Freitag, 12. Februar 2021

Pete Seeger - Hootenanny With Pete Seeger


"Hootenanny with Pete Seeger" was released on Folkways Records and on Le Chant Du Monde in France. It features live recordings by Pete Seeger, accompanied by Big Bill Broonzy, Lightnin´ Hopkins, Memphis Slim and Willie Dixon.


Tracklist:

1. Pete Seeger with Big Bill Broonzy - Down By The Riverside (5:14)
2. Pete Seeger with Lightnin' Hopkins - Oh, Mary, Don't You Weep (3:15)
3. Pete Seeger - Michael, Row The Boat Ashore (2:28)
4. Pete Seeger - Mrs McGrath (4:16)
5. Pete Seeger - Risselty Rosselty (2:41)
6. Pete Seeger - Wimoweh (2:40)
7. Pete Seeger - Deep Blue Sea (2:39)
8. Pete Seeger - The Hammer song (2:15)
9. Pete Seeger - Streets Of Laredo - Brandy Leave Me Alone - Didn't Old John (4:08)
10. Pete Seeger with Memphis Slim and Willie Dixon - Hold On (3:44)
11. Pete Seeger - I'm On My Way (4:14)
.
 Pete Seeger - Hootenanny With Pete Seeger
(320 kbps, cover art included)

Elizabeth Cotten - Live

Elizabeth Cotten was among the most influential guitarists to surface during the roots music revival era, her wonderfully expressive and dexterous finger-picking style a major inspiration to the generations of players who followed in her wake.
Cotten was born in Chapel Hill, North Carolina in the early weeks of 1893; after first picking up the banjo at the age of eight, she soon moved on to her brother's guitar, laying it flat on her lap and over time developing her picking pattern and eventually her chording. By the age of 12 she was working as a domestic, and three years later gave birth to her first child; upon joining the church, she gave up the guitar, playing it only on the rarest of occasions over the course of the next quarter century. By the early 1940s, Cotten had relocated to Washington, D.C., where she eventually began working for the legendary Charles Seeger family and caring for children Pete, Peggy and Mike.

When the Seegers learned of Cotten's guitar skills a decade later, they recorded her for Folkways, and in 1957 she issued her debut LP, "Folksongs and Instrumentals". The track "Freight Train," written when she was 12, became a Top Five hit in the U.K., and its success ensured her a handful of concert performances. The great interest in her music spurred her to write new material, which appeared on her second album, "Shake Sugaree". As Cotten became increasingly comfortable performing live, her presentation evolved, and in addition to playing guitar she told stories about her life and even led her audiences in singing her songs; over the years, she recalled more and more tunes from her childhood, and in the course of tours also learned new material. Cotten did not retire from domestic work until 1970, and did not tour actively until the end of the decade; the winner of a National Endowment for the Arts National Heritage Fellowship Award as well as a Grammy — both earned during the final years of her life — she died on June 29, 1987.

No dates are given for this live disc, although according to the liners, "this album is a sampler of performances during her ninth decade" (which would be roughly the early 1970s to the early 1980s). She does some of the most popular items from her repertoire over the course of this 50-minute recording, including "Freight Train," "Shake Sugaree," and "Oh Babe, It Ain't No Lie" (which was covered by the Grateful Dead). There's plenty of storytelling between the numbers, and audience participation on some of the choruses during the songs.

Bulat Okudshawa - Lieder 2 (Pläne)

Bulat Shalvovich Okudzhava (May 9, 1924 – June 12, 1997) was a Russian poet, writer, musician, novelist, and singer-songwriter of Georgian-Armenian origin. He was one of the founders of the Russian genre called "author song" (авторская песня, avtorskaya pesnya) and the author of about 200 songs, set to his own poetry. His songs are a mixture of Russian poetic and folksong traditions and the French chansonnier style represented by such contemporaries of Okudzhava as Georges Brassens. Though his songs were never overtly political (in contrast to those of some of his fellow bards), the freshness and independence of Okudzhava's artistic voice presented a subtle challenge to Soviet cultural authorities, who were thus hesitant for many years to give official recognition to Okudzhava.

Bulat Okudzhava was born in Moscow on May 9, 1924 into a family of communists who had come from Tbilisi, the capital of Georgia, to study and to work for the Communist Party. The son of a Georgian father, Shalva Okudzhava, and an Armenian mother, Ashkhen Nalbandyan, Bulat Okudzhava spoke and wrote only in Russian. Okudzava's mother was the niece of a well-known Armenian poet, Vahan Terian. His father, a high-ranking Communist Party member from Georgia, was arrested in 1937 during the Great Purge and executed as a German spy on the basis of a false accusation. His mother was also arrested and spent 18 years in the prison camps of the Gulag (1937–1955). Bulat Okudzhava returned to Tbilisi and lived there with relatives.
In 1941, at the age of 17, one year before his scheduled school graduation, he volunteered for the Red Army infantry, and from 1942 he participated in the war with Nazi Germany. With the end of the Second World War, after his discharge from the service in 1945, he returned to Tbilisi where he passed his high school graduation exams and enrolled at Tbilisi State University, graduating in 1950. After graduating, he worked as a teacher, first in a rural school in the village of Shamordino in Kaluga district, and later in the city of Kaluga itself.
In 1956, three years after the death of Joseph Stalin, Okudzhava returned to Moscow, where he worked first as an editor in the publishing house "Young Guard," and later as the head of the poetry division at the most prominent national literary weekly in the former USSR, Literaturnaya Gazeta ("Literary Newspaper"). It was then, in the middle of the 1950s, that he began to compose songs and to perform them, accompanying himself on a Russian guitar.
Soon he was giving concerts. He only employed a few chords and had no formal training in music, but he possessed an exceptional melodic gift, and the intelligent lyrics of his songs blended perfectly with his music and his voice. His songs were praised by his friends, and amateur recordings were made. These unofficial recordings were widely copied as magnitizdat, and spread across the USSR and Poland, where other young people picked up guitars and started singing the songs for themselves. In 1969, his lyrics appeared in the classic Soviet film White Sun of the Desert.
Though Okudzhava's songs were not published by any official media organization until the late 1970s, they quickly achieved enormous popularity, especially among the intelligentsia – mainly in the USSR at first, but soon among Russian-speakers in other countries as well. Vladimir Nabokov, for example, cited his Sentimental March in the novel Ada or Ardor.
Okudzhava, however, regarded himself primarily as a poet and claimed that his musical recordings were insignificant. During the 1980s, he also published a great deal of prose (his novel The Show is Over won him the Russian Booker Prize in 1994). By the 1980s, recordings of Okudzhava performing his songs finally began to be officially released in the Soviet Union, and many volumes of his poetry were also published. In 1991, he was awarded the USSR State Prize. He supported the reform movement in the USSR and in October 1993, signed the Letter of Forty-Two.
Okudzhava died in Paris on June 12, 1997, and is buried in the Vagankovo Cemetery in Moscow. A monument marks the building at 43 Arbat Street where he lived. His dacha in Peredelkino is now a museum that is open to the public.

The german Pläne label released two albums with songs by Bulat Okudshawa. The label translated the song titels into german language, Bulat of course sings in russian language.


Tracklist
A1Das Lied vom Heuschreck
A2Das Lied von unserem Hof
A3Pariser Phantasien
A4Über Volodja Vissotski
A5Das Omen
A6Die Klugen und die Dummen – (Aus dem Film "Aus dem Leben des Chefs der Kripo")
A7Ein kleines Lied, kurz wie das Leben
A8Der Musiker
B1Die Musik des Herzens
B2Die liebe Sonne scheint, die Musik spielt auf ...
B3Noch eine Romanze
B4Klagelied um den Arbat
B5Ein Geschenk zum Geburtstag
B6Lied vom jungen Husar
B7Zum ewigen Angedenken

Bulat Okudshawa - Lieder 2 (Pläne)
(256 kbps, front cover included)

Peggy Seeger - Folk Songs Of Courting & Complaint (1955)




Tracklist:
1. Whistle Daughter Whistle
2. When I Was Single
3. The House Carpenter
4. When First Unto This Country
5. All Of Her Answers
6. Young Man who Wouldn't Hoe Corn
7. The Wagoner's Load
8. Long Lonesome Road
9. The Butcher's Boy
10. The Old Maid
11. Katy Cruel
12. Leatherwing Bat


Peggy Seeger - Folk Songs Of Courting & Complaint (1955)
(192 kbps, cover art included)

Gisela May - Die sieben Todsünden

Amongst the many records which Gisela May has made, her recording of Brecht/Weill´s ballet with voice, "Die sieben Todsünden" ("The Seven Deadly Sins") was awarded the "Grand Prix du disque" in Paris 1968.

After a performance of the ballet in Milan in 1971, the critic form the local newspaper "Avanti" had the following to say about Gisela May´s performance of Anna II: "With her diction, she fires hard salvos of syllables and rhythms at the audience, enchanting the spectators with smooth sounds and sweet, melodic passages. The very speical nature of the character is conveyed in every aspect of her singing, her reciting, her style and her gestures."
This commentary could just as well have been written about the songs on this record.

Tracklist:

Prolog
A1Lied der Schwestern: "Meine Schwester und ich stammen aus Louisiana" (Andante Sostenuto)
I. Faulheit (Im Begehen des Unrechts)
A2Lied der Familie: "Hoffentlich nimmt sich unsere Anna auch zusammen" (Allegro Vivace)
II. Stolz auf das Beste des Ichs (Unverkäuflichkeit)
A3.1Lied der Schwester: "Als wir aber ausgestattet waren" (Allegretto, Quasi Andantino)
A3.2Lied der Familie: "Das geht nicht vorwärts" (Allegretto, Quasi Andantino)
III. Zorn über die Gemeinheit
A4Lied der Schwester: "Jetzt geht es vorwärts" (Molto Agitato)
IV. Völlerei (Sättigung, Selberessen)
B1Lied der Familie: "Da ist ein Brief aus Philadelphia" (Largo)
V. Unzucht
B2Lied der Schwester: "Und wir fanden einen Mann in Boston" (Moderato)
VI. Habsucht bei Raub und Betrug
B3Lied der Familie: "Wie hier in der Zeitung steht, ist Anna schon in Baltimore" (Allegro Giusto)
VII. Neid auf die Glücklichen
B4Lied der Schwester: "Und die letzte Stadt der Reise war San Francisco" (Allegro Non Troppo)
Epilog
B5Lied der Schwester: "Darauf kehrten wir zurück nach Louisiana" (Andante Sostenuto)

Gisela May - Die sieben Todsünden
(192 kbps, cover art included)

Dienstag, 9. Februar 2021

The Fugs - The First Album (1966)

A loping, ridiculous, and scabrous release, the Fugs' debut mashed everything from folk and beat poetry to rock and rhythm & blues - all with a casual disregard for sounding note perfect, though not without definite goals in mind. Actually compiled from two separate sessions originally done for Folkways Records, and with slightly different lineups as a result, it's a short but utterly worthy release that pushed any number of 1964-era buttons at once (and could still tick off plenty of people).

Sanders produced the sessions in collaboration with the legendary Harry Smith, who was able to sneak the collective onto Folkways' accounts by describing them as a "jug band," and it's not a far-off description. A number of songs sound like calm-enough folk-boom fare, at least on casual listening, though often with odd extra touches like weirdly muffled drums or out of nowhere whistles and chimes. Others, meanwhile, are just out there -- thus, the details of the perfect "Supergirl." Then there's "Boobs a Lot," the post-toke/acid lament "I Couldn't Get High," and the pie-in-the-face to acceptable standards of the time, "Slum Goddess."

Throughout it all, the Fugs sound like they're having a perfectly fun time; the feeling is loose, ragged, but right, and while things may be sloppy around the edges, often that's totally intentional. Certainly little else could explain the random jamming and rhythmic chanting/shouting on "Swinburne Stomp."

The album was originally released in 1965 as The Village Fugs Sing Ballads of Contemporary Protest, Point of Views, and General Dissatisfaction on Folkways Records before the band signed up with ESP-Disk, who released the album under its own label with a new name in 1966

Tracklist:
  1. "Slum Goddess" (Ken Weaver) – 1:58
  2. "Ah, Sunflower, Weary of Time" (William Blake, Ed Sanders) – 2:15
  3. "Supergirl" (Tuli Kupferberg) – 2:18
  4. "Swinburne Stomp" (Sanders, A.C. Swinburne) – 2:50
  5. "I Couldn't Get High" (Weaver) – 2:06
  6. "How Sweet I Roamed" (Blake, Sanders) – 2:11
  7. "Carpe Diem" (Kupferberg) – 5:07
  8. "I Feel Like Homemade Shit" (Sanders) – 2:18
  9. "Boobs a Lot" (Steve Weber) – 2:12
  10. "Nothing" (Kupferberg) – 4:18


The Fugs - The First Album (1966)
(320 kbps, cover art included)


Samstag, 6. Februar 2021

Rita Reys ‎– The Cool Voice Of Rita Reys (1956)

Rita Reys (born Maria Everdina Reijs; 21 December 1924 – 28 July 2013) was a jazz singer from the Netherlands. She was billed as "Europe's First Lady of Jazz" and was one of the top jazz singers in Europe from the mid-'50s to the turn of the millennium. Born in Rotterdam, she began singing as a teenager. Reys won several song contests and in 1941, when she was 16, joined the Hawaiian Minstrels. In 1943 she became a member of her father's theater orchestra. Other early experiences included touring with Lex Van Spall, Ted Powder, and the Piet Van Dijk Orchestra. 

In 1945 she married drummer Wessel Ilcken, who introduced her to the postwar jazz scene. She worked with her husband's sextet for most of a decade. They were based in Stockholm for a time, where she recorded with the great baritonist Lars Gullin in 1953. In 1956 Reys recorded probably her most famous album, "The Cool Voice of Rita Reys". Her backup band was Art Blakey & the Jazz Messengers. Reys and Ilcken spent a few months in the United States during 1956-1957. She had opportunities to sing not only with Blakey but Jimmy Smith, Chico Hamilton, Clark Terry, and Mat Mathews.

Back in Europe, tragedy struck in 1957 when a car accident resulted in the death of Wessel Ilcken. After some time, Reys continued her career. In 1960 she married pianist Pim Jacobs, working regularly with his combo up until his death in 1996. Along the way she performed with Zoot Sims, Oliver Nelson, the Dutch Swing College Band, and other notables. Reys, despite being influenced by Ella Fitzgerald and Mel Tormé, had her own approach to caressing ballads and swinging uptempo tunes. She celebrated her 80th birthday during 2004-2005, writing her memoirs (Rita Reys -- Lady Jazz) and having many special performances, including television specials and concerts all around the Netherlands.

The  album "Cool Voice of Rita Reys" features sessions recorded with bands led by drummers Wessel Ilcken and Art Blakey divided over each side of the original LP which was released on the Dutch Philips and US Columbia labels.


Tracklist:

"It's All Right with Me" (Cole Porter) – 2:37
"Gone with the Wind" (Allie Wrubel, Herb Magidson) – 2:35
"My Funny Valentine" (Lorenz Hart, Richard Rodgers) – 2:59
"But Not for Me" (George Gershwin, Ira Gershwin" – 2:09
"I Should Care" (Axel Stordahl, Paul Weston, Sammy Cahn) – 2:38
"There Will Never Be Another You" (Harry Warren, Mack Gordon) – 2:27
"I Cried for You" (Gus Arnheim, Arthur Freed, Abe Lyman) – 3:30
"You'd Be So Nice to Come Home To" (Porter) – 3:36
"My One and Only Love" (Guy Wood, Robert Mellin) – 4:14
"That Old Black Magic" (Harold Arlen, Johnny Mercer) – 2:56
"Spring Will Be a Little Late This Year" (Frank Loesser) – 3:41
"Taking a Chance on Love" (Vernon Duke, John La Touche, Ted Fetter) – 2:34

(320 kbps, cover art included)

Freitag, 5. Februar 2021

Violeta Parra - El folklore de Chile según Violeta Parra / Violeta Parra en Argentina

Violeta Parra (born October 14, 1917 in San Carlos de Itihue, Chile) was a notable Chilean folklorist and visual artist. She set the basis for Nueva Canción Chilena, a renewal and a reinvention of Chilean folk music. Parra revived the Peña, (now known as La Peña de Los Parra), a community center for the arts and for political activism.

El folklore de Chile según Violeta Parra, also known as Violeta Parra en Argentina, is an album by Violeta Parra released on the Odeón label in June or July 1962. It was recorded at the Odeón studios in Buenos Aires between April 23 and May 4, 1962. Parra lived in Argentina from the spring of 1961 until the fall of 1962. The album contains 14 songs, including traditional Chilean folk songs and original compositions by Parra.

The album cover features a self-portrait painted by Parra. The album was reissued in 1971 under the title "Remembering Violeta Parra".

Tracklist:

"Qué pena siente el alma" (traditional Chilean)
"La pericona dice" o [La pericona] (Violeta Parra - traditional Chilean)
"Salga el sol, salga la luna" (traditional Chilean)
"La mazamorrita de cuatro pies" (traditional Chilean)
"A cantarle a los porte" (Violeta Parra)
"Levántate, Huenchullán" o [Arauco tiene una pena] (Violeta Parra)
"Cantaron los pajaritos" (traditional Chilean)
"Arriba quemando el sol" o [Y arriba quemando el sol] (Violeta Parra)
"Parabienes al revés" (Violeta Parra)
"Cristo cuando vino a nuestro" o [Los santos borrachos] (traditional Chilean)
"Vengo toda avergonzada" o [Señores y señoritas] (traditional Chilean)
"Según el favor del viento" (Violeta Parra)
"Una flor voy a nombrar" o [El romero no lo quiero] (traditional Chilean)
"A la una nací yo" o [A la una] (traditional Chilean)

(224 kbps, cover art included)

Donnerstag, 4. Februar 2021

Sylvia Anders - Bertolt Brecht (Myto Records)


The German actress/singer Sylvia Anders is a Bertolt Brecht expert, which she first demonstrated on her 1979 album "Hollywood Elegies".

On this album, titled simply "Bertolt Brecht", she presents songs with Brecht lyrics and music by Kurt Weill and Hanns Eisler, as might be expected, but also finds some music actually composed by Brecht. "How many people are aware of the fact that the melody of the ‘Lied der Seeräuber Jenny' or ‘Barbara Song' is originally by Brecht himself?," the unsigned liner notes ask.

The point here is not that the familiar melodies were written by Brecht, not Weill, but that Brecht wrote his own dummy tunes for his lyrics. Anders resurrects those melodies in her version of the song known in English as "Pirate Jenny," and in her version of "Barbara Song," also featured in The Threepenny Opera, she first sings to Brecht's tune, then switches and sings to the Weill music. These rare inclusions are in keeping with her overall approach, which is far less strident than the usual interpretations of Brecht's songs, and far more emotional and vulnerable. Anders' take on "Surabaya-Johnny," for instance, has less bitterness than most singers give it, and more tenderness. This is, thus, a fresh interpretation, and a more personal one than most.

"The whole range of Eisler´s Lied oeuvre from the `Konzertlied´ to `Song´ is overwhelmingly convincing..." Gisela May states that Sylvia Anders´ dynamic and histrionic abilities on this record were "extraordinary".

Sylvia Anders - Bertolt Brecht (Myto Records)
(192 kbps, front cover included)

Mittwoch, 27. Januar 2021

Thomas Friz - Lomir ale singen - Jiddische Lieder (1987)

Today is the 76th anniversary of the liberation of Auschwitz concentration camp by the Soviet Army in 1945. The "Holocaust Memorial Day" is dedicated to the remembrance of the victims of the Holocaust. 

Thomas Friz is a German musician, born 5 March 1950 in Stuttgart. He was a member of the German folk duo Zupfgeigenhansel, one of the most successful groups to emerge on the German folk scene in the 1970s. It consisted of Erich Schmeckenbecher and Thomas Friz. The group was named after the collection of folk songs of the same name, which was published in 1909.

The group started playing in folk-clubs, mainly in southern Germany, in 1974. They then started appearing on the radio programme Liederladen of the Südwestfunk broadcasting station. They released their first album, Volkslieder I for the Pläne record company in 1976, and later in the year their second album, Volkslieder II. In 1978 they received the award of "Artists of the Year" in one of the categories of the German Phonoakademie. They disbanded in 1985.

Together with the guitaris Gerhard Graf, Thomas Friz brought a program with jewish songs and poems on stage in 1986. This programm is featured on the 1987 release "Jiddische Lieder", re-released in 1998 as "Lomir ale singen - Jiddische Lieder".


Tracklist:
1. Schpil-Sche Mir A Lidele In Jiddisch 2:45
2. Lomir Ale Singen 3:25
3. Amol Is Gewen A Majsse 3:56
4. A Chassn Oif Schabbes 3:17
5. Kinderjorn 3:25
6. Awreml 4:52
7. Beltz 3:55
8. Achtzik Er Un Sibetzik Si 3:46
9. 's Brennt 1:56
10. Mojde Ani 2:05
11. Slof, Majn Kind, Majn Trejst 5:04
12. Der Becher 3:09

(320 kbps, cover art included)

Montag, 25. Januar 2021

Arik Brauer - Liederbuch (1973) - Rest in peace!


The Austrian artist and Holocaust survivor Arik Brauer died yesterday at 92. Rest in peace!

Arik Brauer (4 January 1929 – 24 January 2021) was an Austrian painter, printmaker, poet, dancer, singer, and stage designer. He resided in Vienna and Ein Hod, Israel. Brauer was a co-founder of the Vienna School of Fantastic Realism, together with Ernst Fuchs, Rudolf Hausner, Fritz Janschka, Wolfgang Hutter and Anton Lehmden.

Born Erich Brauer in 1929 to a Jewish family that had emigrated from Russia to Vienna, he experienced the rise of National Socialism as a child. His father died in a concentration camp while Brauer himself survived the Holocaust by going into hiding.

After the war, Brauer studied art and music, dual passions he would pursue throughout his life. He studied at the Academy of Fine Arts in Vienna before moving to Paris with his wife, Naomi, where the pair made a living as singers.

Returning to Vienna in the mid-1960s, he became a prominent representative of the city's Fantastic Realism art movement. Despite the prevailing art-world taste for abstraction in the 1950s and early 1960s, Brauer's work successfully blended high craftsmanship and surrealism in ways that gained him international attention. In 1982, he had breakthrough solo shows in the United States.
While Brauer’s colorful art enjoyed international success, at home he was also widely known for his Austrian-German songwriting.



The double album "Liederbuch" was released in 1973 and combines his first two releases,  "Arik Brauer" (1971) and "Alles was Flügel hat, fliegt" (1974).

Tracklist:

A1 Oho Halalali
A2 Die Jause
A3 Sie hab'n a Haus baut
A4 Wie a Hund
A5 Warum ist er so Dumm
A6 Sein Köpferl im Sand
B1 Reise nach Afrika
B2 Der Surmi Sui
B3 Der Spiritus
B4 Rostiger die Feuerwehr kommt
B5 Serenade
B6 Dschiribim - Dschiribam
C1 Platz da Pest
C2 Der Lindenbaum
C3 Der Buba
C4 Alles, was Flügel hat, fliegt
C5 Wiegenlied für Erwachsene
C6 Die Spinnerin
D1 Auto unser, das du bist
D2 Froschermandl
D3 Salomon, der Weise, spricht
D4 Metamorfosalasumbalalei
D5 Schwarz und weiß
D6 Ja, ja, die Freiheit


Arik Brauer - Liederbuch (1973)
(ca. 192 kbps, cover art included)

Donnerstag, 21. Januar 2021

Floh de Cologne - Rotkäppchen (1977, vinyl rip)

Floh de Cologne were formed in 1966 as a political and anarchic collective of students from the University of Cologne.
"Rotkäppchen" is a fairy-Tale by Jewgenij Schwarz, a Soviet writer and playwright, with a lot of rock and pop music "for young and old people".

Floh de Cologne collaboreted on this album with some folks being part of the german subcultre scene of these days, for example Christiane Knauf, Fredrik Vahle, Franz Josef Degenhardt, Fasia Jansen, Perry Friedman, Hanns Dieter Hüsch, Dieter Süverkrüp and Hannes Wader.
"Rotkäppchen" was released in 1977 on the Pläne label.

Tracks:
A1 Rotkäppchen-Lied (Guten Tag, auf Wiedersehn)
A2 Halt, Rotkäppchen, halt!
A3 Fuchs-Lied (Durch das Dickicht schleiche ich)
A4 Lied Vvom Naschen (Selber naschen, das macht fett)
A5 Hasen-Lied (Ach, ich kann es gar nicht fassen) 21:25
B1 Wolfs-Lied (Bin der Wolf und habe Pläne)
B2 Lied vom weissen Hündchen
B3 Hasen-Marsch (Hoch die Löffel, Brüder Hasen!)
B4 Fuchs-Lied (Ríeche ich den Braten, muß ich ihn verraten)
B5 Omas Tango (Da muß man doch, eins, zwei, drei)
B6 Förster-Lied (Ich Sitz' Auf Meinem Hochstand)
B7 Hasen-Marsch (Dem Förster wird der Marsch geblasen)
B8 Lied von der Freundschaft (Fuchs und Wolf sind nun besiegt)

Floh de Cologne - Rotkäppchen (1977, vinyl rip)
(224 kbps, cover art inlcuded)

Mittwoch, 20. Januar 2021

Maria Muldaur - Waitress In A Donut Shop (1974)

Maria Muldaur (born September 12, 1943) is an American folk and blues singer who was part of the American folk music revival in the early 1960s. She recorded the 1973 hit song "Midnight at the Oasis" and continues to record albums in the folk traditions.

She was the wife of musician Geoff Muldaur and is the mother of singer-songwriter Jenni Muldaur.

Maria Muldaur's follow-up to her gold-selling debut album includes her second (and final) hit single "I'm a Woman" and presents a pleasant folk-blues mixture of material including everything from contemporary songs by Wendy Waldman and Anna McGarrigle to Skip James blues tunes and Fats Waller's "Squeeze Me," all given Muldaur's earthy, enthusiastic treatment.


Tracklist:

A1 Squeeze Me
A2 Gringo En Mexico
A3 Cool River
A4 I'm A Woman
A5 Sweetheart
B1 Honey Babe Blues
B2 If You Haven't Any Hay
B3 Oh Papa
B4 It Ain't The Meat It's The Motion
B5 Brickyard Blues
B6 Travelin' Shoes

(320 kbps, cover art included)

Floh De Cologne - Lieder aus der Rock-Oper Koslowsky (Amiga, 1982)


Floh de Cologne’s anarchic politics and free-form musical experimentations evoke The Fugs, Beefheart, Lothar And The Hand People and Frank Zappa, while visually resembling something concocted by Rainer Werner Fassbinder. Krautrock meets political theater in Floh de Cologne’s anti-capitalist rock n’ roll.

The album "Lieder aus der Rock-Oper Koslowsky" ("Songs from the Rock Opera Koslowsky") was originally released on the Pläne label in 1980 in West Germany and re-released as a license on the Amiga label in the German Democratic Republic two years later.

Floh De Cologne - Lieder aus der Rock-Oper Koslowsky
(256 kbps, cover art included)

Sonntag, 17. Januar 2021

VA - Ska Ba Dip - The Essential King Edwards (1989)

More than a half century has gone by and there is still a steady stream of books, films, articles and even academic studies devoted to Jamaican music of the 60s. Some of these accounts touch briefly on the preceding decade, a crucial period when Jamaican music incubated and the sound systems arose. But it’s hard to find much detail. The reason is simply the passage of time. The original cohort of musical pioneers was small and the best known have passed on; even the youngest participants, were they still alive would now be well into their 80s. 

Vincent Edwards and his brother George operated King Edwards The Giant sound system, which in the late 50s ranked with Sir Coxsone’s Downbeat and Duke Reid The Trojan as the most popular sets in Jamaica. 

"Ska Ba Dip" is a compilation of killer original early ska from the likes of Roland Alphonso, Baba Brooks, Bobby Aitken, The Upsetters, Shenley Duffus and many more.


Tracklist:

1. Upsetters - Scandalizing
2. Baba Brooks - Musical Workshop
3. Bobby Aitken - Together
4. Shenley Duffus - Digging A Ditch
5. Higgs & Wilson - Gone Is Yesterday
6. Roland Alphonos - Shuffle Duck
7. Charmers - You Don't Know
8. Upcoming Willows - Red China
9. Shenley Duffus - Heariso
10. Lloyd Briscoe - Jonah (The Master)
11. Eric Morris - Ungodly People
12. Patrick & Edwards All Stars - Iron Curtain
13. Andy & Clyde - We Have To Part
14. Roy & Cornell - Salvation
(320 kbps, cover art included)

Samstag, 16. Januar 2021

Oktober-Klub Berlin - Unterm Arm die Gitarre (Amiga, 1968)


"Singe-Bewegung" and "Oktoberklub" in East Germany, part 4.

East Germans born between 1945 and 1960, who came into their teens between the erection of the Berlin wall and the mid-’70s, were known as the “integrated generation”, for they identified to a fairly high degree with the German Democratic Republic.

In the main, they regarded socialism as a matter of course, they undertook the “long march through the institutions” and pinned their hopes on a “changing party elite” (as it was called in the West). Some of the politically and culturally active young people sympathized strongly with the anti-capitalist, emancipatory protest of the left wing in the West and the international culture of protest music. This enthusiasm certainly had quixotic qualities, and the crisis-ridden trend of state socialism increasingly undermined its credibility.

But when Stefan Wolle in his book Die heile Welt der Diktatur (The Perfect World of Dictatorship) characterizes the Singing Movement and the Political Songfest as manifestations of an “officially tolerated ersatz protest culture” that availed itself of the “poses and accessories of Western protest movements”, he is oversimplifying the many different facets of this phenomenon.

"Unterm Arm die Gitarre" was the name of a Radio DDR programm produced in cooperation with the Oktober-Klub Berlin.  The album with the same name celebrates the first two years of the Oktober-Klub with a recording of a concert at the Kongresshalle Berlin, February 25s, 1968.

Oktober-Klub Berlin - Unterm Arm die Gitarre (Amiga, 1968)
(128 kbps, front & back cover included)

To be continued...

Freitag, 15. Januar 2021

Joan Baez - Live At Newport (1963 - 1965) - Happy 80th birthday!

This album draws tracks from Joan Baez’s appearances at the 1963, 1964, and 1965 Newport Folk Festivals, a time period in which she was the very epicenter of the folk scene.

With her clear, strong, and bell-like soprano, Baez brought together traditional-folk materials with some of the best songs of the then-emerging songwriters of the so-called folk revival (she was the introduction for many to the work of Bob Dylan, Phil Ochs, Richard Farina, and others), projecting a thematic unity between the old and the new that was instrumental in the success of the 1960s folk boom.

This collection isn’t quite as striking as her other live albums from this period, although only by degree, and there are several interesting tracks here, including the opener, a live version of Dylan’s beautiful “Farewell Angelina”. A duet with Mary Travers on “Lonesome Valley” is another highlight, as is an audience singalong on “Johnny Cuckoo”.

The final two tracks, “It Ain’t Me Babe” and “With God on Our Side,” are duets with Dylan, and while these performances may have strong historical value, the truth is that Baez and Dylan didn’t sing well together at this point in their association, with both singers dragging the song in two different directions at once, almost as if it were a battle for dominance, which, time suggests, it may well have been.

Track List:
01. Farewell Angelina – 3:41
02. Long Black Veil – 3:10
03. Wild Mountain Thyme – 4:48
04. Come All Ye Fair and Tender Maidens – 4:05
05. Lonesome Valley (Duet w/Mary Travers) – 3:38
06. Hush Little Baby (Duet w/Peter Yarrow) – 1:07
07. Te Ador/Te Manha – 3:57
08. All My Trials – 4:37
09. It’s All Over Now, Baby Blue – 3:54
10. The Unquiet Grave – 3:02
11. Oh, Freedom – 3:15
12. Satisfied Mind (Duet w/Lilly Brothers) – 3:12
13. Fennario – 3:47
14. Don’t Think Twice, It’s Alright – 3:37
15. Johnny Cuckoo – 4:28
16. It Ain’t Me Babe (Duet w/Bob Dylan) – 4:45
17. With God On Our Side (Duet w/Bob Dylan) – 6:37

Joan Baez - Live At Newport
(320 kbps, cover art included)

Phil Ochs - Live At Newport

"Live at Newport" features a dozen songs from Phil Ochs' performances at the 1963, 1964, and 1966 Newport Folk Festival. Four of these cuts were previously available on the "Newport Broadside 1963" and "Evening Concerts, Vol. 1" anthologies, but the rest were previously unreleased. While all of these songs are available on his studio albums, Ochs was in good form for these shows, so these are good supplementary versions. 

Especially noteworthy are the 1966 tracks; four of the five songs would appear in far more elaborately produced arrangements on his "Pleasures of the Harbor" and "Tape from California" albums. These solo acoustic performances are interesting contrasts, putting the voice and the lyrics at the forefront, in the best unplugged tradition. Ochs' singing on "Cross My Heart" is painfully flat, but the sincerity of the words and their importance to him carry the performance. Additionally, the version of "Half a Century High" (sung as "Half a Century Wise") included here runs over seven minutes, and contains several verses that never made it into the official studio recording of this song. The differences point to the tragic side of Ochs' career, in that he sacrificed chunks of his message and his art, and one of his best and most personal songs, in pursuit of commercial success and stardom.


Tracklist:

1 Introduction Peter Yarrow 0:56
2 Ballad Of Medgar Evers 2:44
3 Talking Birmingham Jam 3:22
4 Power & The Glory 2:11
5 Draft Dodger Rag 2:23
6 I Ain't Marching Anymore 2:36
7 Links On The Chain 5:05
8 Talking Vietnam Blues 3:42
9 Cross My Heart 4:44
10 Half A Century High 7:06
11 Is There Anybody Here 3:11
12 The Party 8:11
13 Pleasures Of The Harbour 6:25

Phil Ochs - Live At Newport
(320 kbps, cover art included)

Donnerstag, 14. Januar 2021

Pete Seeger - Clearwater Classics (1993)

Perhaps no single person in the 20th century did more to preserve, broadcast, and redistribute folk music than Pete Seeger, whose passion for politics, the environment, and humanity earned him both ardent fans and vocal enemies ever since he first began performing in the late '30s. His battle against injustice led to his being blacklisted during the McCarthy era, celebrated during the turbulent '60s, and welcomed at union rallies throughout his life. His tireless efforts regarding global concerns such as environmentalism, population growth, and racial equality earned him the respect and friendship of such political heroes as Martin Luther King, Jr., Woody Guthrie, and Cesar Chavez, and the generations of children who first learned to sing and clap to Seeger's Folkways recordings must number in the millions. Rising above all of Seeger's political ideals and his passion for authentic folk music was his clear voice and chiming banjo, both of which sang out with a clarity that rang true.

"Clearwater Classics" is an excellent pick-up for the casual Pete Seeger fan -- its 16 tracks assemble virtually all of the singer's most familiar recordings, including such perennials as "If I Had a Hammer," "Little Boxes," "Turn, Turn, Turn," "Guantanamera" and "We Shall Overcome."


Tracklist:
1 If I Had A Hammer 2:51
2 We Shall Overcome 4:40
3 Lolly-Too-Dum 3:29
4 Wimoweh (The Lion Sleeps Tonight) 1:45
5 John Henry 4:11
6 Barbara Allen 4:28
7 Little Boxes 1:52
8 Michael, Row The Boat Ashore 2:09
9 Where Have All The Flowers Gone 1:53
10 Turn, Turn, Turn (To Everything There Is A Season) 3:10
11 Darlin' Corey 2:45
12 Guantanamera 4:35
13 This Land Is Your Land 2:59
14 Hobo's Lullaby 4:12
15 The Erie Canal 1:40
16 Down By The Riverside 3:13

Pete Seeger - Clearwater Classics (1993)
(192 kbps, cover art included)

Dienstag, 12. Januar 2021

Willie Nelson - Red Headed Stranger - Happy 90th Birthday, Bobby Nelson!

Willie Nelson's "Red Headed Stranger" perhaps is the strangest blockbuster country produced, a concept album about a preacher on the run after murdering his departed wife and her new lover, told entirely with brief song-poems and utterly minimal backing. It's defiantly anticommercial and it demands intense concentration - all reasons why nobody thought it would be a hit, a story related in Chet Flippo's liner notes to the 2000 reissue. 

It was a phenomenal blockbuster, though, selling millions of copies, establishing Nelson as a superstar recording artist in its own right. For all its success, it still remains a prickly, difficult album, though, making the interspersed concept of "Phases and Stages" sound shiny in comparison. It's difficult because it's old-fashioned, sounding like a tale told around a cowboy campfire. Now, this all reads well on paper, and there's much to admire in Nelson's intimate gamble, but it's really elusive, as the themes get a little muddled and the tunes themselves are a bit bare. It's undoubtedly distinctive - and it sounds more distinctive with each passing year - but it's strictly an intellectual triumph and, after a pair of albums that were musically and intellectually sound, it's a bit of a letdown, no matter how successful it was.

Bobbie Lee Nelson (born January 1, 1931) is an American pianist and singer, the older sister of Willie Nelson and a member of his band, Willie Nelson and Family. She played piano on "Red Headed Stranger" - happy 90th birthday!






Tracklist:

Time Of The Preacher 2:24
I Couldn't Believe It Was True 1:32
Time Of The Preacher Theme 1:12
Medley: Blue Rock Montana/Red Headed Stranger 1:32
Blue Eyes Crying In The Rain 2:17
Red Headed Stranger 3:57
Time Of The Preacher Theme 0:25
Just As I Am 1:45
Denver 0:55
O'er The Waves 0:48
Down Yonder 1:53
Can I Sleep In Your Arms 5:22
Remember Me 2:50
Hands On The Wheel 4:20
Bandera 2:18

(320 kbps, cover art included)