Donnerstag, 13. März 2025

Joe Gibbs & The Professionals‎ – African Dub - Chapter 2

The second volume in this vintage four-disc series of instrumental dub from Joe Gibbs' studio finds him still working with members of the Soul Syndicate and We the People bands, and utilizing the formidable mixing talents of Errol Thompson.

What sets this volume somewhat apart from the other three is the number of rhythms it carries over from the rocksteady era: "Chapter Two" is a remix of the Techniques' late-'60s classic "Queen Majesty"; "Peeping Tom" reworks the Melodians' "You Have Caught Me"; and "My Best Dub" is an instrumental and nicely dubbed-up recut of the early Wailers track "Hypocrites." But it also includes some heavyweight rockers and one-drop material, including "Angola Crisis" (based on a familiar rhythm later used for such roots reggae hits as "Uptown Top Ranking" and "Three Piece Suit") and an absolutely brilliant dub mix of Bob Andy's "Chained," here rendered in dark, minimalist tones with drastic dubwise effects and retitled "Third World."

Along with the third volume, this is one of the most impressive of the four discs in the African Dub series.                

Tracklist:
1Chapter Two
2The Marriguna Affair
3Angola Crisis
4Peeping Tom
5Outrage
6Idlers Rest
7My Best Dub
8Third World
9Heavy Duty Dub
10Musical Arena
11Mackarus Serenade
12Jamaican Grass


Joe Gibbs & The Professionals‎ – African Dub - Chapter 2                                   
(320 kbps, cover art included)

Atahualpa Yupanqui - L´Integrale, Vol. 1

Atahualpa Yupanqui (31 January 1908 23 May 1992) was an Argentine singer, songwriter, guitarist, and writer. He is considered the most important Argentine folk musician of the 20th century.

Yupanqui was born as Héctor Roberto Chavero Aranburu in Pergamino (Buenos Aires Province), in the Argentine pampas, about 200 kilometers away from Buenos Aires. His father was a Criollo descended from indigenous people, while his mother was born in the Basque country. 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.

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 Kennedy brothers uprising against the de facto government of José Félix Uriburu and in support of deposed president Hipólito Yrigoyen. After the uprising was defeated, he was forced to seek refuge in Uruguay. He returned to Argentina in 1934.
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".

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 on 7 July 1950. He immediately signed a contract with "Chant Du Monde", the recording company that published his first LP in Europe, "Minero Soy" (I am a Miner). This record won first prize for Best Foreign Disc at the Charles Cros Academy, which included three hundred fifty participants from all continents in its International Folklore Contest He subsequently toured extensively throughout Europe.

In 1952, Yupanqui returned to Buenos Aires. He broke with the Communist Party, which made it easier for him to book radio performances. While with Nenette they constructed their house on Cerro Colorado (Córdoba).

Recognition of Yupanqui's ethnographic work became widespread during the 1960s, and nueva canción artists such as Facundo Cabral, Mercedes Sosa and Jorge Cafrune recorded his compositions and made him popular among the younger musicians, who referred to him as Don Ata.

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 and appeared in Argentinísima II in 1973, but these visits became less frequent when the military dictatorship of Jorge Videla came to power in 1976. In February 1968, Yupanqui was named Knight of Ordre des Arts et des Lettres of France by the Ministry of Culture of that country, in honor of 18 years work enriching the literature of the French nation. Some of his songs are included in the programs of Institutes and Schools where Castilian Literature is taught.

In 1985, the Konex Foundation from Argentina granted him the Diamond Konex Award, one of the most prestigious awards in Argentina, as the most important Popular Musician in the last decade in his country.

In 1989, an important cultural center of France, the University of Nanterre, asked Yupanqui to write the lyrics of a cantata to commemorate the Bicentennial of the French Revolution. The piece, entitled "The Sacred Word" (Parole sacrée), was released before high French authorities. It was not a recollection of historical facts but rather a tribute to all the oppressed peoples that freed themselves. Yupanqui died in Nîmes, France in 1992 at the age of 84; his remains were cremated and dispersed on his beloved Colorado Hill on 8 June 1992.

Here´s the first part of the "L´Integrale" set:

Tracklist:

1.Trabajo, Quiero Trabajo2:59
2.Le Tengo Rabia Al Silencio3:46
3.La Copla4:40
4.Soy Libre3:56
5.Danza De La Paloma Enamorada2:29I
6.El Poeta2:17
7.El Pintor2:05
8.La Olvidada2:24
9.Danza Del Maíz Maduro4:22I
10.Duerme Negrito2:57
11.El Arriero Va3:25
12.El Tulumbano1:45I
13.El Árbol Que Tú Olvidaste3:20
14.Punay3:15
15.Campesino4:22
16.La Finadita2:44I
17.Los Ejes De Mi Carreta2:53
18.Pobrecito Soy3:38
19.El Niño Duerme Sonriendo5:09

Atahualpa Yupanqui - L´Integrale, Vol. 1
(256 kbps, cover art included)

Mittwoch, 12. März 2025

Paul Graetz - Heimweh nach Berlin

In the late 1920s, Berlin was the world´s third-largest city and a metropolis of culture and science with a vibrantly diverse population comprised of immigrants and native Berliners. In the aftermath of the Nazi regime´s rise to power in 1933 and the terror of the 1938 November Pogroms, an appalling number of men and women who had contributed to the diversity of Berlin´s cultural and social landscapes were persecuted and driven into exile - many others were deported and murdered.
As the "most quintessential of Berlin´s comedians", Paul Graetz was among the most popular German cabaret performers in the years before 1933.

Graetz, who was a Jewish artist and had warned against the threat posed by the Nazis, fled Germany after the Reichstag fire.

After working in London as an actor, he emigrated to New York and then to Hollywood, where he died in 1937, "heartbroken at the loss of his native Berlin", as a fellow-artist reported.

Paul Graetz - Heimweh nach Berlin
(192 kbps, front cover included)

Dienstag, 11. März 2025

Walter Benjamin - Ebook Collection

Walter Benjamin, (born July 15, 1892, Berlin, Ger.—died Sept. 26, 1940, near Port-Bou, Spain), man of letters and aesthetician, is now considered to have been the most important German literary critic in the first half of the 20th century.

Born into a prosperous Jewish family, Benjamin studied philosophy in Berlin, Freiburg im Breisgau, Munich, and Bern. He settled in Berlin in 1920 and worked thereafter as a literary critic and translator. His halfhearted pursuit of an academic career was cut short when the University of Frankfurt rejected his brilliant but unconventional doctoral thesis, Ursprung des deutschen Trauerspiels (1928; The Origin of German Tragic Drama).

Benjamin eventually settled in Paris after leaving Germany in 1933 upon the Nazis’ rise to power. He continued to write essays and reviews for literary journals, but upon the fall of France to the Germans in 1940 he fled southward with the hope of escaping to the United States via Spain. Informed by the chief of police at the town of Port-Bou on the Franco-Spanish border that he would be turned over to the Gestapo, Benjamin committed suicide.

The posthumous publication of Benjamin’s prolific output significantly increased his reputation in the later 20th century. The essays containing his philosophical reflections on literature are written in a dense and concentrated style that contains a strong poetic strain. He mixes social criticism and linguistic analysis with historical nostalgia while communicating an underlying sense of pathos and pessimism. The metaphysical quality of his early critical thought gave way to a Marxist inclination in the 1930s. Benjamin’s pronounced intellectual independence and originality are evident in the extended essay Goethes Wahlverwandtschaften (1924–25; “Goethe’s Elective Affinities”) and in the essays posthumously collected in Illuminationen (1961; Illuminations), including “Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit” (1936; “The Work of Art in the Age of Mechanical Reproduction”).

This ebook collection contains his complete work and some biographic books about Benjamin in German language and "The Cambridge Compation to Walter Benjamin" in English.

Walter Benjamin - A collection of ebooks
(epub & pdf)

VA - Ukraininan Music - Anthology Of Folk Music. Spirit Of Folk (2010)

This album, released on the Russian Melodiya label, is entirely devoted to Ukrainian folklore. The program includes songs, ballads, and instrumental compositions from various regions of Ukraine, performed by non-professional ensembles and soloists, as well as several field recordings. All recordings are from 1961 to 1989.

The examples of music folklore on this album represent an anthology of genres and styles of traditional Ukrainian music. In the 1980s, when this material was being repared for release, Ukrainian folk music still preserved the whole diversity of music dialects and representative completeness of its genre structure, although the ban of religious subjects taht existed at the time excluded a rich spectrum of traditional Crhristian genres.

The material recorded in the 1980s and earlier did not see the light of day in those years but has been assumed as a basis of this album.


Tracklist:

1 Grass Grown In The Pine Forest 1:44
2 In The Garden, In The Garden, And In The Grapes 1:43
3 We're Starting A Curved Dance 1:34
4 Let's Dress The Bush In Green Maples 2:46
5 Hey You Peter And Ivan Too, Half Of Summer's Gone 2:41
6 Picking Berries In The Forest 2:32
7 Rattled And Thundered, But Still No Rain 1:11
8 Our Master, Wish Us Good Luck 1:41
9 Old Pastoral Melodies 2:56
10 Don't Go Barabash To Our Street 1:42
11 We Walked And Played 1:08
12 Mother Look At My Place 2:09
13 Good Evening Girls, We Came To You 3:36
14 The Mother Unplaited Her Daughter Last Saturday 1:25
15 My Dear Daughter 2:12
16 Thought Of Three Samara Brothers 7:59
17 Black Raven, Black Raven Flying High 2:15
18 Little Orphan 4:06
19 Oh I'll Shout, Oh I'll Hail My Home From My Slavery 4:22
20 Raven Cawing On The Birch Tree 2:20
21 Listen Kind People To What I Want To Tell 2:39
22 A Wreath Of Guzul Melodies 2:52
23 Three Seperate Ways In The Field 2:20
24 By The River, By The Fordway 2:38
25 Don't You Fly Jackdaw So Low Above The Water 1:49
26 The Wife Beat His Husband 2:22
27 Oh You Red Arrowwood 2:59
28 To The Lek, To The Lek, My Chickens 1:41
29 Polka Tatianka 1:11
30 Arkan 1:14

(256 kbps, cover art included)

VA - Voices of the Ghetto. Warszawa, 1943

Image


From the linernotes:

"Infomed of the Nazi plans to exteminate the Jews of Warsaw, the Jewish Resistance in the Ghetto called for a general insurection on April 19, 1943. With meager arms they fought against the tanks, planes and gas attacks of the Wehrmacht and managed to hold out for several weeks. Their uprising became the symbol of the Jewish resistance throughout the Second World War in the ghettos, camps md underground movements in all the countries where Jews were persecuted. It is to these Resistants, as well as to all victims of Nazi persecution that we wish to pay collective homage. Voices of the Ghetto: the appeal of the Jewish Combat Organization, songs of the underground, cries from the barricades, laments of the beggars and peddlers, of the hundreds who died of typhus or starvation, the voices of orphaned children and bereaved parents, of those who revolted against God and of others whose faith forbade them to question... Millions of voices, millions of lives detroyed, for no reason... When the war was over, Warsaw was a ruin and the Jewish people an open wound. In Paris, in 1993, a group of singers and musicians have sought out songs and testimonies, to remember and to bear witness- Barbary did not triumph. The Jewish people lives. "




On the morning of the 18th of January 1943, German military and auxiliary units entered the Warsaw Ghetto by surprise. The populace expected a total deportation. As opposed to the Great Deportation, during which the Jews had no knowledge of where deportees would be sent, this time the ghetto's population refused to report voluntarily. Only a small number of people responded to the Germans' calls to file into the courtyards and present their papers for inspection. The Germans tried to pick up those Jews who lacked permits, but since most had gone into hiding, they fell back to snatching people up indiscriminately.

That day, a group of fighters was caught, members of the Hashomer Hatzair movement and the Jewish Fighting Organization (ZOB). Together with other Jews they were led to the Umschlagplatz. The youths, who were still armed, albeit meagerly, dispersed among the crowd, and at a signal from Mordechai Anielewicz they attacked the Germans. In the ensuing battle there were German casualties and injuries. All the Jewish fighters were shot, and Anielewicz alone survived the battle. Another group from the Jewish Fighting Organization (members of the Dror and Gordonia movements) laid an ambush for the Germans inside the houses, and shot those who entered. These were the first organized, armed actions undertaken within the ghetto. For the first time in the history of the ghetto, Germans had come to physical harm.

By the 22nd of January only 5,000 Jews had been rounded up, among them the patients from the Jewish ghetto hospital and several members of the Judenrat. These Jews were assembled at the Umschlagplatz and deported by train.

Today we know that the January deportation was intended to be of limited proportions and that the Germans had not planned to deport all the Jews of the ghetto on this date. However, the Jews assumed that the Germans had sought to use the January deportation to empty the ghetto of its residents and send them to their destruction; they believed that their actions succeeded in obstructing this. In this way the January events turned into a watershed moment; members of the Jewish resistance organizations increased their efforts to bring about an armed uprising, while the ghetto populace at large increasingly dug underground shelters in the ghetto territory, in which they hoped to hide from the enemy forces.




01. Talila - Zog nit keyn mol 3:04
02. Jacques Grober - Ruf fun der YKO 0:27
03. Jacques Grober - Motele fun varshever geto 3:52
04. Hélène Engel - Es shlogt di sho 2:12
05. Ben Zimet - Yisrolik 3:19
06. Rosalie Becker - Lid fun umbakanten partizan 3:31
07. Franck Hagendorf - Varshever geto-lid (Ani maamin) 3:13
08. Jacques Grober - Tsen brider 1:40
09. Emile Kacmann - A din-toyre 3:28
10. Talila - Gehat hob ikh a heym 2:49
11. Jacques Grober - Mariko 2:51
12. Rosalie Becker - Yidish tango 5:16
13. Jacques Grober - Hots mitleyd 1:36
14. Rosalie Becker - Eyli, eyli 3:57
15. Ben Zimet - S dremlen feygl af di tsvaygn 3:16
16. Hélène Engel - Yeder ruft mikh Zhamele 2:26
17. Jacques Grober - Yid du partizan 1:50
18. Ben Zimet & Talila - Unter di khurves fun Poyln 4:45
19. Emile Kacman - Afn veg shteyt a boym 1:09
20. Jacques Grober & Franck Hagendorf - Mir lebn eybik 2:04


VA - Voices of the Ghetto. Warszawa, 1943
(320 kbps, cover art included)

Montag, 10. März 2025

Walter Benjamin - Geschichten der Freundschaft (documentary film, 2010)

On September 26, 1940, at the age of 48, Walter Benjamin committed suicide at Portbou on the French–Spanish border while attempting to escape from invading Nazi forces. 

Walter Bendix Schönflies Benjamin (15 July 1892 – 26 September 1940)was a German Jewish philosopher, cultural critic and essayist. An eclectic thinker, combining elements of German idealism, Romanticism, Western Marxism, and Jewish mysticism, Benjamin made enduring and influential contributions to aesthetic theory, literary criticism, and historical materialism. He was associated with the Frankfurt School, and also maintained formative friendships with thinkers such as playwright Bertolt Brecht and Kabbalah scholar Gershom Scholem. He was also related by law to German political theorist and philosopher Hannah Arendt through her first marriage to Benjamin's cousin, Günther Anders.

In 1932, during the turmoil preceding Adolf Hitler's assumption of the office of Chancellor of Germany, Walter Benjamin left Germany for the Spanish island of Ibiza for some months; he then moved to Nice, where he considered killing himself. Perceiving the socio-political and cultural significance of the Reichstag fire (27 February 1933) as the de facto Nazi assumption of full power in Germany, then manifest with the subsequent persecution of the Jews, he moved to Paris, but, before doing so, he sought shelter in Svendborg, at Bertolt Brecht's house, and at Sanremo, where his ex-wife Dora lived.
As he ran out of money, Benjamin collaborated with Max Horkheimer, and received funds from the Institute for Social Research, later going permanently into exile. In Paris, he met other German artists and intellectuals, refugees there from Germany; he befriended Hannah Arendt, novelist Hermann Hesse, and composer Kurt Weill. In 1936, a first version of "The Work of Art in the Age of Mechanical Reproduction" ("L'œuvre d'art à l'époque de sa reproduction méchanisée") was published, in French, by Max Horkheimer in the Zeitschrift für Sozialforschung journal of the Institute for Social Research. It was a critique of the authenticity of mass-produced art; he wrote that a mechanically produced copy of an artwork can be taken somewhere where the original could never have gone, arguing that the presence of the original is "prerequisite to the concept of authenticity".

In 1937 Benjamin worked on "Das Paris des Second Empire bei Baudelaire" ("The Paris of the Second Empire in Baudelaire"), met Georges Bataille (to whom he later entrusted the "Arcades Project" manuscript), and joined the College of Sociology. In 1938 he paid a last visit to Bertolt Brecht, who was exiled to Denmark. Meanwhile, the Nazi Régime stripped German Jews of their German citizenship; now a stateless man, Benjamin was arrested by the French government and incarcerated for three months in a prison camp near Nevers, in central Burgundy.
Returning to Paris in January 1940, he wrote "Über den Begriff der Geschichte" ("On the Concept of History", later published as "Theses on the Philosophy of History"). While the Wehrmacht was pushing back the French Army, on 13 June Benjamin and his sister fled Paris to the town of Lourdes, just a day before the Germans entered the capital with orders to arrest him at his flat. In August, he obtained a travel visa to the US that Max Horkheimer had negotiated for him. In eluding the Gestapo, Benjamin planned to travel to the US from neutral Portugal, which he expected to reach via Francoist Spain, then ostensibly a neutral country.

Walter Benjamin's grave in Portbou. The epitaph in German, repeated in Catalan, quotes from Section 7 of Theses on the Philosophy of History: "There is no document of culture which is not at the same time a document of barbarism"

He crossed the French–Spanish border and arrived at the coastal town of Portbou, in Catalonia. The Franco government had cancelled all transit visas and ordered the Spanish police to return such persons to France, including the Jewish refugee group Benjamin had joined. They were told by the Spanish police that they would be deported back to France the next day, which would have destroyed Benjamin's plans to travel to the United States. Expecting repatriation to Nazi hands, Walter Benjamin killed himself with an overdose of morphine tablets that night, while staying in the Hotel de Francia; the official Portbou register records 26 September 1940 as the official date of death. Benjamin's colleague Arthur Koestler, also fleeing Europe, attempted suicide by taking some of the morphine tablets, but he survived. Benjamin's brother Georg was killed at the Mauthausen-Gusen concentration camp in 1942. Despite his suicide, Benjamin was buried in the consecrated section of a Roman Catholic cemetery.

The others in his party were allowed passage the next day (maybe because Benjamin's suicide shocked Spanish officials), and safely reached Lisbon on 30 September. Hannah Arendt, who crossed the French-Spanish border at Portbou a few months later, passed the manuscript of Theses to Adorno. Another completed manuscript, which Benjamin had carried in his suitcase, disappeared after his death and has not been recovered. Some critics speculate that it was his Arcades Project in a final form; this is very unlikely as the author's plans for the work had changed in the wake of Adorno's criticisms in 1938, and it seems clear that the work was flowing over its containing limits in his last years.

"Geschichten der Freundschaft" is an insisting documentary film with quotes from letters and diaries about the friendship with Gershom Scholem, Theodor W. Adorno, Bertolt Brecht, the "Passagen", living in the exile and the Shoah.


Walter Benjamin - Geschichten der Freundschaft 
(documentary film in German language, 52 minutes, 2010)

Donald Byrd – Ethiopian Knights (1072)

Right from the stop-start bass groove that opens "The Emperor," it's immediately clear that Ethiopian Knights is more indebted to funk -- not just funky jazz, but the straight-up James Brown/Sly Stone variety -- than any previous Donald Byrd project. And, like a true funk band, Byrd and his group work the same driving, polyrhythmic grooves over and over, making rhythm the focal point of the music. Although the musicians do improvise, their main objective is to keep the grooves pumping, using their solos more to create texture than harmonic complexity. That's why jazz purists began to detest Byrd with this album (though the follow-ups certainly cinched it); in truth, even though Ethiopian Knights did move Byrd closer to R&B, it's still more jazz than funk, and didn't completely foreshadow his crossover. The dense arrangements and lo-o-o-ng workouts (two of the three tracks are over 15 minutes) are indicative of Byrd's continued debt to Miles Davis, in particular the bevy of live double LPs Davis issued in the early '70s. Byrd again leads a large ensemble, but with mostly different players than on his recent sessions; some come from the group assembled for Bobby Hutcherson's Head On album, others from the Jazz Crusaders. That's part of the reason there are fewer traces of hard bop here, but it's also clear from the title that Byrd's emerging Afrocentric consciousness was leading him -- like Davis -- to seek ways of renewing jazz's connection to the people who created it. Even if it isn't quite as consistent as Kofi and Electric Byrd, Ethiopian Knights is another intriguing transitional effort that deepens the portrait of Byrd the acid jazz legend. - allmusic.com


Tracklist:

A1 The Emperor 15:40
A2 Jamie 4:00
B1 The Little Rasti 17:44

(320 kbps, cover art included)

Sonntag, 9. März 2025

Elis Regina - Elis (1966)

Elis Regina, who died in 1982, was, of course, the premier interpreter of Brazilian popular song in the 1960s and 1970s. She did definitive versions of the work of composers Gilberto Gil and Antonio Carlos Jobim, just to name two.

 I would rate her as one of the greatest popular singers of the past forty years, on a par with Dusty Springfield for sure, and much more exciting. "Elis" dates from 1966 and is a fine example of her early style. This album is worth owning if only for her incredible version of Gilberto Gil's "Roda" ("Circle") which cuts Gil's more laid-back original. Also included here is a version of Gil's "Lunik 9" which compares well with his recording.

This is a fantastic album. It's especially notable for the fact that in 1966, 21-year-old Elis Regina sought to use her already-considerable popularity and influence to popularize a bunch of then-unknown (in Brazil) songwriting talent on the order of Gilberto Gil, Edu Lobo, Milton Nascimento, Caetano Veloso and Chico Buarque--that's to say, almost the whole upper-crust of the great MPB generation.

Tracklist:

A1Roda2:35
A2Samba Em Paz2:03
A3Pra Dizer Adeus3:48
A4Estatuinha2:29
A5Veleiro3:10
A6Boa Palavra4:20
B1Lunik 93:13
B2Tem Mais Samba2:33
B3Sonho De Maria3:20
B4Tereza Sabe Sambar3:30
B5Carinhoso3:57
B6Canção Do Sal2:56

Elis Regina - Elis (1966)
(192 kbps, cover art included)

Samstag, 8. März 2025

Tom Zé - Tom Zé (1968)

Tom Zé's first release from 1968 is certainly not as unique as some of his material from the '70s, but it's a far cry from faceless.

A true Tropicalia artist, Tom Zé's material on this album runs from traditional Brazilian pop to overly quixotic arrangements - all twisted around his convoluted vocal melodies. Even early on in his career, Zé was taking from a multitude of genres - funk, psychedelic rock, and bossa nova - and creating some kind of unheard pop exotica. This is especially apparent on "Gloria," with its changing tempos, bubbling instrumentation, and off-the-wall harmonies. It's a lot to take in - each track seems to zip by before the listener can grasp hold of it. Perhaps even aware of this, Tom Zé takes a break between songs to address the listener, then resumes his zigzagging trajectory.

The album also includes the fantastic "Parque Industrial" (which was recorded by Gal Costa, Gilberto Gil, and Caetano Veloso on the Tropicalia: Ou Panis et Circenses LP). This album is a great listen for anyone interested in Brazilian pop music and the restructuring thereof - yet it is almost tame compared to the found sounds, tape loops, lyrical deconstruction, and other surrealist elements that Tom Zé would grow to include on his later recordings.      


Tracklist:

A1São São Paulo3:29
A2Curso Intensivo De Boas Maneiras2:58
A3Glória3:20
A4Namorinho De Portão2:35
A5Catecismo, Creme Dental E Eu2:44
A6Camelô2:15
B1Não Buzine Que Eu Estou Paquerando (Rancho E Etc - Hino Da L.B.A.P.)2:39
B2Profissão De Ladrão2:35
B3Sem Entrada E Sem Mais Nada2:40
B4Parque Industrial3:16
B5Quero Sambar Meu Bem3:50
B6Sabor De Burrice4:18



(192 kbps, cover art included)


            

Freitag, 7. März 2025

Caetano Veloso - Transa (1972)

Released in 1972, "Transa" was recorded by Caetano Veloso during his exile in London, England, shortly before his return to Brazil.
The sound of '70s electric rock predominates, fused with Brazilian rhythms and percussion, berimbau sounds, and his own violão playing. Several lyrics in English, and also in Portuguese, carefully avoid direct reference to politics, which may be found disguised in all songs, especially in the melancholic and depressed images of the poem by Gregório de Matos, "Triste Bahia," for which Veloso wrote the music.
 
"It's a Long Way" also makes ciphered references to the political situation and was broadly played in the '70s. The broad use of pontos de capoeira (music used for accompaniment of capoeira, a martial art developed by Brazilian slaves as a resistance against the whites) can also be understood in that sense. The album also has "Mora na Filosofia," a classic and beautiful samba by Monsueto that scandalized people with its rock rendition - and one of my all-time-favourits, "Nine Out Of Ten".
 
 
(256 kbps, cover art included)

Donnerstag, 6. März 2025

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

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

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

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

Tracklist:

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

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

Mittwoch, 5. März 2025

Fela Kuti & Africa 70 - Kalakuta Show (1976)

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

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

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

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

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

Dienstag, 4. März 2025

Paul Robeson - Ballads For Americans & Carnegie Hall Concert Vol. 2 (1965)


Paul Robeson  (1898–1976) was an influential African American singer, actor, and social activist.

In the late 1950s, Paul Robeson, like the Weavers - who also were persona non grata at the major labels due to their leftist political views - began recording for Vanguard Records, a New York-based independent label that wasn't afraid of controversial artists.

When Paul Robeson took the stage at Carnegie Hall in May of 1958, it had been 11 years since he had previously concertized freely in the United States. Blacklisted from the entertainment industry at home, and with the State Department unwilling to issue him a passport, he had fallen into eclipse as a singer and actor over the previous eight years. The concert recorded here, one of two at Carnegie Hall in May of 1958, marked his return.

The highlight of this album, however, is the title track, "Ballad for Americans," which Vanguard can justifiably be said to have rescued from oblivion in the RCA-Victor catalog. Clocking in at ten minutes, the 1939 recording is a fascinating, still somewhat compelling concept work authored by Earl Robinson and John LaTouche, in which Robeson represents the entire country, all of "the people," in this grand musical canvas, supported by a chorus and a full orchestra. His voice is richer on this cut than on any of the other material here, understandable since it was recorded nearly two decades earlier, and the only drawback is that this piece - by its nature as an overtly political, patriotic leftist work - is as much acted as sung. One needed a larger-than-life vocal presence such as Robeson to pull this off. One can only be grateful for Vanguard's foresight in acquiring the quarter-century-old recording for this compilation in its original double-LP format, and to RCA-Victor (who were likely only too happy to let it go for whatever money they could get, at the time) for permitting its use; the song, although somewhat arch and pretentious at times, is a vivid reminder of the era in which Robeson made his name, and great battles for the hearts and minds of audiences were being fought daily.

Paul Robeson - Ballads For Americans & Carnegie Hall Concert Vol. 2 (1965)
(128 kbps, front & back cover included)

Thanks a lot to Mick for sharing this album!

Caetano Veloso - Caetano Veloso (1968)


Caetano Veloso's first album as a solo artist marked the birth of the culturally revolutionary tropicalia movement, of which Veloso and Gilberto Gil were the leading figures. The concept of the movement was to modernize Brazilian popular culture and, through creative music and poetry, reflect the Brazilian society as it appeared at the time. Veloso and other tropicalistas mixed traditional Brazilian popular music primarily with international pop culture and psychedelic rock, but they would incorporate practically anything that crossed their minds. This kind of wild cultural and musical cannibalism was found to be very controversial by many elements of the Brazilian society, both to the left and to the right of the political spectrum, and would ultimately lead to the arrest and forced exile of Caetano Veloso and Gilberto Gil in 1969.

After the hugely successful release of the psychedelic pop poem "Alegria, Alegria" as a single in 1967, Veloso aimed at releasing an album that would surpass the Beatles' Sgt. Pepper's in terms of creativity, while at the same time reflecting the new, more international, Brazil. The result was this unique 12-track gem with classics such as the previously mentioned "Alegria, Alegria," the lovely and ironic "Superbacana," and the Latin-flavored "Soy Loco por Ti America." The title of the opening track "Tropicália" - a song that in a wonderful way summarizes what the movement was all about - was actually borrowed from an installation by visual artist Hélio Oiticica which Veloso found very inspiring.

Soon after the release of this album, the term "tropicália," to the mild irritation of Veloso himself, became the name used by the media to describe the entire Brazilian movement. In addition to the great and uniquely inventive music on the album, what strikes the listener is the excellent standard of the lyrics, written by such prominent poets as Capinam, Ferreira Gullar, and of course Veloso himself. More often than not, the lyrics could easily stand alone as poems.

For all its artistic quality, and its position as the first tropicalia album, as well as Caetano Veloso's first solo album, this is a classic and one of the most important albums of Brazilian popular music history.      

Tracklist:

1. Tropicália
2. Clarice
3. No Dia Que Eu Vim-Me Embora
4. Alegria, Alegria
5. Onde Andaras
6. Anunciação
7. Superbacana
8. Paisagem Útil
9. Clara
10. Soy Loco Por Ti, America
11. Ave-Maria
12. Eles

Montag, 3. März 2025

VA - Ukrainian Folk Songs - The Golden Collection (2004)

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Ukrainian folk music includes a number of varieties of traditional, folkloric, folk-inspired popular music, and folk-inspired European classical music traditions.

In the 20th century numerous ethnographic and folkloric musical ensembles were established in Ukraine and gained popularity.

During the Soviet era, music was a controlled commodity and was used as a tool for the indoctrination of the population. As a result, the repertoire of Ukrainian folk music performers and ensembles was controlled and restricted.

Ukrainian folk music has made a significant influence in the music of neighbouring peoples. Many Ukrainian melodies have become popular in Poland, Slovakia, Austria, Russia, Romania and Moldova. Through the interaction with the Eastern European Jewish community, Ukrainian folk songs such as "Oi ne khody Hrytsiu" composed by songstress Marusia Churai have been introduced into North American culture as "Yes my darling daughter" (sung by Dinah Shore).

The traditional music of the kobzari inspired the Dumky composed by various Slavic composers such as Tchaikovsky, Mussorgsky and Dvořák.

The use of folk melodies is especially encouraged in ballet and opera. Among the Ukrainian composers who often included Ukrainian folk themes in their music were Lysenko, Lev Revutsky, Mykola Dremliuha, Yevhen Stankovych, Aleksandr Shymko, Myroslav Skoryk (who adapted e.g. the folk song Verbovaya Doschechka).

In the late 1960s and early 1970s Ukrainian folk songs and folk song elements began to be included in pop and rock music in the rock-oriented Kobza ensemble, Smerichka, Opryshky Medikus and many other ensembles. This was driven by the lack of Ukrainian pop songs of the time. In time the genre of folk inspired pop music became significant, particularly inspired by the popularity of the Belarusian group known as Piesnari.

Of the Ukrainian groups the longest surviving and most significant was the group known as Kobza.

Tracklist:
01 Jixav kozak.mp3
02 Nich jaka misjachna.mp3
03 Tuman jarom.mp3
04 Nese Halja vodu.mp3
05 Vechir nadvori.mp3
06 Oj na hori dva dubky.mp3
07 Handzja.mp3
08 Oj divchino shumyt' haj.mp3
09 Tam de Jatran'.mp3
10 Ishla divcha.mp3
11 Hrytsju.mp3
12 Ty do mene ne xody.mp3
13 Kazav meni bat'ko.mp3
14 Misjac na nebi.mp3
15 Oj u vishnevomu.mp3
16 Iz syrom pyrohy.mp3
17 Oj ja moloda.mp3
18 Oj chorna ja.mp3
19 Chorniji brovy.mp3
20 Oj haj maty.mp3
21 Byla mene maty.mp3
22 Mav ja raz divchinon'ku.mp3
23 Ty kazala pryjdy.mp3
24 Vzjav by ja banduru.mp3
25 Oj ne svity.mp3
26 Oj za hajem.mp3
27 Zore moja.mp3
28 Rozprjahajte, khloptsi, koni.mp3
29 Oj chyj to kin'.mp3
30 Hej, nalyvajte.mp3

(320 kbps, cover art included)

Maria Muldaur - Sweet Harmony (1976)

The title track reveals just about everything a listener will need to know about Maria Muldaur's third time around on the big-label recording scene. The first few moments of instrumental interplay between guitarists Amos Garrett and David Wilcox and electric bassist Bill Dickinson will make old-timers nod in the delight of recalling an era when musicians actually jammed on pop records, and bass players were not just listening to click tracks. Once the song itself starts, it won't take long before the urge to take the album off will also begin, but it is a smarter move to simply move ahead. "Sweet Harmony" the song is overdone, and dated in its sanctimonious hippie white-gospel feel, but "Sweet Harmony" the album clicks at times with some of the finest productions ever created around a Maria Muldaur vocal. "Sad Eyes" would have been a better choice for an opener. The unbeatable rhythm team of bassist Willie Weeks and guitarist Waddy Wachtel -- who, a decade later, would get the nod to back Keith Richards up on solo projects -- really set up a delicious shuffle here, and once the superbly recorded band sound is established, it turns out to be a perfect spotlight for Muldaur's vocal talents.

A sort of encyclopedia of country, old-time, boogie, and Memphis jug band influences rolls out in her vocal like a barbecue chef in Kansas City spreading out the evening's offerings. For a musician of her intelligence and savvy, aspects of this session must have surely felt like arrival at some kind of professional nirvana. To be singing a Hoagy Carmichael tune -- "Rockin' Chair," an astute choice that the songstress pulls off with great comic flair -- with orchestral backup arranged and conducted by the great alto saxophonist Benny Carter, for example. Does it get any better than that? Not really, and the Carter tracks are some of the best in Muldaur's entire discography, especially "We Just Couldn't Say Goodbye." The way Muldaur goes for a high note on the word "go" -- and gets it, practically yodelling -- is one of her most enjoyable vocal tricks. There are many influences involved in this project, however -- not just master musicians such as Carter, baritone saxophonist Sahib Shihab, and guitarist Kenny Burrell.

Maria Muldauer - Sweet Harmony (1976)
(320 kbps, cover art included)

Tracklist:

"Sweet Harmony" (Smokey Robinson) – 4:45
"Sad Eyes" (Neil Sedaka, Phil Cody) – 4:30
"Lying Song" (Kate McGarrigle) – 4:07
"Rockin' Chair" (Hoagy Carmichael) – 3:42
"I Can't Stand It" (Smokey McAllister) – 3:37
"We Just Couldn't Say Goodbye" (Harry Woods) – 3:35
"Back by Fall" (Wendy Waldman) – 3:55
"Jon the Generator" (John Herald) – 3:20
"Wild Bird" (Wendy Waldman) – 4:45
"As an Eagle Stirreth in Her Nest" (William Herbert Brewster) – 4:11



Sonntag, 2. März 2025

Tom Robinson - Living In A Boom Time (1992)

Tom Robinson (b.1950) is a UK songwriter & broadcaster first known in the 70s as an anti-racist and LGBT campaigner. He released 19 albums between 1975-2001 with various bands and has co-written songs with Elton John, Peter Gabriel, Dan Hartman and Manu Katché. He's an award-winning presenter at BBC Radio 6 Music, and released "Only The Now" (his first album in 19 years) in October 2015.

Tom Robinson seems to have been forgotten by the musical mainstream. The Tom Robinson Band were one of the great early punk bands, with an enormous following. The band split up after two albums and seem to have been forgotten, although Tom Robinson briefly returned to the charts in the early 80s with War Baby.

Tom Robinson continues touring and producing albums. "Living In A Boom Time"  - a solo acoustic album, recorded live at club gigs in Ireland - is one of his best albums and demonstrates the powerful mix of musical talent, wit and anger at the world's injustices that makes Tom one of my favourite artists. It captures the spirit of a Tom Robinson solo show around the beginning of the 1990s.

It starts with a brief intro, which comments ironically on Tom's transition from Punk Rocker to the more acoustic style of this album. Most of the album contains new material. "Living in a boom time" is an attack on the get rich quick culture of the early 90s and "Yuppy Scum" comments ironically on the transition from young rebel to middle aged pillar of the establishment that many people go through. My own favourite is "Rigging it up, Duncannon" inspired by the tragedy of the explosion on the Piper Alpha Oil Rig. "More Lives Than One" is better than the original, and "Castle Island" is unavailable on any other album. The album finishes with new versions of the classic tracks, "War Baby" and "Back in the Ould Country".

"Across eleven tracks, recorded live on tour in Ireland earlier this year, Tom Robinson reinvents himself as a solo folk singer. But where some faded rock stars may clutch desperately at the acoustic guitar, as a straw to save them from the harsh realities of life without chart positions, our Tom would appear to have made a sound and successful career move.

Shorn of the obligatory bass, drums and electric guitars', Robinson reveals a bite at the bottom of his voice-and a dozen more tonsiliary textures besides which will come as a considerable surprise to those who remember only the one-dimensional, weak and watery sound of his singing on the likes of '2-4-6-8 Motorway' and 'Glad To Be Gay'.

Standing alone and vulnerable like this, Robinson still manages to infuse his material with a strong sense of meaning, without having to resort to the blatant sloganeering which has often blighted his writing since the late '70s.

But then, with the possible exception of 'Yuppie Scum', Robinson's own translation of Jacques Brel's inflammatory 'Les Bourgeois', the songs here are uniformly less angry and embittered than they were back in his heyday as a pinko Punk.

Robinson's subject matter on 'Living In A Boom Time', 'My Own Sweet Way', 'Rigging It Up Duncannon' and 'The Brits Come Rolling Back' is still everyday social injustice in the post-AIDS, post-Thatcher era. But he now handles his themes with a weary resignation which, paradoxically, pushes the message home all the more effectively. And entertainingly.

Such a shift in emphasis may well prompt the agitprop fraternity to accuse him of going soft politically but, for the rest of us, Living In A Boom Time is Tom Robinson's most appealing album in years." - Chas de Whalley
 , VOX Magazine         

Tracklist:

1 Intro 1:00
2 Living In A Boom Time 3:55
3 Blood Brother 4:31
4 More Lives Than One 2:44
5 Yuppie Scum 3:05
6 My Own Sweet Way 4:10
7 Castle Island 4:24
8 Rigging It Up, Duncannon 3:26
9 The Brits Come Rolling Back 3:18
10 War Baby 4:31
11 Back In The Old Country 3:40

Tom Robinson - Living In A Boom Time (1992)
(320 kbps, cover art included)

Shura Cherkassky - Frédéric Chopin / Franz Liszt (EP, Electrola)

Shura Cherkassky (7 October 1909 – 27 December 1995) was a Ukrainian-American concert pianist known for his performances of the romantic repertoire. His playing was characterized by a virtuoso technique and singing piano tone. For much of his later life, Cherkassky resided in London.

Alexander Isaakovich Cherkassky (Shura is a diminutive form of Alexander) was born in Odessa, Ukraine (then part of the Russian Empire) in 1909. Cherkassky's family fled to the United States to escape the Russian Revolution. His family was Jewish.

Cherkassky's first music lessons were from his mother, Lydia Cherkassky, who once played for Tchaikovsky in St. Petersburg. She also taught the pianist Raymond Lewenthal. In the United States, Cherkassky continued his piano studies at the Curtis Institute of Music under Josef Hofmann. Before studying with Hofmann, however, Cherkassky auditioned for Sergei Rachmaninoff, who advised him to give up performing for at least two years and to change the position of his hands at the keyboard. Conversely, Hofmann suggested Cherkassky should continue giving concerts, and this long association with public performance meant that Cherkassky felt comfortable before an audience. Hofmann also recommended that he practice for four hours every day and Cherkassky did this religiously throughout his life, maintaining an extensive repertoire (baroque to Berio) to an exacting standard. His studies and advisory sessions with Hofmann continued until 1935. In the interim he began his lifelong obsession with world travel with trips to Australia, New Zealand, the Far East, Russia and Europe.

Cherkassky performed actively until the end of his life and many of his best recordings were made under live concert recital conditions.


Tracklist:

Side 1:
Chopin: Fantasie Impromptu, CIS-Moll, Op.66 (Posth.)

Side 2:  
Chopin: Etüde, C-Moll, Op.10, Nr.12, "Revolutionsetüde"
Liszt: Liebestraum (Nr.3)

(320 kbps, cover art included)


Samstag, 1. März 2025

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

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

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

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

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

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


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