over the ‘60s folk scene. </span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">Even the Rolling Stone's Connection, comes across as country-folk, not rock-and-roll. Elliott also includes a couple of Woody Guthrie songs to let everyone know where his roots lay. Richie Unterberger's liner notes do a great job of placing this album in context. It would be the first of two albums Elliott would record for Reprise in an unsuccessful attempt to bring him to a larger audience. Larger audience or not, the music stands for itself. Young Brigham is a nice snapshot of Elliott in the late ‘60s and shows him leaving the confines of a large studio with his folk heritage intact. </span></div><div><span style="font-size: large;">(- allmusic.com)</span></div><div><span style="font-size: medium;"><br /><br />Tracklist:<br /><br />A1 - If I Were A Carpenter<br />A2 - Talking Fisherman<br />A3 - Tennessee Stud<br />A4 - Night Herding Song<br />A5 - Rock Island Line<br />B1 - Danville Girl<br />B2 - 912 Greens<br />B3 - Don't Think Twice It's Alright<br />B4 - Connection<br />B5 - Goodnight Little Arlo</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><a href="https://krakenfiles.com/view/5EEs9YJMof/file.html">Ramblin´ Jack Elliott - Young Brigham (1969)</a></span></div><div><span style="font-size: medium;">(192 kbps, cover art included)</span></div>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com4tag:blogger.com,1999:blog-8460537495421082815.post-28803738409083091472024-03-15T11:38:00.000-07:002024-03-15T11:38:45.101-07:00Gal Costa - Cantar (1974)<span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvmJdDPfSYOvk2PtEZJJVKHZD7hA2eqg8MIrRqeBK4ao-9jfcURZBgutslfQPhbWX2hRclWE_q7hEorkRch3-juCfexmIHr9tQE9zkA44Rqtzrf-w5gtM1Z6Y010gz8NTXH3ESAM4xA1tfO5SKMmojklyxIxlirYV36Lfrk2ShcfM1lIAlV_6QTA7pnzQ/s352/R-1994555-1257396886.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="348" data-original-width="352" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvmJdDPfSYOvk2PtEZJJVKHZD7hA2eqg8MIrRqeBK4ao-9jfcURZBgutslfQPhbWX2hRclWE_q7hEorkRch3-juCfexmIHr9tQE9zkA44Rqtzrf-w5gtM1Z6Y010gz8NTXH3ESAM4xA1tfO5SKMmojklyxIxlirYV36Lfrk2ShcfM1lIAlV_6QTA7pnzQ/w400-h395/R-1994555-1257396886.jpg" width="400" /></a></div>"Cantar" is the fifth solo album by the Brazilian singer Gal Costa, released in 1974. It was ranked the 91st best Brazilian album of all time by the Brazilian Rolling Stone magazine.<br /><br />"Overshadowed by the exceedingly sought after India that came before it, along with the more experimental records that came into fruition during the Tropicália explosion of the late 60’s, Gal Costa’s Cantar exists as an outlier among the string of records that would define her career. </span><div><span style="font-size: medium;">Released in 1974, the album sees Costa return from the radical to the intimate, and is perhaps the most personal and sentimental release from the Brazilian icon. Although her politicized lyrics are still on display, the musical approach is stripped down and calmer, creating space for Costa’s silky mezzo soprano to breathe and deliver peak emotional devastation. Costa is joined by a Tropicália supergroup of musicians who perform delicate renditions of their past hits. Gilberto Gil makes a guest appearance and guitars the opening cut / single “Barato Total” followed by João Donato keying a more lounge version of his own “A Rã” with additional lyrics by Caetano Veloso. Some funkier and more typical Costa fashioned Brazilian rock bits are sprinkled throughout but it’s the mellower tunes like Veloso’s “Lua,Lua,Lua,Lua”, the orchestral “Canção Que Morre No Ar”, the raga “Joia”, and the moony guitar jazz of “Lágrimas Negras” that make this one so singular in a catalogue of undeniable classics. Cantar also houses the track “Até Quem Sabe”, another Donato cover, but with an intimate arrangement for solo piano and vocals. The song feels incredibly cinematic in this context, like one of those devastating Fellini finales, helpless and heartbroken, with a minute-long outro that is one of the most hauntingly beautiful moments Costa ever recorded.<br /><br />– DM" (https://insheepsclothinghifi.com/album/gal-costa-cantar/)</span><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><br /></span></div><span style="font-size: medium;">Tracklist:<br /><br />A1 Barato Total<br />A2 A Rã<br />A3 Lua, Lua, Lua, Lua<br />A4 Canção Que Morre No Ar<br />A5 Flor De Maracujá<br />B1 Flor Do Cerrado<br />B2 Jóia<br />B3 Até Quem Sabe<br />B4 O Céu E O Som<br />B5 Lágrimas Negras<br />B6 Chululu</span><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><a href="https://krakenfiles.com/view/g8drzfSBkQ/file.html">Gal Costa - Cantar (1974)</a></span></div><div><span style="font-size: medium;">(~256 kbps, cover art included)</span></div></div>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com4tag:blogger.com,1999:blog-8460537495421082815.post-5698785850138034692024-03-15T11:21:00.000-07:002024-03-15T11:21:43.073-07:00Chambers Brothers - People Get Ready (1965)<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWr6gcdo-fd4DlPiKiN2rF32DYqHEc9PYi99-D0-RJics1U3OxJLeub3mGNk_LQJx2Xz-zYUNlsp95v9z-pOfqlwNxacCIEZlxI_R7Um3cQ9sGMwKWiFVpsOUWXX9oaF-8F4szEfmFxHw/s1600/R-3844549-1346622680-8573.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><br /></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWr6gcdo-fd4DlPiKiN2rF32DYqHEc9PYi99-D0-RJics1U3OxJLeub3mGNk_LQJx2Xz-zYUNlsp95v9z-pOfqlwNxacCIEZlxI_R7Um3cQ9sGMwKWiFVpsOUWXX9oaF-8F4szEfmFxHw/s1600/R-3844549-1346622680-8573.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWr6gcdo-fd4DlPiKiN2rF32DYqHEc9PYi99-D0-RJics1U3OxJLeub3mGNk_LQJx2Xz-zYUNlsp95v9z-pOfqlwNxacCIEZlxI_R7Um3cQ9sGMwKWiFVpsOUWXX9oaF-8F4szEfmFxHw/s400/R-3844549-1346622680-8573.jpg" width="396" /></a>Like their West Coast contemporaries Sly and the Family Stone, the Chambers Brothers shattered racial and musical divides to forge an incendiary fusion of funk, gospel, blues, and psychedelia which reached its apex with the perennial 1968 song "Time Has Come Today." The Chambers siblings - bassist George, guitarist Willie, harpist Lester, and guitarist Joe, all of whom contributed vocals - were born and raised in Lee County, MS; the products of an impoverished sharecropping family, the brothers first polished their vocal harmonies in the choir of their Baptist church, a collaboration which ended after George was drafted into the army in 1952. Following his discharge he relocated to Los Angeles, where the other Chambers brothers soon settled as well; the foursome began performing gospel and folk throughout Southern California in 1954, but remained virtually unknown until appearing in New York City in 1965. The addition of white drummer Brian Keenan not only made the Chambers Brothers an interracial group, but pushed their music closer to rock & roll; a well-received appearance at the Newport Folk Festival further enhanced their growing reputation, and they soon recorded their debut LP, "People Get Ready". <br />
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"People Get Ready" is the first of a handful of early live albums by the group, recorded in concert at the Ash Grove in Los Angeles and the Unicorn in Boston in 1965. The Chambers Brothers were purely an R&B outfit at the time (their psychedelic stylings being a couple of years in the future), and a good one, although they're a little bit surer on the more basic blues than on some of the R&B that they cover - their renditions of Jimmy Reed's material seem more inspired than their performance of the Valentinos' old hit "It's All Over Now," although to their credit their rendition of the latter sounds nothing like the Rolling Stones' then-current cover of the same song. The group also does a beautiful job of harmonizing on Curtis Mayfield's "People Get Ready," and shows a command of the poppier side of rock & roll on "Call Me," a group original with a catchy "Hang on Sloopy"-style central riff. This album is a good introduction to The Chambers Brothers, who show that, even at this early date in their history, they were a commanding and exciting presence on-stage. <br />
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Tracklist: <br />
<div class="section_content">
<table class="playlist mini_playlist" id="playlist-" itemscope="" itemtype="http://schema.org/MusicGroup"><tbody>
<tr class="first" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="track_artists"></td><td class="track"><span class="track_title" itemprop="name"> Yes Yes Yes </span></td><td class="track_duration" width="25">3:20</td><td width="1"></td></tr>
<tr itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="track_artists"></td><td class="track"><span class="track_title" itemprop="name"> Tore Up </span></td><td class="track_duration" width="25">3:00</td><td width="1"></td></tr>
<tr itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="track_artists"></td><td class="track"><span class="track_title" itemprop="name"> Reconsider Baby </span></td><td class="track_duration" width="25">4:45</td><td width="1"></td></tr>
<tr itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="track_artists"></td><td class="track"><span class="track_title" itemprop="name"> You'Ve Got Me Running </span></td><td class="track_duration" width="25">3:05</td><td width="1"></td></tr>
<tr itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="track_artists"></td><td class="track"><span class="track_title" itemprop="name"> People Get Ready </span></td><td class="track_duration" width="25">2:30</td><td width="1"></td></tr>
<tr itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="track_artists"></td><td class="track"><span class="track_title" itemprop="name"> Money (That's What I Want) </span></td><td class="track_duration" width="25">2:53</td><td width="1"></td></tr>
<tr itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="track_artists"></td><td class="track"><span class="track_title" itemprop="name"> You Can Run </span></td><td class="track_duration" width="25">3:35</td><td width="1"></td></tr>
<tr itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="track_artists"></td><td class="track"><span class="track_title" itemprop="name"> Hooka Tooka </span></td><td class="track_duration" width="25">2:50</td><td width="1"></td></tr>
<tr itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="track_artists"></td><td class="track"><span class="track_title" itemprop="name"> Call Me </span></td><td class="track_duration" width="25">3:15</td><td width="1"></td></tr>
<tr itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="track_artists"></td><td class="track"><span class="track_title" itemprop="name"> Summertime </span></td><td class="track_duration" width="25">4:10</td><td width="1"></td></tr>
<tr itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="track_artists"></td><td class="track"><span class="track_title" itemprop="name"> Your Old Lady </span></td><td class="track_duration" width="25">2:50</td><td width="1"></td></tr>
<tr itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="track_artists"></td><td class="track"><span class="track_title" itemprop="name"> It's All Over Now </span></td><td class="track_duration" width="25">4:41</td><td width="1"></td></tr>
</tbody></table>
</div>
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<span style="color: lime;"><a href="https://krakenfiles.com/view/CFsX9V9klp/file.html">Chamber Brothers - People Get Ready (1965)</a></span><br />
(256 kbps, cover art included)zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com2tag:blogger.com,1999:blog-8460537495421082815.post-31440707755654148062024-03-13T09:36:00.000-07:002024-03-13T09:36:17.497-07:00Prince Far I - Dubwise (1991)<span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-vYjG6O6qPmLxuIHQnFQ1V8dVB97Oz1Gp28WdV1rZmeAnDOIeKXwdtDt8I7_8at54Yjtra5i1kAH-vYIOICaKojLP_mpR-IaTMxLkwKhT37Oc47clFfVWrBGuMK07SPM3pF6udW_b5F6-ddWeqD7SwjB0fyeL_iqDs1BhFfoBI0RyoZ_6noYEdyanf9Q/s453/R-138683-1476609644-7843.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="453" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-vYjG6O6qPmLxuIHQnFQ1V8dVB97Oz1Gp28WdV1rZmeAnDOIeKXwdtDt8I7_8at54Yjtra5i1kAH-vYIOICaKojLP_mpR-IaTMxLkwKhT37Oc47clFfVWrBGuMK07SPM3pF6udW_b5F6-ddWeqD7SwjB0fyeL_iqDs1BhFfoBI0RyoZ_6noYEdyanf9Q/w400-h398/R-138683-1476609644-7843.jpg" width="400" /></a></div>One of the many voices of the roots era, Prince Far I was absolutely unique. He certainly cannot be categorized as a singer, although at times -- especially during chanted passages -- there was definitely a singsong quality to his vocals, and in that respect the closest comparison was to Winston Rodney of Burning Spear. However, that group actually wrote lyrics, while Prince Far I vocals were a stream of consciousness that belongs in the DJ realm. But to call him a toaster is equally inaccurate. His delivery was reminiscent of an Old Testament prophet, railing at the wicked, a seething outpouring of religiously inspired righteousness.<div><span style="font-size: medium;"><br /></span></div>The second Prince Far I collection in Front Line's reissue series brings to light four obscure singles along with their dub versions, as well as the entirety of the all-instrumental "Cry Tuff Dub Encounter Part 2". The instrumental dub tracks are pretty much like those that make up the other volumes in the Cry Tuff series -- perfectly fine, but not particularly distinctive, examples of the genre. But the singles show Prince Far I at his best. In his inimitable gravel-pit of a voice, he exhorts the ghetto youth to "fling away your gun and mek we have some fun," and implores his listeners in stentorian to</span>nes to remember Jah and to renounce war. Though not as consistently compelling as "Black Man Land", this is a thoroughly worthwhile collection.<br /><br /><br />Tracklist:<br /><br />1 Throw Away Your Gun 4:23<br />2 Throw Away Your Gun (Dub) 4:30<br />3 Love Divine Dub 3:46<br />4 If You Want To Do Ya Dub 3:41<br />5 Jah Do That Dub 3:22<br />6 Jah Do That 3:56<br />7 No More War 4:36<br />8 No More War Dub 3:58<br />9 Suru–Lere Dub 2:57<br />10 Anambra Dub 3:05<br />11 Kaduna Dub 4:06<br />12 Oyo Dub 3:17<br />13 Borno Dub 3:05<br />14 Bendel Dub 3:22<br />15 Ondo Dub 2:39<br />16 Ogun Dub 2:39<div><br /></div><div><a href="https://krakenfiles.com/view/LsrAS4iQbx/file.html">Prince Far I - Dubwise (1991)</a></div><div>(192 kbps, cover art included)</div>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com0tag:blogger.com,1999:blog-8460537495421082815.post-72722330385766684612024-03-13T08:59:00.000-07:002024-03-13T08:59:32.740-07:00Chambers Brothers - Love, Peace and Happiness / Live At Bill Graham's Fillmore East (1969)<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtVL1r5a18x48lVU2MecDhv2hvoq4vArK1iQdHsRPacLaVDdaY9b_1ylt7nVGtkpohQrX2K8IY4DEfyJmdZez1VBnmf9hOfzfstwTYlqclUr5enVS2AjN0qYSm7-XamhWOHycp0H0LiI0/s1600/cover+lp.bmp" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><br /></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtVL1r5a18x48lVU2MecDhv2hvoq4vArK1iQdHsRPacLaVDdaY9b_1ylt7nVGtkpohQrX2K8IY4DEfyJmdZez1VBnmf9hOfzfstwTYlqclUr5enVS2AjN0qYSm7-XamhWOHycp0H0LiI0/s1600/cover+lp.bmp" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtVL1r5a18x48lVU2MecDhv2hvoq4vArK1iQdHsRPacLaVDdaY9b_1ylt7nVGtkpohQrX2K8IY4DEfyJmdZez1VBnmf9hOfzfstwTYlqclUr5enVS2AjN0qYSm7-XamhWOHycp0H0LiI0/s400/cover+lp.bmp" width="392" /></a><i><b>Love, Peace and Happiness</b></i> is a double album by The Chambers Brothers, which was released in December 1969.<br />
This album was released as a double-LP, which was composed of some live material recorded at Bill Graham's Fillmore East and some studio recordings.<br />
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The brothers seemed to really believe in the title track's message, and they earned style points by including white drummer Brian Keenan, making them one of the few racially mixed American bands. This album, originally released as a double LP, is half studio and half live. The studio sides reflect the message with titles such as "Have a Little Faith" and "To Love Somebody." But the brothers lose their way in covers of songs by the Bee Gees and Marvin Hamlisch, and the epic title track never coheres like "Time Has Come Today." The live sides are better, with stronger material, including "I Can't Turn You Loose" and "People Get Ready." The boys have some fun with the encore, a barbershop medley.<div> <br /> <br /> Tracklist: <br /><br />A1 Have A Little Faith <br />A2 Let's Do It <br />A3 To Love Somebody <br />A4 If You Want Me To <br />A5 Wake Up <br />B1 Love Peace And Happiness (L + P = H In Three Movements) <br />C1 Wade In The Water <br />C2 Everybody Needs Somebody <br />C3 I Can't Turn You Loose <br />D1 People Get Ready <br />D2 Bang Bang <br />D3 You're So Fine <br />D4 Medley - Undecided/Love,Love,Love <br /><br /><br /><a href="https://krakenfiles.com/view/bSjxmCWzQH/file.html">Chambers Brothers - Love, Peace and Happiness / Live At Bill Graham's Fillmore East (1969)</a> <br /> (320 kbps, cover art included)</div>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com4tag:blogger.com,1999:blog-8460537495421082815.post-49563893694393253592024-03-11T10:43:00.000-07:002024-03-11T10:43:06.376-07:00The Chambers Brothers - Shout! (1968)<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjcbUIvRFGS4Ky_CxS9bRglwHl6Vo3ZpuwEO1VFQXhoyXbmOZ0aA-EfI7TxeyFwDhe5vwQr_e6X9LIOHfaIOKrdyXO4qK2bks0BjMmS5dFGGX_nh3_VQNgvBHVaARiKDtGCI7e5bE84nw/s1600/front.bmp" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjcbUIvRFGS4Ky_CxS9bRglwHl6Vo3ZpuwEO1VFQXhoyXbmOZ0aA-EfI7TxeyFwDhe5vwQr_e6X9LIOHfaIOKrdyXO4qK2bks0BjMmS5dFGGX_nh3_VQNgvBHVaARiKDtGCI7e5bE84nw/s400/front.bmp" width="397" /></a>By the time "The Chambers Brothers - Shout!" hit the racks, in 1968, siblings George Chambers (bass/vocals), Willie Chambers (guitar/vocals), Lester Chambers (harmonica/vocals), and Joe Chambers (guitar/vocals) were on the verge of international success with the full-out psychedelic side "Time Has Come Today." </div>
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However, the material used on this - and the rest of the Chambers' Vault Records titles - dates back several years, circa 1965-1966. This inevitably left some consumers confused, if not somewhat nonplussed, as the styles weren't exactly analogous. What listeners are treated to on this long-player is primarily the transitioning of an old-school R&B and gospel combo into a hipper and decidedly more secular soul band. While no precise date is known, it is presumed that the live material comes from the same cache of nightclub performances that yielded 1967's "People Get Ready" and 1968's "Now!" - suggested for listening are the heavily Echoplexed remake of "Johnny B. Goode" and the ten-plus-minute medley connecting the sacred "I Got It" with a show-stopping cover of the Isley Brothers' party anthem "Shout." By contrast, the dark and brooding interpretation of Bobby Parker' s "Blues Get Off My Shoulder" reveals a rare intimacy that is missing from the significantly shorter version of the song that would be featured on 1969's "Feelin' the Blues", their subsequent (and final) stash from Vault Records. The second half of "The Chambers Brothers Shout!", recorded in the studio, is highlighted by Joe Chambers' own slow and ominous love song "Seventeen," which is punctuated by Lester Chambers' piercing mouth harp interjections. Another of Joe's compositions, "Rained the Day You Left," leans toward folk-rock with all the jingle-jangle guitars and tambourine tappin' that the genre became known for. The affective closing ballad, "Love Me Like the Rain," was an original penned by their drummer, Brian Keegan. Here, the Chambers transplant their rural Mississippi harmonies for a sun-drenched California blend that owes as much to the likes of the Beach Boys as to their typical influences. <br />
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Tracklist: <br />
<div class="section_content">
<table class="playlist" itemscope="" itemtype="http://schema.org/MusicGroup"><tbody>
<tr class="first tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A1</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Johnny B.Good</span></td><td class="tracklist_track_duration" width="25"><br /></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A2</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Blues Get Off My Shoulder</span></td><td class="tracklist_track_duration" width="25"><br /></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A3</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">I Got It</span></td><td class="tracklist_track_duration" width="25"><br /></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A4</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Shout</span></td><td class="tracklist_track_duration" width="25"><br /></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B1</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">There She Goes</span></td><td class="tracklist_track_duration" width="25"><br /></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B2</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Seventeen</span></td><td class="tracklist_track_duration" width="25"><br /></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B3</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Pretty Girls</span></td><td class="tracklist_track_duration" width="25"><br /></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B4</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Rained The Day You Left</span></td><td class="tracklist_track_duration" width="25"><br /></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B5</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">So Fine</span></td><td class="tracklist_track_duration" width="25"><br /></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B6</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Love Me Like The Rain</span></td></tr>
</tbody></table>
</div>
<br />
<a href="https://krakenfiles.com/view/0OyUXbm1Cy/file.html">The Chambers Brothers - Shout! (1968)</a><br />
(320 kbps, cover art included) zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com9tag:blogger.com,1999:blog-8460537495421082815.post-69110872690097607922024-03-11T10:14:00.000-07:002024-03-11T10:14:58.567-07:00Uli Hundt & Der Wahnsinn - Placebo (1986, Trikont)<span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5GwIoGfs4Xh2uSZ0noxagCCTf_K1Wz4Q0DDWMuENVGd7XHKTLv9VARaszykQb2kowYS1abCYZmGoOFDDMR2rkzqo7qiNXwmLv84F1x8FxDSZfpg_olXNp9IMcjLWuNfARHAcyj5dtdrXdbyuH7cmyqUQ2kmt4q0wA_OowYmDmQjPQzMYkSRg5QyQVzRk/s600/R-7235138-1436802058-2602.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5GwIoGfs4Xh2uSZ0noxagCCTf_K1Wz4Q0DDWMuENVGd7XHKTLv9VARaszykQb2kowYS1abCYZmGoOFDDMR2rkzqo7qiNXwmLv84F1x8FxDSZfpg_olXNp9IMcjLWuNfARHAcyj5dtdrXdbyuH7cmyqUQ2kmt4q0wA_OowYmDmQjPQzMYkSRg5QyQVzRk/w400-h400/R-7235138-1436802058-2602.jpg" width="400" /></a></div>The political rock clown band "Schröder Roadshow" originated with members of the music projects Hoffmann and Zarah Zylinder. Die Jeilen Träumer came much later, in 1980. The band first appeared in 1976 under the name "Uli Hundt und Schroeder", and was renamed shortly afterwards as "Schroeder Roadshow". They offered biting ironic and political lyrics as well as an eclectic musical style. The band attacked more or less everything, including themselves.<br /><br /> Musically their main focus was 2-guitars- and saxophone-heavy rock, but with elements from many other styles. Political messages were ambiguous, though the band were on the political left [see »Anarchy in Germoney«, 1978]. They also wrote ballads, such as »Asche in den Wind« and »Die Brüder der romantischen Verlierer«. They worked with Wolf Maahn as co-producer for the »Wir lieben das Land« album in 1982, and Rockpalast director Christian Wagner, who produced bass player Rich Schwab’s two solo albums in 1980 and 1982. Schwab produced Uli Hundt und die Betablocker’s »Schweinehundt« solo album in 1982, recorded and presented live with members of the Zeltinger Band and Dunkelziffer.<br /><br />Uli Hundt left the band in 1983 and published the »Placebo« solo album in 1986<br /><br /><br />Tracklist:<br /><br />A1 Alles o.k. Herr Bundestagsvizepräsident 4:35<br />A2 Jaguarbahn 4:30<br />A3 Ich knall mich voll mit Rock'N'Roll 3:23<br />A4 Im Herzen des Sturms 4:44<br />A5 Kamelhaarsutra 4:31<br />B1 Pacman 3:28<br />B2 Das Gold am Ende des Regenbogens 6:02<br />B3 Sag ihr ich komme wenn es Frühling ist 4:23<br />B4 Voyeur 5:02<br />B5 King vun dr Stroß 3:31<br /><br /><br />U<a href="https://krakenfiles.com/view/YHUCTgnomT/file.html">li Hundt & Der Wahnsinn - Placebo (1986, Trikont)</a><br />(256 kbps, cover art included)</span>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com2tag:blogger.com,1999:blog-8460537495421082815.post-74745884977727234932024-01-21T03:36:00.000-08:002024-01-21T03:36:45.444-08:00Chumbawamba – I Never Gave Up (12``, 1992)<span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJSTYVz58aD-jsChYkkWCiaIpHV1-D5DdbM2tRv71Nc6ms10LiFSvXw9GxxfO2pZ6Y_SXwSxFrcYKr39Jx_tj6_pFTknwaDPiZqB4-wn2Ro2fRC0cG4sniRd4q_1XgyqpD561BuwRuh34-FYj4HeS6Q_vX8fyVBCgFLPgK2wwUG3gA13LavTKmDcnHs-s/s600/R-1532299-1670099619-8290.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="590" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJSTYVz58aD-jsChYkkWCiaIpHV1-D5DdbM2tRv71Nc6ms10LiFSvXw9GxxfO2pZ6Y_SXwSxFrcYKr39Jx_tj6_pFTknwaDPiZqB4-wn2Ro2fRC0cG4sniRd4q_1XgyqpD561BuwRuh34-FYj4HeS6Q_vX8fyVBCgFLPgK2wwUG3gA13LavTKmDcnHs-s/w394-h400/R-1532299-1670099619-8290.jpg" width="394" /></a></div>Formed in a squat in Leeds, England, in 1982, Chumbawamba released their first single, "Revolution", in 1985. Up to a point they self-released most of their material on labels they ran themselves, such as Sky & Trees and Agit Prop. Their musical style has changed through the years, initially a shouting punk band, later recording some folk songs, then, with the "Jesus H Christ" album, they discovered electronic music.<br /><br />One of their best-ever songs (from Slap!) in two pretty great remixes, followed by a remix of another great song (the title track from Shhh, here retitled "Laughing"). The first "I Never Gave Up" remix feels more like a single edit (though it only reduces the seven minute original to six minutes) than a particularly exciting remix, while the second is clubby without being anonymous (making excellent use of the original's imitation funk wah-wah guitar). "Laughing" is a relatively brief, bass-heavy but still breezy bit of pop that turns "Shhh" into an utterly different, and possibly better-than-it-was, song. Very nice.<br /><br />Tracklist:<br /><br />A I Never Gave Up (Rondo Mix)<br />B1 I Never Gave Up (Cass Mix)<br />B2 Laughing (Never Stopped Mix)</span><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><a href="https://krakenfiles.com/view/BGurBAuule/file.html">Chumbawamba – I Never Gave Up (12``, 1992)</a></span></div><div><span style="font-size: medium;">(192 kbps, cover art included)</span></div>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com14tag:blogger.com,1999:blog-8460537495421082815.post-14107274914716619492024-01-20T07:17:00.000-08:002024-01-20T07:17:20.215-08:00Brühwarm & Ton Steine Scherben – Mannstoll (1977)<span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqj8S3kmdgUKCwL4ihRShV1YlCHiZpHUGEyIVhz0rkKz-sca41BIcETPuUeZsL3duTt2ThmUt9NJJlFD7h8jOpyOjSxU5I4YeXKXFkqWzYIMBCLUmDAVNVd7Ga9pNAUhCCD5WMWdrvHg7G3G5WY9CFQIDJHyTf4cLlv5EiG2SGP97EC8HMkXApFTomfBw/s600/R-8578051-1571490683-8393.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="594" data-original-width="600" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqj8S3kmdgUKCwL4ihRShV1YlCHiZpHUGEyIVhz0rkKz-sca41BIcETPuUeZsL3duTt2ThmUt9NJJlFD7h8jOpyOjSxU5I4YeXKXFkqWzYIMBCLUmDAVNVd7Ga9pNAUhCCD5WMWdrvHg7G3G5WY9CFQIDJHyTf4cLlv5EiG2SGP97EC8HMkXApFTomfBw/w400-h396/R-8578051-1571490683-8393.jpg" width="400" /></a></div>Ton Stein Scherben were formed in 1970 by the vocalist, guitarist and frontman Rio Reiser, R.P.S. Lanrue, Kai Sichtermann (bass guitar), Wolfgang Seidel (drums). They are considered to be among the most notorious German kraut polit-rock next to bands such as Floh de Cologne. During the 70's the band was known for their social and political critics but also for their amazingly challenging live performances.They were engaged in the German gay-movement, <br /><br /><br />"Brühwarm" was a German political theatre troupe from Hamburg, active in the gay scene, who sought the aid of Ton Steine Scherben for musical backing. So they released two LPs in cooperation with Ton Steine Scherben. This album features the recordings from the "Brühwarm"-Show "Mannstoll" and was recorded in 1977 at the "David Volksmund Studio" in Fresenhagen. <br /><br /><br /><br />Tracklist:<br /><br />A1 Männercharme 2:38<br />A2 Immer Wieder Ficken 4:41<br />A3 Ich Freu' Mich Schon Auf Dienstag 3:53<br />A4 Mitten Drin Im Jugendrausch 3:07<br />A5 Fummelrock 2:18<br />A6 I Stand On You 3:18<br />B1 Kommen Sie Schnell 4:30<br />B2 Geistersongs 3:21<br />B3 Boogie Anal 1:45<br />B4 Zimt Und Schweiß 2:15<br />B5 Wir Müssen Ja Nicht 1:45<br />B6 Ach Müder Mann 2:46<br />B7 Tango 2:08</span><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><a href="https://krakenfiles.com/view/aqzcgjkUaN/file.html">Brühwarm & Ton Steine Scherben – Mannstoll (1977)</a></span></div><div><span style="font-size: medium;">(256 kbps, cover art included)</span></div>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com0tag:blogger.com,1999:blog-8460537495421082815.post-30080890104907346012024-01-16T06:54:00.000-08:002024-01-16T06:54:25.709-08:00Die Erde - Leben den Lebenden (1990)<span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKzvE_RcsfYwiQS5lE-_uNEQTh6_9Z89FQ8LUeim4L9BApVTfoYOba3PGazDQ8pzZOymff5SL1B-EJ89pwZggzt7UUf9SWsaroB8jW8fryiajc1EqFIW4Z3X-tlZgLXMF20wc0YYjkfwWp13cgR1MRzwRrDlYEE06kVsZXXCN7wNDH84UcNVqnzLQ97nc/s595/R-1185210-1228811960.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="458" data-original-width="595" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKzvE_RcsfYwiQS5lE-_uNEQTh6_9Z89FQ8LUeim4L9BApVTfoYOba3PGazDQ8pzZOymff5SL1B-EJ89pwZggzt7UUf9SWsaroB8jW8fryiajc1EqFIW4Z3X-tlZgLXMF20wc0YYjkfwWp13cgR1MRzwRrDlYEE06kVsZXXCN7wNDH84UcNVqnzLQ97nc/w400-h308/R-1185210-1228811960.jpg" width="400" /></a></div>Tobias Gruben was born on the 28th of July 1963 in Athens, Greece and raised in Starnberg, Germany. His first band was "4 Kaiserlein" with Christoph Schlingensief, who would go on to become a famous director for film and theatre as well as an author and actor. Gruben then relocated to Hamburg and formed "Cyan Revue" in 1984. The band released three albums and toured with Alien Sex Fiend before disbanding in 1987.</span><div><span style="font-size: medium;"><br />After this, he formed "Die Erde" with Horst Petersen. The group released two albums - one studio and one live - and toured alongside Einstürzende Neubauten, but split up in 1991 due to personal and musical differences.<br /><br />Also in 1991, Gruben joined the band Heroina alongside Katrin Achinger and Matthias Arfmann of Kastrierte Philosophen, but the group dissolved that same year. He then worked on private projects until meeting Felix Huber in 1994. The pair released a 7" as "Sol (23)" before changing their moniker to "Die Erde II". An album was planned for release in 1997 but was cancelled following Gruben's death from a heroin overdose on November 2nd 1996.<br /><br />A class mate of Nick Cave and Einstürzende Neubauten, Gruben's "Die Erde" should not be missed! <br /><br /><br />Tracklist:<br /><br />Leben den Lebenden 4:43<br /> Eis 3:43<br /> Enough 2:50<br /> Maria durch den Dornwald Ging 1:55<br /><br /><br /><a href="https://krakenfiles.com/view/qB0sAfHRc0/file.html">Die Erde - Leben den Lebendigen (1990)</a><br />(320 kbps, cover art included)</span></div>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com1tag:blogger.com,1999:blog-8460537495421082815.post-49029746358197777532024-01-16T06:36:00.000-08:002024-01-16T06:36:37.905-08:00Pete Seeger - American Favorite Ballads Vol. 3 (1959)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiWtuJyASfm_oLFR5bRi1ucCwu1wiOFmeztKCMiYs3FY_FBaETpx83uPk_FzvEw1M799vhPoalYWe-iRG5bVA7o1GuXocTJARP9f-mDH5BPqYOV1496Ba9vHLmHF52MF6rLAoxNCMHk00/s1600/R-11379027-1516075772-9515.jpeg.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="600" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiWtuJyASfm_oLFR5bRi1ucCwu1wiOFmeztKCMiYs3FY_FBaETpx83uPk_FzvEw1M799vhPoalYWe-iRG5bVA7o1GuXocTJARP9f-mDH5BPqYOV1496Ba9vHLmHF52MF6rLAoxNCMHk00/s400/R-11379027-1516075772-9515.jpeg.jpg" width="400" /></a></div>
Having recorded two volumes of "American Favorite Ballads", Pete Seeger still had many familiar American folk songs to choose from in assembling a third volume. Yet he (or Folkways Records producer Moses Asch)
seems to have expanded the concept of what songs were acceptable for
inclusion. Maybe that explains this album's subtitle, "Tunes and Songs",
which would seem to cover just about anything.<br />
<br />
Beginning with the
pre-Civil War tribute to the famed militant abolitionist, "John Brown's
Body," Seeger also sings spirituals ("Oh, Mary Don't You Weep," "Swing Low Sweet Chariot"), blues (W.C. Handy's "St. Louis Blues"), and minstrel songs (Stephen Foster's
"Swanee River" and "Camp Town Races"), along with more traditional folk
fare. He also presents a banjo instrumental ("The Girl I Left Behind
Me"), and he draws from the repertoire of the group from which he has
now departed, including his solo versions of the Weavers' "Goodnight Irene," "My Good Man," and "Wimoweh."<br />
<br />
The last selection is perhaps the oddest in the set, first because, as Seeger
freely acknowledges, it comes from South Africa, not America. (Of
course, having been a U.S. pop hit, it can rightly be called an
"American favorite," anyway.) The second curious aspect of its inclusion
is Seeger's
evident discomfort in singing it by himself. He begins as if he's
conducting an instruction record on group singing, telling listeners how
they can join in on the recording and acknowledging that the song will
sound odd with only his solo part. Then he sings his solo part. This may
not be a Seeger
live album, but even alone in the recording studio, he expects an
unseen audience to sing along on one of his greatest hits, American or
not. <br />
<br />
Tracklist:<br />
<table class="playlist"><tbody>
<tr class="first tracklist_track track" data-track-position="A1"><td class="track tracklist_track_title"><span class="tracklist_track_title">John Brown's Body</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="A2">
<td class="track tracklist_track_title"><span class="tracklist_track_title">The Girl I Left Gehind Me</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="A3">
<td class="track tracklist_track_title"><span class="tracklist_track_title">Oh, Mary Don't You Weep</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="A4">
<td class="track tracklist_track_title"><span class="tracklist_track_title">St. Louis Blues</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="A5">
<td class="track tracklist_track_title"><span class="tracklist_track_title">My Good Man</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="A6">
<td class="track tracklist_track_title"><span class="tracklist_track_title">Clementine</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="A7">
<td class="track tracklist_track_title"><span class="tracklist_track_title">Dink's Song</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="A8">
<td class="track tracklist_track_title"><span class="tracklist_track_title">New River Train</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="A9">
<td class="track tracklist_track_title"><span class="tracklist_track_title">Swanee River</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="B1">
<td class="track tracklist_track_title"><span class="tracklist_track_title">Camptown Races</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="B2">
<td class="track tracklist_track_title"><span class="tracklist_track_title">Swing Low, Sweet Chariot</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="B3">
<td class="track tracklist_track_title"><span class="tracklist_track_title">Goodnight Irene</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="B4">
<td class="track tracklist_track_title"><span class="tracklist_track_title">Sometimes I Feel Like A Motherless Child</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="B5">
<td class="track tracklist_track_title"><span class="tracklist_track_title">Wimoweh</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="B6">
<td class="track tracklist_track_title"><span class="tracklist_track_title">The Farmer's Curst Wife</span></td>
<td class="tracklist_track_duration" width="25">
</td>
</tr>
<tr class="tracklist_track track" data-track-position="B7">
<td class="track tracklist_track_title"><span class="tracklist_track_title">When I First Came To This Land</span></td></tr>
</tbody></table>
<br />
<a href="https://krakenfiles.com/view/BSbN5ukRDG/file.html">Pete Seeger - American Favorite Ballads Vol. 3 (1959)</a><br />
(320 kbps, cover art included) zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com4tag:blogger.com,1999:blog-8460537495421082815.post-14447662737234506552024-01-15T12:38:00.000-08:002024-01-15T12:38:47.171-08:00V.A. - That´s Why we Were Marching - World War II and the American Folk Song Movement (1996)<span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhW3YnHR9fRP4BraEKy5o3aE5EaqFX6vwsMfmsLhhyphenhyphen4hGSSTNqXUqPzXtNoOCzSJKfqvu9AIXO4KpthZJQjjabGovW_LFdx3V83SLqApkPZaMY_cHZUNT7cvztBtWcYh5wvHXn0uf-s4x1LZrMrOU2nZ2iQir4YkjfGyCF4D3My8vVCBBFFFZFx2yKz-I/s500/R-10081370-1491272457-3280.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhW3YnHR9fRP4BraEKy5o3aE5EaqFX6vwsMfmsLhhyphenhyphen4hGSSTNqXUqPzXtNoOCzSJKfqvu9AIXO4KpthZJQjjabGovW_LFdx3V83SLqApkPZaMY_cHZUNT7cvztBtWcYh5wvHXn0uf-s4x1LZrMrOU2nZ2iQir4YkjfGyCF4D3My8vVCBBFFFZFx2yKz-I/w400-h400/R-10081370-1491272457-3280.jpg" width="400" /></a></div>Fifteen of the 25 tracks on this 71-minute disc are previously unreleased and the rest are not easily available. That's no reflection on their quality, but it is a clue to their limited typicality: these are songs written and recorded in the first half of the 1940s in response to world events before and during World War II; after the war, they dated fast. In fact, some of them became obsolete even before the U.S. entered the war. The earliest songs are three tracks by the Almanac Singers (who included Woody Guthrie, Pete Seeger, and others) from the spring of 1941 decrying the actions of the Franklin Roosevelt Administration that inclined the country toward the war. When the songs were recorded, they expressed a commonly held sentiment. But only a couple of months later, when Germany invaded the Soviet Union, the singers themselves repudiated their sentiments, and another six months later, when the Japanese attacked Pearl Harbor, they seemed positively treasonous. The rest of the album's songs are patriotic, pro-war expressions of the need to overcome Hitler and win the war. But even amid such mainstream sentiments, the left-wing folksingers slip in lyrics in support of unions and civil rights, more long-standing views for them. They also find space to praise U.S. ally the Soviet Union in songs that became politically unacceptable after the war. Fifty years later, of course, all of this makes for a musical, historical curiosity, and a listener's primary interest is likely to be the opportunity to hear previously unissued music by Guthrie, Seeger, Leadbelly, Josh White, Burl Ives, Sonny Terry, Brownie McGhee, and a host of other excellent folksingers.</span><br /><em><br /></em><span style="font-size: medium;">Few people have heard these songs composed and sung from 1940 to 1945 by artists primarily known for their influence on American folk music after 1945. Both the protest songs and the pro-war songs are assembled for the first time in this historic compilation; they present the conflicts, the hopes, and the way songs were used to raise morale during World War II. </span><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">"A great slice of history...also a great musical performance." -- Daily News</span><br /><br /><br />Trackslist<div><br />1. Freedom Road Josh White 2:20 <br />2. Talking Sailor (Talking Merchant Marine) - Woody Guthrie 3:03 <br />3. The Ballad of October 16 - The Almanac Singers 2:49 <br />4. Billy Boy - The Almanac Singers 2:23 <br />5. Plow Under - The Almanac Singers 2:27 <br />6. I'm Gonna Put My Name Down - Tom Glazer 3:04 <br />7. What are We Waiting On? - Woody Guthrie 2:09 <br />8. Citizen C.I.O. - The Union Boys 2:31 <br />9. The Sinking of the Reuben James - Woody Guthrie And Cisco Houston 3:01 <br />10. You Better Get Ready - The Union Boys 2:32 <br />11. If You Want to Do Your Part - Lead Belly 2:56 <br />12. Move Into Germany - The Union Boys 3:00 <br />13. So Long, It's Been Good to Know You (War Version) - Woody Guthrie And Cisco Houston 2:47 <br />14. The Martins and the Coys - The Union Boys 3:01 <br />15. Hitler Song Lead Belly 4:34 <br />16. Sally Don't You Grieve - Woody Guthrie And Cisco Houston 2:25 <br />17. Jimmy Longhi Story Vincent "Jimmy" - Longhi 6:05 <br />18. When the Yanks Go Marching In - Woody Guthrie, Cisco Houston, And Sonny Terry 2:46 <br />19. Round and Round Hitler's Grave - The Almanac Singers 1:10 <br />20. Fuhrer - Josh White 3:10 <br />21. Miss Pavlichenko - Woody Guthrie 2:30 <br />22. National Defense Blues - Lead Belly, Sonny Terry, And Brownie McGhee 3:14 <br />23. Gee, But I Want to Go Home (Army Life) - Lead Belly 1:47 <br />24. Looking for a Home - Pete Seeger 3:10 <br />25. Now That's It's All Over (He'll Go Back to Selling Shoes) - Pete Seeger 2:09<br /><br /><a href="https://krakenfiles.com/view/Xi7QF4I0A0/file.html">VA - That´s Why we Were Marching - World War II and the American Folk Song Movement (1996)</a><div>(320 kbps, cover art included)</div></div></div>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com5tag:blogger.com,1999:blog-8460537495421082815.post-59008481630250219452024-01-15T12:02:00.000-08:002024-01-15T12:02:14.080-08:00Pete Seeger - American Favorite Ballads, Vol. 1<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNHAKr-5WLuZwg0ZXunqZTVJ39L4qkl3Y1c4O_UrBCQxr4I76vlpSs2UW1T-82ga3UaSGbpyogiKU_q9R3OBxNzXZHfNRMjDBWp7T7eiufMmO8JdPe229nn5WQKYxV4KqvUzbi_-j8rzk/s1600/R-5062095-1383941686-9568.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNHAKr-5WLuZwg0ZXunqZTVJ39L4qkl3Y1c4O_UrBCQxr4I76vlpSs2UW1T-82ga3UaSGbpyogiKU_q9R3OBxNzXZHfNRMjDBWp7T7eiufMmO8JdPe229nn5WQKYxV4KqvUzbi_-j8rzk/s1600/R-5062095-1383941686-9568.jpg" width="398" /></a>The first in a series of five immensely popular Pete Seeger releases, "American Favorite Ballads, Vol. 1" was intended to gather together and set down songs that "everyone" knew (or seemed to know), in simple, unadorned musical settings, accompanied by his guitar or banjo, that adults and children could learn and sing together. </div>
<br />
At the time, the albums were primarily aimed at schools and libraries, though one can bet that more than a few progressive-minded and left-leaning families bought them a well, even if these weren't the union and topical songs Seeger was loved for in those circles, if only as a statement against the blacklist that had hurt the artist's career; one also wonders, as a minor point, if the decision to include "Big Rock Candy Mountain" wasn't a little zing at Burl Ives, for whom the song had been something of a signature tune, and who had ended up on the opposite side of Seeger in the ideological wars of the 1950s (a hatchet that wasn't fully buried between them until the '80s). <br />
<br />
Seeger's range on this album is stunning, from the gentle simplicity of "Skip to My Lou" to the rousing exuberance of "Oh Mary, Don't You Weep" - his voice is melodious and powerful across a range that may surprise listeners who only know the artist for the recordings done in his seventies and eighties - and while his guitar playing is fine, it's his banjo work that is the real treat across these songs. For a man who (supposedly) so resented the electrification of folk music, Seeger isn't shy about spinning some (admittedly acoustic) pyrotechnics out of his banjo when the song seems to call for it. Moe Asch's recording technology was more than good enough for Seeger and his instrument, and the tapes have held up across five decades. And as to the songs, they encompass folk, country, and gospel standards, and their sheer power is perhaps the most amazing aspect of this record (and its four follow-ups): the world and its so-called culture, popular or otherwise, have moved on so far (even in the late '60s, these seemed kind of hokey to kids who thought they knew better) that 50-plus years later, this record is still an education, as well as a rare treat. <br />
<br />
Tracklist:<br />
<table class="playlist" itemscope="" itemtype="http://schema.org/MusicGroup"><tbody>
<tr class="first tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A1</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> Down In The Valley </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A2</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> Mary Don't You Weep </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A3</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> The Blue Tail Fly </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A4</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> Yankee Doodle </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A5</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> Cielito Lindo </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A6</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> Buffalo Gals </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A7</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> The Wabash Cannon Ball </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A8</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> So Long, It's Been Good To Know You </span><br />
<blockquote style="display: none;">
<span class="tracklist_extra_artist_span"> Written-By – <a href="http://www.discogs.com/artist/285789-Woody-Guthrie">Woody Guthrie</a></span></blockquote>
</td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B1</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> The Wagoner's Lad </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B2</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> The Big Rock Candy Mountain </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B3</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> The Wreck Of The Old '97 </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B4</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> On Top Of Old Smokey </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B5</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> I Ride An Old Paint </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B6</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> Frankie And Johnny </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B7</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> Old Dan Tucker </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B8</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> Skip To My Lou </span></td><td class="tracklist_track_duration" width="25"></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B9</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name"> Home On The Range </span></td><td class="tracklist_track_duration" width="25"></td></tr>
</tbody></table>
<br />
<span style="color: lime;"><a href="https://krakenfiles.com/view/5Phqj9PMm1/file.html">Pete Seeger - American Favorite Ballads, Vol. 1</a></span><br />
(256 kbps, cover art included)zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com5tag:blogger.com,1999:blog-8460537495421082815.post-90745025688484776952024-01-15T12:01:00.000-08:002024-01-15T12:01:41.337-08:00Josh White - Folk Songs Sung By Josh White (1944, Asch International Stinson 358)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzkiVVthdyUY9ZpNRyTMjWODomcAoEPzGO2C8JVCF4UYxeglLo1rHyjwnIscSnwI1naYA27Ft-Prv1CMzgr45fA4HrYkcq0EiLoPZ6kXFFFqPTjDEtGI8HiEK9M6ruNiNGTc1XTMek8V7q/s1600/asc3584.jpg" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="332" px="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzkiVVthdyUY9ZpNRyTMjWODomcAoEPzGO2C8JVCF4UYxeglLo1rHyjwnIscSnwI1naYA27Ft-Prv1CMzgr45fA4HrYkcq0EiLoPZ6kXFFFqPTjDEtGI8HiEK9M6ruNiNGTc1XTMek8V7q/s400/asc3584.jpg" width="400" /></a></div>
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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.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNaMxRhJCH4GSy34WgPz2TQG97f3GdQ7IfCVrueqNOSn2f0NhlmgPBqQf0LWM8q9xzmO8xs0a_m8kXLe82Zijkqu2Dm-iPwNTqloVZHU8ZrcIqQ3gWfbdYATJznXc_c3pMFIGFhyyPW3o4/s1600/asch3584label.jpg" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" px="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNaMxRhJCH4GSy34WgPz2TQG97f3GdQ7IfCVrueqNOSn2f0NhlmgPBqQf0LWM8q9xzmO8xs0a_m8kXLe82Zijkqu2Dm-iPwNTqloVZHU8ZrcIqQ3gWfbdYATJznXc_c3pMFIGFhyyPW3o4/s200/asch3584label.jpg" width="200" /></a></div>
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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.</div>
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<br /></div>
"Folk Songs Sung By Josh White" was a set of three singles released in 1944 by Asch Records with the following tracks:<br />
<br />
- Motherless Children<br />
- St. James Infirmary Blues<br />
<br />
- No. 12 Train<br />
- Joshua Fit De Battle Of Jericho<br />
<br />
- Trouble<br />
- Jerry<br />
<br />
<b><span style="color: yellow;"><a href="https://krakenfiles.com/view/w87Xrya267/file.html">Josh White - Folk Songs Sung By Josh White (1944, Asch)</a></span></b></div>
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(192 kbps, front cover included)</div>
zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com3tag:blogger.com,1999:blog-8460537495421082815.post-10367860368665668492024-01-06T10:35:00.000-08:002024-01-06T10:35:33.888-08:00Violeta Parra - Canciones (Casa de las Américas, Cuba, 1971)<div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRUzfejzpcWkeB5iU1_RhHV9cbuFSuN16WJlED2EWyE3MMf9m69AWdfZyv5ZpU2wavpGJFBz8qBlO5TkmvVxeMgN16JRFJQswFAzPBxVop00F5qObqkUkSAHh2SWozPjVuWFi29pPsyt4/s1600/Violeta+Parra+1971+-+frontal.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRUzfejzpcWkeB5iU1_RhHV9cbuFSuN16WJlED2EWyE3MMf9m69AWdfZyv5ZpU2wavpGJFBz8qBlO5TkmvVxeMgN16JRFJQswFAzPBxVop00F5qObqkUkSAHh2SWozPjVuWFi29pPsyt4/s1600/Violeta+Parra+1971+-+frontal.jpg" width="400" /></a>The roots of <em>nueva canción</em> trace to the late 1950s and early ’60s, a notably restive era in Latin American history. Many countries were saddled with ineffective or authoritarian governments, and the gap between the wealthy and the impoverished was widening. Moreover, European and North American cultural influence was becoming increasingly palpable, with musical tastes in particular molded to a significant degree by the commercial-music industry of North America. In that milieu two notable singer-songwriters in neighbouring countries embarked on crusades to reclaim what they perceived as the crumbling social and cultural integrity of their homelands: <a href="https://www.blogger.com/null" id="ref1084207" name="ref1084207"></a><span href="http://semantic.britannica.com/accepted_headword/core/1704154/Violeta-Parra" property="about">Violeta Parra</span> in Chile and <a href="https://www.blogger.com/null" id="ref1084208" name="ref1084208"></a>Atahualpa Yupanqui in Argentina.</div>
<br />
Much of the work of Parra and Yupanqui involved collecting old songs from the countryside and reworking - or rejuvenating - them to become “new songs” in a more contemporary, broadly accessible format. Parra commonly cast her song in well-established local poetic forms, and, perhaps most significant, she introduced Andean instruments into the accompanying ensemble. Meanwhile, Yupanqui’s semisung lyrics, intoned atop expressive guitar playing, vividly evoked the hardships of life in the Andes. By developing and promoting a body of popular songs that were grounded in local traditions and that addressed the experiences and concerns of ordinary people, both Parra and Yupanqui helped democratize music in their countries; their songs spoke both to and for the populace.<br />
<br />
Tracklist:<br />
01. - Gracias a la vida - 4:26"<br />
02. - Qué dirá el Santo Padre - 2:47"<br />
03. - Hace falta un guerrillero - 3:34"<br />
04. - Arauco tiene una pena - 2:48"<br />
05. - A la una - 3:15"<br />
06. - La jardinera - 2:53"<br />
07. - Y arriba quemando el Sol - 2:45"<br />
08. - La carta - 2:48"<br />
09. - Paloma ausente - 3:06"<br />
10. - Según el favor del viento - 2:18"<br />
11. - Maldigo del alto cielo - 3:47"<br />
<a href="http://rapidshare.com/files/19188656/Violeta_Parra_1971_-_Canciones__Casa_de_las_Am_ricas_LD-CA-5_.rar" rel="nofollow"></a><br />
<span style="color: lime;"><a href="https://krakenfiles.com/view/YPJFLai4qu/file.html">Violeta Parra - Canciones (Case de las Americas, Cuba, 1971)</a></span><br />
(256 kbps, cover art included)zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com4tag:blogger.com,1999:blog-8460537495421082815.post-2969064399871434482024-01-06T08:58:00.001-08:002024-01-06T08:58:44.475-08:00Quilapayún - Basta (1969)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEB8623hZaxeo2qsEbKkhgA4U0MaDYaGl7wBa7skRrpeg2x578XczJIfTVl0OVh_EbARQ07h1-67_87z-y3eFgVvIyirCVmZaeG_ewvC6qfEQr2ExZHQ-pSuY7T8TzxsAW8Wwn6VOwkWg/s1600/Quilapay%25C3%25BAn+1969+-+Basta+-+frontal.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEB8623hZaxeo2qsEbKkhgA4U0MaDYaGl7wBa7skRrpeg2x578XczJIfTVl0OVh_EbARQ07h1-67_87z-y3eFgVvIyirCVmZaeG_ewvC6qfEQr2ExZHQ-pSuY7T8TzxsAW8Wwn6VOwkWg/s400/Quilapay%25C3%25BAn+1969+-+Basta+-+frontal.jpg" width="400" /></a></div>
<i><b>"Basta"</b></i> <i>("That’s enough!/Das genügt!")</i> is an album that was released by Quilapayún
in 1969. It brings together popular and folk songs from Latin America,
the former USSR, and Italy. This album included "La muralla"/"The wall" -
one of the most popular folk songs in Latin America - based on the text
of a poem by the Cuban poet Nicolás Guillén.<br />
<br />
The vocal arrangements reach their peak in <i>“Bella Ciao”, “Por montañas y praderas”</i> and <i>“Patrón.”</i> This album – as "X Vietnam" - shows the internationalism of Nueva Cancion Chilena/ New Chilean Song.<br />
<br />
The liner notes
below are from the original "Basta" album release in 1969 and in the
re-edition of the album in Italy in 1974, but may not appear with more
recent editions:<br />
<dl>
<dd>
<dl>
<dd><i>"The importance of the role that art has to play for the
revolutionary movements of our people was addressed for the first time
in our country by a historical letter - that serves as an introduction
to this recording - that was signed by the first leader of the
proletariat cause in Chile, Luis Emilio Recabarren.</i></dd>
</dl>
</dd>
</dl>
<dl>
<dd>
<dl>
<dd><i>Since its inception our group has defined its work as committed
with the interests of the proletariat, and hasn’t concealed, nor will it
ever conceal, its political aims. This is born of a need to remain
forever loyal to the nascent truth that impels and mobilizes our people
towards the hour of its authentic historical realization.</i></dd>
</dl>
</dd>
</dl>
<dl>
<dd>
<dl>
<dd><i>All artists that have the opportunity to give their work to the
revolutionary cause should do so, and in that manner not only do they
fulfill their responsibility with the working class but also with art
itself. Given that in an era of exploitation and misery, of subjugation,
of cruel and unjust wars, of unrestrained egoism and selfishness, of
repression that violate the will of the people, which seek to liberate
themselves from imperialism and capitalism; artists that remain on the
fence and profit from their privileged position within society – which
in a thousand ways aims to bribe and alienate them – betray the very
essence of art.</i></dd>
</dl>
</dd>
</dl>
<dl>
<dd>
<dl>
<dd><i>An essence, which yearns to liberate, to educate, to elevate mankind.</i></dd>
</dl>
</dd>
</dl>
<dl>
<dd>
<dl>
<dd><i>Bourgeois society wants art to be another factor contributing to social alienation;
we artists should transform it into a revolutionary weapon, until the
contradiction that actually exists between art and society is finally
surpassed.</i></dd>
</dl>
</dd>
</dl>
<br />
<dl>
<dd>
<dl>
<dd><i>This surpassing is called revolution and its motor and fundamental agent is the working class.
Our group, loyal to the ideals of Luis Emilio Recabarren, sees its work
as a continuation of what has already been achieved by many other
popular/folk artists. This side of the trenches has been occupied by
artists whose names are forever linked to the revolutionary struggle of
our people; the first Luis Emilio Recabarren, the latest: Violeta Parra and Pablo Neruda. The example they have given us is the light that guides us."</i></dd><dd><i><br /></i></dd>Tracklist:
</dl>
<dl><ol>
<li>”A la mina no voy” (I won’t go back to the mine) (Colombian folklore)</li>
<li>”La muralla” (The wall) (Nicolás Guillén - Quilapayún)</li>
<li>”La gaviota” (The gull) (Julio Huasi – Eduardo Carrasco)</li>
<li>”Bella ciao” (Goodbye, my beautiful) (Italian folk - Italian partisans Hymn)</li>
<li>”Coplas de baguala” (Verses of Baguala) (Argentinian Folk)</li>
<li>”Cueca de Balmaceda” (Cueca dance for Balmaceda) (Popular)</li>
<li>”Por montañas y praderas (Over mountains and prairies) (Soviet Red Army Hymn)</li>
<li>”La carta” (The letter) (Violeta Parra)</li>
<li>”Carabina 30-30" (A commonly used rifle) (from the Mexican Revolution)</li>
<li>”Porqué los pobres no tienen...” (Why don’t the poor have...) (Violeta Parra)</li>
<li>”Patrón” (Landlord) (Aníbal Sampayo - Uruguayan folk)</li>
<li>”Basta ya” (Enough, already!) (Atahualpa Yupanqui)</li>
</ol>
</dl>
</dd><a href="https://krakenfiles.com/view/zyL74pmHME/file.html">Quilapayún - Basta (1969)</a></dl>
<dl>(256 kbps, cover art included)</dl>
zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com1tag:blogger.com,1999:blog-8460537495421082815.post-41811922567266845292024-01-06T08:58:00.000-08:002024-01-06T08:58:18.961-08:00Atahualpa Yupanqui - El Poeta De La Guitarra (2006)<span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNxEP8Zp9sw-iG3dIAw_vZb2lSNioyTFknYfFr7050CmsJkTzJ7hzayr9BeCt9AvTNsI1r1njgqG9KhhqCsScUkYSOfnNWQCMw_oSLefKNtw75ReIPkK4ms4ttLfBm8HJA7ybLb9xQ-PgkkDqn0djBZdl4nyBV16cKhOSwj30yXchz-R1rPMv3Wswhkx0/s606/Atahualpa%20Yupanqui-El%20Poeta%20de%20la%20Guitarra-TAPA.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="606" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNxEP8Zp9sw-iG3dIAw_vZb2lSNioyTFknYfFr7050CmsJkTzJ7hzayr9BeCt9AvTNsI1r1njgqG9KhhqCsScUkYSOfnNWQCMw_oSLefKNtw75ReIPkK4ms4ttLfBm8HJA7ybLb9xQ-PgkkDqn0djBZdl4nyBV16cKhOSwj30yXchz-R1rPMv3Wswhkx0/w396-h400/Atahualpa%20Yupanqui-El%20Poeta%20de%20la%20Guitarra-TAPA.jpeg" width="396" /></a></div>Atahualpa Yupanqui (22 January 1908 - 23 May 1992) was an Argentine singer, songwriter, guitarist, and writer.<br /><br />Yupanqui was born Héctor Roberto Chavero Haram in Pergamino (Buenos Aires Province), in the Argentine pampas, about 200 kilometers away from Buenos Aires. His family moved to Tucumán when he was ten. In a bow to two legendary Incan kings, he adopted the stage name Atahualpa Yupanqui, which became famous the world over.<br /><br />In his early years, Yupanqui travelled extensively through the northwest of Argentina and the Altiplano studying the indigenous culture. He also became radicalized and joined the Communist Party of Argentina. In 1931, he took part in the failed uprising of the Kennedy brothers and was forced to seek refuge in Uruguay. He returned to Argentina in 1934.<br /><br />In 1935, Yupanqui paid his first visit to Buenos Aires; his compositions were growing in popularity, and he was invited to perform on the radio. Shortly thereafter, he made the acquaintance of pianist Antonieta Paula Pepin Fitzpatrick, nicknamed "Nenette", who became his lifelong companion and musical collaborator under the pseudonym "Pablo Del Cerro".<br /><br />Because of his Communist Party affiliation (which lasted until 1952), his work suffered from censorship during Juan Perón's presidency; he was detained and incarcerated several times. He left for Europe in 1949. Édith Piaf invited him to perform in Paris in June of that year. He subsequently toured extensively throughout Europe.<br /><br />In 1952, Yupanqui returned to Buenos Aires. He broke with the Communist Party, which made it easier for him to book radio performances.<br /><br />Recognition of Yupanqui's ethnographic work became widespread during the 1960s, and nueva canción artists such as Mercedes Sosa recorded his compositions and made him popular among the younger musicians, who referred to him as Don Ata.<br /><br />Yupanqui alternated between houses in Buenos Aires and Cerro Colorado, Córdoba province. During 1963-1964, he toured Colombia, Japan, Morocco, Egypt, Israel, and Italy. In 1967, he toured Spain, and settled in Paris. He returned regularly to Argentina, but these visits became less frequent when the military dictatorship of Jorge Videla came to power in 1976.<br /><br />Yupanqui died in Nimes, France in 1992 at the age of 84; he was buried in the Cerro Colorado Cementery.<br /><br />"El Poeta De La Guitarra" is a compilaton with recordings von RCA Victor Argentina from 1942 to 1944, Antar Telefunken Uruguay from 1957 and RCA Victor </span><span style="font-size: large;">España</span><span style="font-size: medium;"> from 1969.<br /><br />Tracklist:<br /><br />Una canción en la montaña (RCA 1944)<br />Camino a Los Valles (RCA 1942)<br />El Kachorro (RCA 1944)<br />Piedra y camino (RCA 1944)<br />La vidala del silencio (RCA 1942)<br />Me Voy (RCA 1944)<br />Huajra (RCA 1942)<br />Carguita de tola (RCA 1942)<br />La viajerita (RCA 1944)<br />Baguala del pobrecito (Antar 1957)<br />El Pintor (Antar 1957)<br />Guitarra dímelo tú (Antar 1957)<br />Duermete changuito (Antar 1957)<br />La finadita (Antar 1957)<br />Canciónes del abuelo 2 (RCA 1969)<br /><br /><br /><a href="https://krakenfiles.com/view/AxeWgRPIJ4/file.html">Atahualpa Yupanqui - El Poeta De La Guitarra (2006)</a><br />(320 kbps, cover art included)</span>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com0tag:blogger.com,1999:blog-8460537495421082815.post-52460549880610550992024-01-05T10:53:00.000-08:002024-01-05T10:53:29.721-08:00The Chad Mitchell Trio – Mighty Day: The Chad Mitchell Trio Reunion<span style="font-size: medium;"> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNifTlrcQAnvkap6uTgn_fejvLuMylLorFHStiNB7ESRsm9ggwpVgpJsWm6W4GL0zQAiqmlJXUdjuDbw7JGZ1IiHAf37xYbZ2LJIl4RnPHjaoR8688wz7-o-xUPN0ZYVZnNls0AT6yXaSXZoYI7tfy4E9EnKSlggDUZ5yKE4XkhxJgPe2XF2gFdw1I1ug/s599/R-12017079-1526638075-8150.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="593" data-original-width="599" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNifTlrcQAnvkap6uTgn_fejvLuMylLorFHStiNB7ESRsm9ggwpVgpJsWm6W4GL0zQAiqmlJXUdjuDbw7JGZ1IiHAf37xYbZ2LJIl4RnPHjaoR8688wz7-o-xUPN0ZYVZnNls0AT6yXaSXZoYI7tfy4E9EnKSlggDUZ5yKE4XkhxJgPe2XF2gFdw1I1ug/w400-h396/R-12017079-1526638075-8150.jpg" width="400" /></a></div>If there were any liner notes to this album, they might explain that this is a recording of a reunion concert that the Chad Mitchell Trio taped for PBS in 1987, though the copyright date is 1992 and this audio version was issued in 1996. </span><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">In any case, the trio proves to be in good voice and good humor after 22 years apart, singing many of the songs that its audiences loved in the early '60s, including "The John Birch Society" and "Lizzie Borden." </span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">Since many of the Chad Mitchell Trio's original recordings were also live performances, they have a better right than many veteran acts to re-record their well-known numbers. The added attraction here is the appearance on one track of John Denver, who replaced Mitchell in the group in 1965. After the Chad Mitchell Trio's recordings had been out of print for decades, the year 1996 brought new CD compilations from Vanguard and Varese Vintage that better represent the group than this later one. But that doesn't keep it from being an enjoyable show.</span><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">Tracklist:</span><br /><br />1 Mighty Day 2:10<br />2 Four Strong Winds 3:04<br />3 Can't Help But Wonder Where I'm Bound 3:09<br />4 The Great HIstorical Bum (The Bragging Song) 3:39<br />5 Fyve-io 3:14<br />6 The John Birch Society 3:51<br />7 Johnny 4:39<br />8 The Ballad Of The Greenland Whalers 2:53<br />9 Which Hat Shall I Wear? 3:34<br />10 The Sinking Of Reuben James 3:02<br />11 An African Song 2:19<br />12 Maladyozhenaya 2:33<br />13 Lizie Borden 3:12<br />14 For Baby (For Bobbie) 3:53<br />15 Last Night I Had The Strangest Dream 2:19</div><div><br /></div><div><a href="https://krakenfiles.com/view/iln2spmSGN/file.html">The Chad Mitchell Trio – Mighty Day: The Chad Mitchell Trio Reunion</a></div><div>(192 kbps, cover art included)</div></div>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com0tag:blogger.com,1999:blog-8460537495421082815.post-64980423495988877522023-12-31T06:11:00.000-08:002023-12-31T06:11:59.122-08:00VA - Calypso Breakaway (1990, Rounder)<div><strong><em style="background-color: rgba(255, 255, 255, 0.25); color: #464646; font-family: Actor, sans-serif, google; font-size: 20px;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdpD0ybC_EVttXtKhLcK3tRNleuL1DbavjpiijAU985eh86ye3ZIBNUOFdOeT0mf_My_Nf9E-2kI-FkrsX_u-HD-q-7w-h4q2HPasJg21ge4KnaFkAomY0883sWB767kdPd7wVCkk3gwt88mugX390AaGmsnhTCJAuv1yn7Ore5B8VJnNK1vJkaFr0_QY/s570/R-1896401-1250841382.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="569" data-original-width="570" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdpD0ybC_EVttXtKhLcK3tRNleuL1DbavjpiijAU985eh86ye3ZIBNUOFdOeT0mf_My_Nf9E-2kI-FkrsX_u-HD-q-7w-h4q2HPasJg21ge4KnaFkAomY0883sWB767kdPd7wVCkk3gwt88mugX390AaGmsnhTCJAuv1yn7Ore5B8VJnNK1vJkaFr0_QY/w400-h399/R-1896401-1250841382.jpg" width="400" /></a></div></em></strong><b><i><span style="font-size: large;">Have a happy new year!</span></i></b></div><span style="font-size: medium;"><div><span style="font-size: medium;"><br /></span></div>This disc centers on some of the best Decca calypsos of the late ‘30s. Here are the songs and singers that sparked the calypso boom in the United States. They include Beginner, Lion, Radio, Invader, Caresser, Tiger, and Atilla. The notes are not very informative, but the transcriptions are good.<br /><br />"Born out of the postslavery kalinda songs of stick-fighting competitions, Calypso has evolved into today's techno-tinted soca, with several major shifts along the way. These 20 songs are representative of an extremely musically sophisticated period in the evolution, with references from swing jazz and Cuba in abundance. They are transcribed from vintage recordings, and there is plenty of humor, wisdom, and wit inherent in the Calypsonians' lyrics to relate to the human condition in any age. Calypso has always documented politics, weather, and news stories (intermixed with racy double-entendres), and these tunes are no exception, save being from a slower, more naive period of history. Although the instrumentation has changed over the years, much of this classic music swings hard and will stand the test of time long after the overly synthesized treatments of today's "road songs" have been forgotten. Many of these artists performed in cabarets and nightclubs in New York and London at the time, and several went on to great international acclaim. Calypso Breakaway is both a great introduction and a priceless, carefully mastered record for the aficionado, despite uninformative liner notes." --Derek Rath</span><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">Tracklist:</span></div><div><span style="font-size: medium;"><br /></span></div>1 Keskidee Trio – Don't Le' Me Mother Know 2:58<br />2 King Radio –Ma Maria 3:03<br />3 Felix And His Krazy Kats – Bei Mir Bist Du Schoen 2:44<br />4 The Growler – An Excursion To Grenada 3:03<br />5 The Lion – Tina 2:21<br />6 Lord Executor – Seven Skeletons Found In The Yard 2:47<br />7 Al Philip Iere Syncopators – Little Gal, Mother Is Calling You 2:42<br />8 The Tiger – Maraval Girls 3:01<br />9 Lord Beginner – Anacaona 2:52<br />10 Atilla The Hun – Dynamite 2:49<br />11 Lord Invader – Caro At Point Cumana 2:30<br />12 Lionel Belasco's Orchestra – Violets-Venezuelan Waltz 2:39<br />13 The Lion And Atilla The Hun – Guests Of Rudy Vallee 2:49<br />14 Lord Executor – How I Spent My Time At The Hospital 2:51<br />15 King Radio – Old Men Come Back Again 2:52<br />16 Wilmouth Houdini And His Caribbean Orchestra – Johnnie Take My Wife 3:12<br />17 The Caresser – The More They Try To Do Me Bad 2:49<br />18 The Lion – Love Thy Neighbor 2:51<br />19 Codallo's Top Hatters Orchestra – Tropical Heat-Paseo 2:55<br />20 The Tiger – The Whe Whe Banker Wedding 3:05<div><br /></div><div><a href="https://krakenfiles.com/view/3lx0mVMARs/file.html">VA - Calypso Breakaway (1990, Rounder)</a></div><div>(320 kbps, cover art included)</div>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com6tag:blogger.com,1999:blog-8460537495421082815.post-55536252853182285832023-12-31T05:39:00.000-08:002023-12-31T05:39:56.161-08:00Mike Bloomfield - Initial Shock - Live Between 1977 And 1979<div class="separator" style="clear: both; text-align: left;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1CMsWOkzJAzKVnEylqGMOuUWNl-zYnXsnUkmkBkkF4B5pDqHO1Q8d47QWeSILzv2lmH_5uBJb2ofBnxWdwZ_ndFq5JLKWJIdx-DSTLakUdfdN1a7x8-5uejOGJ3rfgIQtgeJtD7kuD6M/s1600/8251367126_1d23e05588_z.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1CMsWOkzJAzKVnEylqGMOuUWNl-zYnXsnUkmkBkkF4B5pDqHO1Q8d47QWeSILzv2lmH_5uBJb2ofBnxWdwZ_ndFq5JLKWJIdx-DSTLakUdfdN1a7x8-5uejOGJ3rfgIQtgeJtD7kuD6M/s400/8251367126_1d23e05588_z.jpg" width="400" /></a>Michael Bloomfield was one of America's first great white blues guitarists, earning his reputation on the strength of his work in the Paul Butterfield Blues Band. His expressive, fluid solo lines and prodigious technique graced many other projects - most notably Bob Dylan's earliest electric forays - and he also pursued a solo career, with variable results. Uncomfortable with the reverential treatment afforded a guitar hero, Bloomfield tended to shy away from the spotlight after spending just a few years in it; he maintained a lower-visibility career during the '70s due to his distaste for fame and his worsening drug problems, which claimed his life in 1981. <br />
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Michael Bernard Bloomfield was born July 28, 1943, into a well-off Jewish family on Chicago's North Side. A shy, awkward loner as a child, he became interested in music through the Southern radio stations he was able to pick up at night, which gave him a regular source for rockabilly, R&B, and blues. He received his first guitar at his bar mitzvah and he and his friends began sneaking out to hear electric blues on the South Side's fertile club scene (with the help of their families' maids). The young Bloomfield sometimes jumped on-stage to jam with the musicians and the novelty of such a spectacle soon made him a prominent scenester. Dismayed with the turn his education was taking, his parents sent him to a private boarding school on the East Coast in 1958 and he eventually graduated from a Chicago school for troubled youth. By this time, he'd embraced the beatnik subculture, frequenting hangout spots near the University of Chicago. He got a job managing a folk club and frequently booked veteran acoustic bluesmen; in the meantime, he was also playing guitar as a session man and around the Chicago club scene with several different bands. <br />
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In 1964, Bloomfield was discovered through his session work by the legendary John Hammond, who signed him to CBS; however, several recordings from 1964 went unreleased as the label wasn't sure how to market a white American blues guitarist. In early 1965, Bloomfield joined several associates in the Paul Butterfield Blues Band, a racially integrated outfit with a storming, rock-tinged take on Chicago's urban electric blues sound. The group's self-titled debut for Elektra, released later that year, made them a sensation in the blues community and helped introduce white audiences to a less watered-down version of the blues. Individually, Bloomfield's lead guitar work was acclaimed as a perfectly logical bridge between Chicago blues and contemporary rock. Later, in 1965, Bloomfield was recruited for Bob Dylan's new electrified backing band; he was a prominent presence on the groundbreaking classic "Highway 61 Revisited" and he was also part of Dylan's epochal plugged-in performance at the 1965 Newport Folk Festival. In the meantime, Bloomfield was developing an interest in Eastern music, particularly the Indian raga form, and his preoccupation exerted a major influence on the next Butterfield album, 1966's "East-West". Driven by Bloomfield's jaw-dropping extended solos on his instrumental title cut, "East-West" merged blues, jazz, world music, and psychedelic rock in an unprecedented fashion. The Butterfield band became a favorite live act on the emerging San Francisco music scene and in 1967, Bloomfield quit the group to permanently relocate there and pursue new projects<br />
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Bloomfield quickly formed a new band called the "Electric Flag" with longtime Chicago cohort Nick Gravenites on vocals. "The Electric Flag" was supposed to build on the innovations of "East-West" and accordingly featured an expanded lineup complete with a horn section, which allowed the group to add soul music to their laundry list of influences. The Electric Flag debuted at the 1967 Monterey Pop Festival and issued a proper debut album, "A Long Time Comin'", in 1968. Critics complimented the group's distinctive, intriguing sound, but found the record itself somewhat uneven. Unfortunately, the band was already disintegrating; rivalries between members and shortsighted management - not to mention heroin abuse - all took their toll. Bloomfield himself left the band he'd formed before their album was even released. He next hooked up with organist Al Kooper, whom he'd played with in the Dylan band, and cut "Super Session", a jam-oriented record that spotlighted his own guitar skills on one half and those of Stephen Stills on the other. Issued in 1968, it received excellent reviews and moreover became the best-selling album of Bloomfield's career. "Super Session"'s success led to a sequel, "The Live Adventures of Mike Bloomfield and Al Kooper", which was recorded over three shows at the Fillmore West in 1968 and released the following year; it featured Bloomfield's on-record singing debut.<br />
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Bloomfield, however, was wary of his commercial success and growing disenchanted with fame. He was also tired of touring and after recording the second album with Kooper, he effectively retired for a while, at least from high-profile activities. He did, however, continue to work as a session guitarist and producer, and also began writing and playing on movie soundtracks (including some pornographic films by the Mitchell Brothers). He played locally and occasionally toured with Bloomfield and Friends, which included Nick Gravenites and ex-Butterfield mate Mark Naftalin. Additionally, he returned to the studio in 1973 for a session with John Hammond and New Orleans pianist Dr. John; the result, "Triumvirate", was released on Columbia, but didn't make much of a splash. Neither did Bloomfield's 1974 reunion with Electric Flag and neither did KGB, a short-lived supergroup with Barry Goldberg, Rik Grech (Traffic), and Carmine Appice that recorded for MCA in 1976. During the late '70s, Bloomfield recorded for several smaller labels (including Takoma), usually in predominantly acoustic settings; through Guitar Player magazine, he also put out an instructional album with a vast array of blues guitar styles, titled "If You Love These Blues, Play 'Em as You Please". <br />
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Unfortunately, Bloomfield was also plagued by alcoholism and heroin addiction for much of the '70s, which made him an unreliable concert presence and slowly cost him some of his longtime musical associations (as well as his marriage). By 1980, he had seemingly recovered enough to tour in Europe; that November, he also appeared on-stage in San Francisco with Bob Dylan for a rendition of "Like a Rolling Stone." However, on February 15, 1981, Bloomfield was found dead in his car of a drug overdose; he was only 37. <br />
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Tracklist:<br />
1) Eyesight to the Blind<br />
2) Women Lovin' Each Other<br />
3) Linda Lou<br />
4) Kansas City<br />
5) Blues in B-Flat<br />
6) Medley: Darktown Strutter's Ball / Mop Mop / Call Me a Dog<br />
7) I'm Glad I'm Jewish<br />
8) Jockey Blues<br />
9) Between the Hard Place and the Ground<br />
10) Don't Lie to Me<br />
11) Cherry Red<br />
12) Uncle Bob's Barrelhouse Blues<br />
13) Wee Wee Hours<br />
14) Vamp in C<br />
15) One of These Days<br />
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<span style="color: lime;"><a href="https://krakenfiles.com/view/iYYgpFyA6e/file.html">Mike Bloomfield - Initial Shock - Live Between 1977 And 1979</a></span><br />
(256 kbps, cover art included)zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com5tag:blogger.com,1999:blog-8460537495421082815.post-46227490123373764412023-12-30T05:51:00.000-08:002023-12-31T05:51:44.846-08:00Heiner Müller liest Heiner Müller<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjstBL72jSrgu48RcQaxy-gvymY8TaoEMVg2tlNaMxvJ_DpDau2qIc_5_Ssy2qNp4ixaoQ8JFNxKAefn3bMu4tEpbzE6BOC5V86HuZriJzdlHD2FEuGPM0r0WsrGlOuPOgF6hwrB7aqbXsE/s1600-h/cover.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5289406002715920130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjstBL72jSrgu48RcQaxy-gvymY8TaoEMVg2tlNaMxvJ_DpDau2qIc_5_Ssy2qNp4ixaoQ8JFNxKAefn3bMu4tEpbzE6BOC5V86HuZriJzdlHD2FEuGPM0r0WsrGlOuPOgF6hwrB7aqbXsE/s400/cover.jpg" style="float: left; height: 406px; margin: 0px 10px 10px 0px; width: 423px;" /></a><span style="font-size: medium;"><b>Heiner Müller died 28 years ago. He´s missing.</b></span><div><span style="font-size: medium;"><b><br /></b></span><div><br /></div><div>"<b>Wenn die Diskotheken verlassen und die Akademien verödet sind, wird das Schweigen des Theaters wieder gehört werden, das der Grund seiner Sprache ist."</b></div><div><br /></div><div> - Heiner Müller<br />
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The german dramatist and playwright Heiner Müller was born in 1929 and died in 1995. Living in East Germany (GDR), he worked as managing, literary and artistic director at the Maxim-Gorki-Theatre (from 1958 on) and the Berliner Ensemble (from 1970 on), often staging his own productions. <br />
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Müller showed strong socialist leanings and worked in the tradition of Brechtian theatre. His initial agreement with the East German regime began to dwindle in 1960s when severals plays of his were censored and banned. He then began to work with West German theatres and ensembles and succeeded with pieces such as "Hamletmaschine" (1979), earning him worldwide fame. Müller was also renowned for his prose and poetry ("Das Ende der Handschrift. Gedichte") and publications on the theory of drama.</div>
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Before the collapse of the German Democratic Republic, Heiner Müller was widely regarded, internationally and in both German states, as “the most important German dramatist since Brecht”. Subsequently, like other “heroes” of the GDR semi-dissident scene, he was the target of a concerted campaign accusing him, among other things, of collaboration with the Stasi (Staats-Sicherheitsdienst, the GDR political police) and crypto-Stalinist tendencies. His reputation, despite a short-term eclipse, will survive these inanities; the extended public wake held upon his death on 30 December 1995 gave expression to a deep sense of loss in the vibrant East Berlin cultural scene of which he was the most brilliant protagonist. </div>
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Born in Eppendorf, Saxony, on 9 January 1929, his conscious life-span mirrors that of the GDR – from the bloody end of World War II through the difficult years of socialist reconstruction to the profound disillusionment of the “years of stagnation” and the ultimate implosion of the GDR, which he survived by only five depressive years of black clownery. </div>
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After the fall of the Wall, Müller became president of the East German Academy of the Arts for a short time in 1990 before its inclusion in the West German Akademie. In 1992, he was invited to join the directorate of the Berliner Ensemble, Brecht's former company at the Theater am Schiffbauerdamm, as one of its five members along with Peter Zadek, Peter Palitzsch, Fritz Marquardt and Matthias Langhoff. In 1995, shortly before his death, Müller was appointed as the theatre’s sole artistic director.<br />
During the last five years of his life, Müller continued to live in Berlin and work all over Germany and Europe, mostly directing productions of his own works. He wrote few new dramatic texts in this time, though, like Brecht, he did produce much poetry in his final years. </div>
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Müller died in Berlin of cancer in 1995, acknowledged as one of the greatest living German authors and the most important German language dramatists since Bertolt Brecht.</div>
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Here´s his reading of some poems and prose at his 60s birthday, January 9, 1989, at the "Academy Of The Arts" in Berlin.</div>
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<span style="color: lime;"><a href="https://www.mediafire.com/file/ikxcoda8rmhf1h5/hmliesthm.rar/file">Heiner Müller - Heiner Müller liest Heiner Müller</a></span></div>
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<span style="color: black;">(192 kbps, front cover included)</span></div>
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</div></div>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com2tag:blogger.com,1999:blog-8460537495421082815.post-14500766305757137952023-12-17T05:51:00.000-08:002023-12-17T05:51:55.561-08:00Alfredo Zitarossa - Canta Zitarossa (1966)<span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu6qZTPKuAlFj15m_-iiHD0YXlPlmD9A_KmltZZnYbHfZDHrkswwteZkW0y57hjWwZT0M_mWq_VODdywQSYIlFRHal5_yvHZyORWKWhYH66TYV-jNK7k2kmy14awS4Y65sOEPlvdxmuexPQ7VP22hnj5a_UAEaXMoPDH_T7_P3tDLWUTwBxT_nMHv7m7g/s600/R-6873948-1428550359-9342.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu6qZTPKuAlFj15m_-iiHD0YXlPlmD9A_KmltZZnYbHfZDHrkswwteZkW0y57hjWwZT0M_mWq_VODdywQSYIlFRHal5_yvHZyORWKWhYH66TYV-jNK7k2kmy14awS4Y65sOEPlvdxmuexPQ7VP22hnj5a_UAEaXMoPDH_T7_P3tDLWUTwBxT_nMHv7m7g/w400-h400/R-6873948-1428550359-9342.jpg" width="400" /></a></div>Alfredo Zitarrosa (March 10, 1936 – January 17, 1989) was a Uruguayan singer-songwriter, poet and journalist. He specialized in Uruguayan and Argentinean folk genres such as zamba and milonga, and he became a chief figure in the nueva canción movement in his country. A staunch supporter of Communist ideals, he lived in exile between 1976 and 1984. He is widely regarded as one of the most influential singer-songwriters of Latin America.<br /><br />From the beginning, he was established as one of the great voices of Latin American popular song, with clear leftist and folkloric roots. He cultivated a contemptuous and manly style, and his thick voice and a typical accompaniment of guitars gave his hallmark.<br /><br />"Canta Zitarossa" was his first album, released in 1966.<br /><br /><br />Tracklist:</span><div><span style="font-size: medium;"><br />Milonga De Ojos Dorados <br /> La Coyunda <br /> Coplas Al Compadre Juan Miguel <br /> De No Olvidar <br /> Milonga Para Una Niña <br /> Por Prudencio Correa <br /> Del Que Se Ausenta <br /> La Vuelta De Obligado <br /> Recordándote <br /> Si Te Vas <br /> No Me Esperes <br /> Zamba Por Vos <br /> Cueca Del Regresso <br /> Gato De Las Cuchillas</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><a href="https://krakenfiles.com/view/tyHzB7TKQK/file.html">Alfredo Zitarossa - Canta Zitarossa (1966)</a></span></div><div><span style="font-size: medium;">(192 kbps, cover art included)</span></div>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com3tag:blogger.com,1999:blog-8460537495421082815.post-55217095090850780292023-12-17T05:41:00.000-08:002023-12-17T05:41:38.330-08:00Maria Farantouri - Lieder der Welt (1979)<p></p><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgjC13Ij7be_yLHnlx3xKL5XXyHqFfnccxWYWCVX0yDul275bOPp7vuyYYT96RUU7WvNpZOvJNPzKx7WFXWLXY9ZV6AiKt3hTW1TTwOegowxEEKRx7MDe1SdWqW-u6JnkNYhoef9du8hJ34cPB0TBdKx9ovGossdgzQOp-RpM8Ky6um42zxcDZZe_qr=s600" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="595" data-original-width="600" height="396" src="https://blogger.googleusercontent.com/img/a/AVvXsEgjC13Ij7be_yLHnlx3xKL5XXyHqFfnccxWYWCVX0yDul275bOPp7vuyYYT96RUU7WvNpZOvJNPzKx7WFXWLXY9ZV6AiKt3hTW1TTwOegowxEEKRx7MDe1SdWqW-u6JnkNYhoef9du8hJ34cPB0TBdKx9ovGossdgzQOp-RpM8Ky6um42zxcDZZe_qr=w400-h396" width="400" /></a></div>A well-known Greek vocalist and political activist, Maria Farantouri is considered one of the foremost interpreters of Greek music, especially the work of composer Mikis Theodorakis. A contralto singer with a deep, resonant voice, Farantouri is sometimes referred to as the Joan Baez of Greece, and over the years has moved from traditional and folk styles to more jazz, classical, and avant-garde works.</div><div><br /></div><div>Born in Athens in 1947, Farantouri first began singing in her youth as a member of the progressive choir of the Society of Greek Music, which worked to support new music based on Greek traditions. By her teens she caught the ear of Theodorakis, who invited her to join his ensemble. This led to a time of great creative and social awakening for Farantouri, who along with Theodorakis' culturally and politically left-leaning work, helped popularize the writing of many important Greek poets.<br /><br />From 1967 to 1974, Farantouri was forced into exile after a right-wing military junta staged a coup in Greece. During this time, she and Theodorakis made several protest recordings in Europe and expanded their work to included the writing of Bertolt Brecht and Spanish composer Carlos Puebla, as well as many Greek composers including Eleni Karaindrou and Mikalis Bourboulis. </div><div><br /></div><div>Also during this period she released the anti-fascist recording "Mauthausen Cycle," a work by Theodorakis featuring the writing of poet Iakovos Kambanellis. Often referred to as a hymn to human rights, the cycle would become one of Farantouri's signature recordings. After returning to Greece in 1974, Farantouri resumed her successful recording career and began to expand her sound in a variety of directions, including jazz.<br /><br /><br />Tracklist:</div><div><br />A1 Bella Ciao 2:41<br />A2 Andra Mou Pai 3:23<br />A3 La Peregrinacion 2:18<br />A4 Sometimes I Feel Like A Motherless Child 4:34<br />A5 El Paso Del Ebro 3:10<br />B1 Gracias A La Vida 3:22<br />B2 La Plegaria A Un Labrador 3:16<br />B3 Commandante Che Guevara 3:59<br />B4 Joe Hill 2:29<br />B5 Te Recuerdo, Amanda 2:25<br />B6 Bella Ciao (Instrumental) 2:14<div><br /></div><div><a href="https://krakenfiles.com/view/INcVUsm2Tl/file.html">Maria Farantouri - Lieder der Welt (1979)</a></div><div>(320 kbps, cover art included)</div></div>zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com4tag:blogger.com,1999:blog-8460537495421082815.post-8302343907165952752023-12-17T05:38:00.000-08:002023-12-17T05:38:14.853-08:00Howlin' Wolf – Cadillac Daddy - Memphis Recordings, 1952 <div class="separator" style="clear: both; text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ1-fy83gHnUp7VsajulIGBHbcjqcdno9Beh8UwoVCG-FDxAwFMnl6g4TIBWLr2DKePDMKCsgwRrnUM6XYIcm6XlBq8DCrUdeUaX5BDLmdxJzPKUg6tuSnVYd6__QDohnWXJgjG8bvZbE/s1600/front.bmp" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ1-fy83gHnUp7VsajulIGBHbcjqcdno9Beh8UwoVCG-FDxAwFMnl6g4TIBWLr2DKePDMKCsgwRrnUM6XYIcm6XlBq8DCrUdeUaX5BDLmdxJzPKUg6tuSnVYd6__QDohnWXJgjG8bvZbE/s400/front.bmp" width="400" /></a>You can't possibly fault the material aboard this 12-song collection of Howlin' Wolf's Memphis recordings cut for Sam Phillips. The title track features some truly frightening guitar work from Willie Johnson,and all the material here is loaded with feral energy and a sense that it could fall apart at any second. It's totally intuitive music, with Wolf seemingly making it all up as he went along, which Sam Phillips had the patience to capture as it all went down. These are some of the great moments in blues history...</div>
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These are the recordings that prompted Sun Records chief Sam Phillips's oft-repeated assertion: "This is where the soul of a man dies." Phillips oversaw sessions by the likes of Elvis Presley, Jerry Lee Lewis, and B.B. King, but the guttural electric blues of Howlin' Wolf captured his fancy like nothing else - and it's not hard to see why. The Wolf of these '52 sessions was just a few years off the farm, having begun to play West Memphis, Arkansas, juke joints, and cat houses following World War II. Working with a small but feral band highlighted by lead guitarist Willie Johnson (called by some the Jimi Hendrix of his day), the already middle-aged singer and harmonica player created a sound in the early '50s that bridged the Mississippi blues that were his roots with the amped Chicago blues that were his destiny. Phillips captured the man born Chester Burnett on the title track, "Drivin' C.V. Wine," and also on the other 10 selections included here, three of which were previously released while all but one of the remaining numbers have never appeared before in North America. Wolf's Chess sides are, of course, landmarks, but this is Wolf untamed and running wild. <i>--Steven Stolder</i><br />
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Tracklist:<br />
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<div class="section_content">
<table class="playlist" itemscope="" itemtype="http://schema.org/MusicGroup"><tbody>
<tr class="first tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A1</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Cadillac Daddy (Mr. Highway Man)</span></td><td class="tracklist_track_duration" width="25"><span></span></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A2</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Bluebird Blues</span></td><td class="tracklist_track_duration" width="25"><span></span></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A3</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">My Last Affair (Take 1)</span></td><td class="tracklist_track_duration" width="25"><span></span></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A4</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Oh Red! (Take 2)</span></td><td class="tracklist_track_duration" width="25"><span></span></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A5</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Come Back Home</span></td><td class="tracklist_track_duration" width="25"><span></span></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">A6</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Dorothy Mae</span></td><td class="tracklist_track_duration" width="25"><span></span></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B1</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Decoration Day Blues</span></td><td class="tracklist_track_duration" width="25"><span></span></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B2</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Color And Kind</span></td><td class="tracklist_track_duration" width="25"><span></span></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B3</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Drinkin' C.V. Wine</span></td><td class="tracklist_track_duration" width="25"><span></span></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B4</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">I Got A Woman (Sweet Woman)</span></td><td class="tracklist_track_duration" width="25"><span></span></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B5</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">Everybody's In The Mood</span></td><td class="tracklist_track_duration" width="25"><span></span></td></tr>
<tr class="tracklist_track track" itemprop="track" itemscope="" itemtype="http://schema.org/MusicRecording"><td class="tracklist_track_pos">B6</td><td class="track tracklist_track_title"><span class="tracklist_track_title" itemprop="name">My Baby Walked Off</span></td></tr>
</tbody></table>
</div>
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<a href="https://krakenfiles.com/view/uVFy747rh0/file.html">Howlin' Wolf – Cadillac Daddy - Memphis Recordings, 1952</a> <br />
(320 kbps, cover art included)zerohttp://www.blogger.com/profile/06780173748528969886noreply@blogger.com8