Freitag, 30. Dezember 2016

Pablo Milanes - A Vivo No Brasil (1984)

The important Caribbean musical tradition has in Pablo Milanés one of its noted composers/performers. The natural bonds of musical identification and fraternity with Brazil are celebrated in this intense album recorded live in this country with the participation of Chico Buarque.

"Yo Pisare las Calles Nuevamente" (in a voice/violão rendition), the nostalgic "Años" (with his band), the energetic "Creeme" and "Yo No Te Pido," the lyrical "Para Vivir" (backed only by the piano of Jorge Aragón), and "Acto de Fé" opened the show, which in the second part began with Chico Buarque's dramatic "Pedaço de Mim" (together with Buarque). Buarque also joins Milanes in the lachrymose "Yolanda" and in "Homenaje." The highly emotional impact of meeting, enhanced by Buarque and Milanes's natural sound affinity, can be verified by the audience's response and in the thrilled address by Elba Ramalho and Caetano Veloso. The musical aspect is subordinated to the lyrical content, with no improvisation or other signals of instrumental independence.       


01. Apresentação (0:50)
02. Yo pisaré las calles nuevamente (2:41)
03. Años (5:13)
04. Créeme (4:49)
05. Yo no te pido (5:25)
06. Para vivir (3:38)
07. Acto de fe (4:51)
08. Apresentação (0:44)
09. Pedaço de mim (2:34)
10. Yolanda (4:35)
11. Amo esta isla (6:57)
12. Canción por la unidad latinoamericana (7:05)
13. Homenaje (5:43)

Pablo Milanes - A Vivo No Brasil (1984)
(128 kbps, cover art included)


Patti Smith - Divine Intervention (Roskilde 1996)

"Three chord rock merged with the power of the word."

So Patti Smith described her music on the 1975 release of "Horses", her celebrated debut album; and so she has continued to blend the spoken and sung arts in incantatory fashion with her latest work, "Twelve".

Impossible to categorize, moving easily between the literary and musical worlds, always unpredictable and impassioned, she is an idiosyncratically unique performer who has always remained true to her artistic vision.
Born in Chicago and raised in Woodbury, New Jersey, just across the state line from Philadelphia, Patti's mother, Beverly, was a jazz singer cum waitress. Her father, Grant,
worked at the Honeywell plant; she was the oldest of four siblings: her sisters Linda and Kimberly (the latter plays mandolin on Gone Again's "Ravens,"), and brother Todd. Unable to find her place in high school society, she took refuge in the images of Rimbaud, Bob Dylan, James Brown, and the Rolling Stones. Dropping out of Glassboro State Teacher's College, she headed for the bright lights - big city of New York.
"Divine Intervention" (1996, Rupert 9681) is a recording of her performance on June, 30, 1996 at the Roskile Festival in Denmark. The performance and the sound quality are good, so enjoy another Patti Smith bootleg...
Patti Smith - Divine Intervention (Roskilde 1996)
(192 kbps, front cover included)

Mittwoch, 28. Dezember 2016


Posted in September 2013:

This year marks the 40th anniversary of the Chilean coup d’etat that ousted the constitutional president of Chile, Salvador Allende, from office and gave rise to the vicious dictatorship of General Augusto Pinochet 11th September 1973. We would like to share some more music from Chile and Latin America to commemorate the 40th anniversary of the Chilean human and social tragedy brought about by Pinochet’s dictatorship.

Thousands of people were tortured and killed, others ‘disappeared’ at the hands of the authorities, the secret police and more were illegally detained. Men, women and children were rounded up by the military and taken from their homes. Most were never seen alive by their families again. One million people were forced into exile.

The album "COMPAÑERO PRESIDENTE" was released in 1975 honouring Salvador Allende and the Unitad Popular and features songs by Inti-Illimani, Soledad Bravo, Andrés Jiménez, Daniel Viglietti, Ali Primera, César Isella, Quilapayún, Oscar Chávez, Angel Parra and Pablo Milanés.

01 - Chile Herido [Inti-Illimani]
02 - A Salvador Allende En Su Combate Por La Vida [Soledad Bravo]
03 - Canción Al Presidente [Andrés Jiménez]
04 - Por Todo Chile [Daniel Viglietti]
05 - Canción Para Los Valientes [Alí Primera]
06 - Che Salvador [César Isella]
07 - Compañero Presidente [Quilapayún]
08 - A Salvador Allende [Óscar Chávez]
09 - Canción A Salvador Allende (Compañero Presidente) [Angel Parra]
10 - Yo Pisaré Las Calles Nuevamente [Pablo Milanés]

VA - Companero Presidente (1975)
(about 256 kbps, cover art included)

Soleda Bravo - Vol. 4 (1972)

Spain-born and Venezuela-raised Soledad Bravo has been one of the leaders of the nueve cancion ("new song") movement that swept through latin America in the '70s and '80s. Although equally proficient at singing traditional and popular songs, Bravo made her greatest impact as a protest singer.

According to Billboard, "her voice is an exceptional instrument." The Diario, a newspaper in Madrid, claims "her voice captivates you, the range is so wide and its strength is amazing."
Bravo, who inherited her political convictions from her father, emigrated to Venezuela with her parents at the age of seven. While attending the Liceo Rafael Urdaneta, she began singing with a group. She continued to sing while studying architecture, psychology and literature at the Central University of Venezuela. Shortly after her graduation in 1967, Bravo was hired to perform every morning on a television show Buenos Dias. She remained on the program for years. Her debut album, "Soledad Bravo Canta", released in 1968, included her interpretation of Carlos Puebla's tribute to Che Guevera, "Hasta Siempre."

Between 1969 and 1976, Bravo continued to focus on the songs of Latin America, releasing three commercially successful albums and touring throughout Peru, Argentina, Chile and Mexico. In 1972, Bravo recorded a double-album, "En Vivo", featuring songs of the Spanish Civil war. Four years later, she was invited to perform in Spain. An appearance on Spanish television, with accompaniment by flamenco guitarist Manolo Sanlucar, helped to make her a nationally known artist. During the four years that she remained in Spain, Bravo recorded several albums including one with Spanish poet Rafael Alberti in 1977, and a collection of songs of the Spanish Jews, "Cantos Sefardies", that received a Grand Prix Du Disque award in France. Switching her attention to the tropical repertoire, Bravo traveled to New York to record "Caribe", produced by salsa musician Willie Colon. Four years later, she recorded a self-titled album with accompaniment by Eddie Gomez, Airto Moreira, Paquito D'Rivera, Jorge Dalto, Ray Barreto, Yomo Toro and Spyro Gyra.

A1Punto y Raya
A2Entra y Sale
A3Uno De Abajo
A4Qué Dirá El Santo Padre
A5 De Qué Se Ríe
A6Niño y Estrella
B1Canción De Toribio García
B2Canción De Pablo
B3Volver A Los Diecisiete
B4El Violín De Becho
B5Patria Amada Idolatrada, Salve, Salve

Soleda Bravo - Vol. 4 (1972)
(ca. 224 kbps, cover art included)

Montag, 26. Dezember 2016

Sun Ra And His Astro Infinity Arkestra – Sound Sun Pleasure

The first half-dozen cuts on "Sound Sun Pleasure" (1970) are thought to have been documented between 1958 and 1960, during Sun Ra and his Astro Infinity Arkestra's residency in Chicago. Although Ra's arrangements are as intricate and involved as any from the era, the song list draws heavily upon standards. That said, it might be recommended as a starting point for parties not acclimated to the artist's later and exceedingly aggressive free and avant-garde leanings.

Hatty Randolph (vocals) joins the combo for a pair of refined vocals on the covers of "'Round Midnight" and "Back in Your Own Backyard." The Arkestra complement Randolph's full-bodied delivery with such finesse, it is a wonder there isn't evidence of more frequent collaborations like this. She adds a bluesy melancholia that nicely offsets the instrumentation. "You Never Told Me That You Care" - co-written by Ra and Hobart Dotson (trumpet) - stunningly demonstrates Ra's unmatched scoring and superlative sense of melody. The sweeping and languid tempo allows the tune to unravel organically. "Enlightenment" - another co-composition by the pair - is slightly more indicative of Ra's complex approach, as well as the style that would inform his later work, noted by the band's stridency around the comparatively progressive harmonics. When "Sound Sun Pleasure" was issued on compact disc in 1992, an additional seven selections were included. Chronologically, they are among the earliest known from Sun Ra, recorded at various times and locations between 1953 and 1956, yielding understandably sporadic sound quality. "Deep Purple" - from a session held in Ra's apartment -- features contributions by Stuff Smith, while Wilbur Ware (bass) duets on an emotive "Can This Be Love." Arthur Hoyle (trumpet) makes one of his first Arkestra appearances on the bouncy post-bop original "Dreams Come True" that also sports a rare Clyde Williams vocal.                

1'Round Midnight3:55
2You Never Told Me That You Care5:37
3Hour Of Parting4:53
4Back In Your Own Backyard2:07
6I Could Have Danced All Night3:11
7Deep Purple4:03
8Piano Interlude1:56
9Can This Be Love6:01
10Dreams Come True3:08
11Don't Blame Me2:53
12'S Wonderful2:18
13Lover Come Back To Me2:49

Sun Ra And His Astro Infinity Arkestra – Sound Sun Pleasure
(ca. 192 kpbs, cover art included)

Samstag, 24. Dezember 2016

Odetta - Christmas Spirituals (1960)

Wish you a peaceful Christmas!

This aren´t the Christmas songs you´ll hear in the malls or at the parades. No Santa Claus. No reindeer. No snow. But for me it would not be Christmas without this glorious album. (Although, to be honest, the music is so beautiful, I´ve put it on many times in mid-summer, and it doesn´t seem out of place.

Odetta's husky voice is often stunning, both in her a cappella performances and her songs with accompaniment. She says these songs are traditional spirituals, neither purely African nor American, but songs that emerged from the sufferings of slavery. Powerful stuff.                


A1Rise Up Shepard And Follow
A2What Month Was Jesus Born In?
A3Mary Had A Baby
A4Somebody Talking 'Bout Jesus
A5Virgin Mary Had One Son
A6Go Tell It On The Mountain
A7Shout For Joy
B1Poor Little Jesus
B2O Jerusalem
B3Ain't That A-Rockin'
B4If Anybody Asks You
B5Beautiful Star
B6Children Go Where I Send Thee

Odetta - Christmas Spirituals (1960)
(320 kbps, cover art included)

Donnerstag, 22. Dezember 2016

Gideon - Mamlok - Rochberg - Shapey - Waxman - Wyner - Zilberts - Psalms Of Joy And Sorrow

Unique among liturgies in their singular blend of majestic grandeur, lofty sentiments, and poignant simplicity, the Psalms embrace virtually every basic human emotion and mood, always in the context of faith.

This album reflects the varied responses of twelve 20th- and 21st-century composers to some of the most affecting and enduring of all biblical texts—the Psalms.

Common to the liturgies, histories, and spirit of both Judaism and Christianity, the biblical Book of Psalms is one of the most widely familiar and most frequently quoted books of the Hebrew Bible. The Psalms' sentiments and teachings, expressed in a singular blend of majestic grandeur and poignant simplicity, give them a uniquely universal resonance. Encompassing virtually every human emotion and mood from exaltation to alienation, hope to despair, these texts have inspired musical interpretation since Jewish antiquity, with notated musical settings dating back
more than ten centuries.

Composers of virtually every orientation have engaged the Psalms in compositions ranging from large-scale works for chorus, full orchestra, and soloists to intimate a cappella choral pieces. The original settings heard on this new CD, by both traditionally-minded and avant-garde composers, exemplify the variety of musical treatments and expressions the Psalms have inspired.

Participating artists heard on "Psalms of Joy and Sorrow" include actor Theodore Bikel, cantors Alberto Mizrahi, Charles Osborne and Meir Finkelstein; the BBC Singers, Laudibus Choir, Schola Hebraeica, Barcelona Symphony/National Orchestra of Catalonia and the Slovak Radio Symphony Orchestra; and conductors Samuel Adler, Michael Brewer, Ronald Corp, Patrick Gardner, Steven Gunzenhauser, Avner Itai, Elli Jaffe, Neil Levin and Karl Anton Rickenbacher.

"Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews first arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry.

While much of this music had become a vital force in American and world culture, even more music
of specifically Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve and transmit the collective memory contained within this music, I founded the Milken Archive of American Jewish Music in 1990.

The passionate collaboration of many distinguished artists, ensembles and recording producers over the past fourteen years has created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The Milken Archive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts of this richly varied musical repertoire." - Lowell Milken

“In the Torah and the [books of the] Prophets, God reaches out to man. The initiative is His. The message is His. He communicates, we receive.... In the Psalms, human beings reach out to God. The initiative is human. The language is human. We make an effort to communicate. He receives.... The human soul extends itself beyond its confining, sheltering, impermanent house of clay. It gropes for an experience of the divine Presence.” - Nahum Sarna

Gideon - Mamlok - Rochberg - Shapey - Waxman - Wyner - Zilberts - Psalms Of Joy And Sorrow
(256 kbps, cover art included)

Dienstag, 13. Dezember 2016

VA - Place Of Hope - Celebrating The New South Africa (1996)

"Place Of Hope" is an album with songs performed by musicians from the USA and South Africa. It was dedicated to the students of Funda Community College of South Africa. Founded in 1984, Funda is one of the oldest independent training institutions in the visual arts in South Africa, established in response to the inaccessibility of specialised training in the visual arts for black South Africans under apartheid. Built on land donated by the Urban Foundation and IBM, Funda continues to serve as a critical point of access to the visual arts sector for young black South Africans.


1. Place Of Hope
2. One Love/People Get Ready
3. That's The Way Of The World
4. Place Of Hope
5. Now Or Never
6. Broken Wings
7. Thula Sizwe/I Shall Be Released
8. We Shall Overcome
9. Heal Our Land
10. Zulu Chant
11. Fragile
12. Now It's Your Turn
13. New South Africa
14. Shed A Little Light
15. Place Of Hope
16. Amazing Grace
VA - Place Of Hope - Celebrating The New South Africa (1996)
(256 kbps, cover art included)

Freitag, 9. Dezember 2016

Hein & Oss - Singen Volkslieder (1976)

Hein & Oss were born identical twins on September 17th 1927 in Pirmasens, Germany. Through the influence of their mother and their grandfather they found a very early interest in singing and in music.

They belong to the small band of German folksingers who are internationally famous through their various concerts, broadcasting and television appearances.

Through their extensive travels they got to know the world and its music; their repertoire is extremely varied and interesting and is drawn from nearly every part of the folk word. Shanties or chansons, soldier´s songs, protest songs or spirituals - the congenial twins from Pirmasens enthrall their audience in Berlin and Calcutta, Paris and Rome, Athens, Teheran, Munich, Bagdad,Hamburg and London.

Hein & Oss belongend to the founders of the "Chanson Folklore International", whose annual festival was held at Castle Waldeck, Germany and was considered as a meeting point of well known folksingers from various countries.

This double album was recored in Munich, August 1976.

Hein & Oss - Singen Volkslieder - Auf den Plätzen, auf, in den Straßen (1976)
(192 kbps, front cover included)

Mittwoch, 7. Dezember 2016

Witthüser & Westrupp -Trips & Träume (1971)

Apparently, Witthüser & Westrupp came into being at the Essen "Podium" folk club where Walter Westrupp worked as a DJ. Bernd Witthüser was already known as a protest singer, Westrupp was playing in a skiffle band, and when the two met they realised there was a magical chemistry between them. They busked and played in local clubs creating their own unique repertoire. Although working as a duo since 1969, their debut was released under Bernd Witthüser's name, as it contained music composed by him, with lyrics taken from the writings of politically minded poets and novelists, like Novalis, Heine and Brösel.

As a proper duo the Witthüser & Westrupp sound came on in leaps and bounds, their music was pure innovation, drawing on Westrupp's classical background, and enthusiasm from Rolf-Ulrich Kaiser, Witthüser & Westrupp became the cosmic buskers! With some of the finest session musicians in Germany, they went on to record three of the most original progressive folk-rock albums of the early-70's.

"TRIPS & TRÄUME" is, excepting a couple of shorter catchy folk songs, a very cosmic affair, with long spacious tracks oozing out atmosphere, like ancient folk diversions from Ash Ra Tempel. Up first is "Lasst uns auf die Reise gehn" which is such a moving tune for me, i´m so touched by this song. "Nimm doch einen Joint, mein Freund" is a (sort of) cover of THE FRATERNITY OF MAN"S "Don't Bogart Me" made popular by it's inclusion in the film "Easy Rider". This version is such a blast as we get English vocals for the first time as they sing about sharing weed and singing about hash and lsd. Humerous stuff.

The next two albums on the Pilz label developed the sound on an even richer more complex level with massed keyboards, a little more rock, more guitars and even choirs, many of the guests being from Wallenstein. After disbanding, both musicians went onto other folk and political bands: Baier Westrupp, Die Walter H.C. Meier Pumpe, etc. A double live album of Witthüser & Westrupp was also issued.

A1Laßt uns auf die Reise gehn4:00
A2Trippo Nova8:55
B1Illusion I4:35
B3Englischer Walzer1:38
B4Nimm doch einen Joint, mein Freund3:30

Witthüser & Westruppe - Trips & Träume (1971)
(192 kbps, cover art included)

Oscar Chávez – Nicaragua vencerá (1979)

Oscar Chávez was born in Mexico in 1935. He spent his early years studying theater at the Escuela de Arte Teatral del Instituto Nacional de Bellas Artes, the Academia de Teatro del Maestro Seki Sano, and the Teatro de la Universidad. Chávez appeared in a number of films, including Los Caimanes, La Diosa de Plata, and El Heraldo. His film work led to opportunities in the emerging world of the telenovela. As an actor, vocalist, and director, Chávez participated in more than 200 radio plays for Radio Universidad.

Though a busy actor and director, his musical pursuits have earned him international fame, with more than 20 records to his credit. In his repertoire choices and compositions, Chávez has distinguished himself not only as an arranger and performer, but as champion of Mexican folklore. This preoccupation with preservation of tradition manifested itself throughout his work via the inclusion of not only traditional stories, but also protest songs. Viewing folklore as inherently political, Chávez would come to be known as the people's folk historian. Later in his career, Chávez added light political satire to his repertoire, including material that made light of current political situations and characters. Chávez continues to be an important player in the preservation of traditional Mexican music and culture.   

Here´s Oscar Chavez hommage to the Sandinista revolution against the Somoza dictatorship in Nicaragua.           

01. Ya cayó Somoza
02. Con Sandino en Nicaragua
03. La Mama Ramona
04. Somos los libertadores
05. Dos palomitas blancas
06. Contra Moncada
07. Gratitud a Masaya
08. Caballo criollo
09. Corrido de Nicaragua
10. Hora cero-La Adelita

Oscar Chávez – Nicaragua vencerá (1979)
(160 kbps, front cover included)

Dienstag, 6. Dezember 2016

Gisela May & Thanassis Moraitis - Mikis Theodorakis - Lieder

This album is a historical musical document that has been recorded in Berlin in 1988, just a year before the fall of the Berliner Wall. The “great lady” of the Berliner Ensemble and excellent interpreter of Brecht’s songs, Gisela May, meets the Greek singer Thanassis Moraitis.
Together, they sing an anthology consisting of important compositions signed by Mikis Theodorakis, one of the most significant Greek composers such as “Asma Asmaton”, “Antonis”, “To gelasto pedi” and others.

A1Lied der Lieder (Part 1)3:56
A3Der Flüchtling3:02
A4Wenn der Krieg vorbei ist3:03
A5Lied der Lieder (Part 2)0:53
A6Am 18. November2:00
A7Der Junge mit dem Lächeln2:34
A8Weil er sich nicht Gesetzen beugte2:52
B1O Dromos Tou Phegariou2:44
B3Patrida Mou2:40
B4Chameni Apostoli3:02
B7To Taxidi2:51

Gisela May & Thanassis Moraitis - Mikis Theodorakis - Lieder
(320 kbps, cover art included)

Kurt Weill On Broadway - Thomas Hampson

Just going by the title "Kurt Weill on Broadway", one might expect to encounter certain songs from certain shows, for example, the title song from "Lost in the Stars" and "September Song" from "Knickerbocker Holiday". Composer Kurt Weill's biggest hit show on Broadway was "One Touch of Venus", and when you consider that this album, although credited to opera singer Thomas Hampson, who is heard to one extent or another on all but two of the 16 tracks, is really something of a studio cast recording of selections from Weill musicals also featuring 21 other singers (notably Elizabeth Futral, Jerry Hadley, and Jeanne Lehman), you might expect to hear "Speak Low," "That's Him," and "I'm a Stranger Here Myself" from that show (even though they're sung by the female lead) and, perhaps, "Jenny" and "Tschaikowsky" from Weill's second biggest Broadway hit, "Lady in the Dark". You might even expect to hear a song or two from "The Threepenny Opera", which, even though it dates from Weill's early career in Germany, has had several Broadway and off-Broadway productions. But all such expectations should be banished; none of these songs is included. The title of this album really should be "The Lost Songs of Kurt Weill on Broadway", or something like that, because it is in fact a reclamation project that looks to some of Weill's least successful shows and most obscure compositions.

Forget about "Lady in the Dark" and "Lost in the Stars", much less "The Threepenny Opera". This collection is devoted to music from shows like "The Firebrand of Florence" (a 48-performance flop) and "Johnny Johnson" (68 performances), shows that never had cast albums. Neither did "Love Life", another show highlighted here, even though it ran a comparatively long 252 performances, if only because, as annotator Miles Kreuger points out, the year it opened on Broadway there was a strike of the musicians union that prevented anything from being recorded. Kreuger, in his extensive notes, provides much of the rationale for this album, claiming, for example, that "The Firebrand of Florence", an operetta with lyrics by Ira Gershwin and excerpts from which take up half the album's running time, "failed, not because of its writing or composition, but because almost everything that could go wrong with its original Broadway production went wrong," among those things that the show was "poorly directed, and four out of the four leading characters [were] poorly cast...." The annotator says nothing about the casting on this album; in fact, he says practically nothing at all about these recordings, restricting himself to historical comments about the original productions.

But the implication would seem to be that Hampson and company, along with conductor John McGlinn and the London Sinfonietta, are finally doing right by Weill and resurrecting much worthy music. That is hard to tell from the bits and pieces heard on the album; it might have been better, as Kreuger suggests, to have had them go ahead and record "The Firebrand of Florence" in toto. Another possible project might be "Love Life", with a libretto and lyrics by Alan Jay Lerner, which sounds promising based on the lengthy soliloquy "This Is the Life." (It should be pointed out that the song "I Remember It Well" heard here, although it is similar in content to a tune of the same name in Lerner's film score for "Gigi", written later with Frederick Loewe, is an entirely different composition.) To his credit, Hampson treats the sometimes very diverse material in different ways, coming on like the opera singer he is in "The Firebrand of Florence", but managing a convincing musical comedy style elsewhere, which is not true of all of his fellow singers. "Kurt Weill on Broadway" is to be applauded for bringing onto disc much forgotten Weill in competent, authentic performances, as long as the buyer doesn't purchase it expecting to hear Weill's best-known Broadway music, as its title inevitably implies.


1One Touch Venus: Westwind3:38
2Knickerbocker Holiday: It Never Was You5:37
3Knickerbocker Holiday: How Can You Tell An American?3:31
4The Firebrand Of Florence Act 1, Scene Act 1: Song Of The Hangman5:02
5The Firebrand Of Florence Act 1, Scene Act 1: Civic Song - "Come To Florence"5:03
6The Firebrand Of Florence Act 1, Scene Act 1: Aria - "My Lords And Ladies"1:16
7The Firebrand Of Florence Act 1, Scene Act 1: Farewell Song - "There Was Life, There Was Love"7:17
8The Firebrand Of Florence Act 1, Scene Act 1: Love Song - "You're Far Too Near Me"6:01
9Procession; Chant Of Law And Order - "The World Is Full Of Villians"4:07
10Trial By Music - "You Have To Do What You Have To Do Do"5:41
11Duet - "Love Is My Enemy"4:12
12Love Life: Who Is Samuel Cooper?; My Name Is Samuel Cooper 6:13
13Love Life: Here I'll Stay 5:50
14Love Life: I Remember It Well 2:45
15Love Life: This Is The Life 6:44
16Johnny Johnson: Johnny's Song 3:22

Kurt Weill On Broadway - Thomas Hampson
(256 kbps, cover art included)

Theodore Bikel - Sings More Jewish Folk Songs (1959)

Theodore Bikel has died on July 21, 2015, aged 91. Thanks a lot for all the wonderful music!

Originally released in 1959 on Elektra, this is the second of three Yiddish albums Bikel recorded for Elektra Records.

In a career that has spanned over 50 years, Bikel has excelled in all aspects of the entertainment industry. He has appeared in numerous stage productions, and costarred with Mary Martin (at her insistence) in the original Broadway production of "The Sound Of Music," and has performed the role of Tevye in over 2,000 performances of "Fiddler On The Roof".

His many film credits include "The African Queen" with Humphrey Bogart and Katherine Hepburn, "The Defiant Ones", for which he received an Academy Award nomination, "My Fair Lady", "The Russians Are Coming", and the Frank Zappa cult classic, "200 Motels".

As a singer, Bikel has been an important mentor and influence on artist such as Judy Collins, Peter Paul and Mary, The Limelighters, and Bob Dylan.

"Theodore Bikel Sings MORE Jewish Folk Songs" is a wonderful and joyous celebration of Yiddish Folk songs and is welcome addition to any folk music collection!

1. Hulyet, Hulyet Kinderlech
2. Lomir Alle Zingen [Let Us All Sing]
3. A Zemer
4. A Fidler
5. Drie Techterlech
6. Der Bekher
7. Kinder Yorn
8. Dona, Dona
9. Unter a Kleyn Beymele
10. Der Fisher
11. Drei Yingelech
12. Papier Iz Doch Veis
13. Az Der Rebbe Zingt
14. Di Zun Vet Aruntergeyn

(192 kbps, cover art included)

Montag, 5. Dezember 2016

Dick Gaughan - Sail On

While not the best album in Gaughan's impressive canon, "Sail On" is testament to the fact that he sounds best in a stripped-down setting. Unfortunately, it proves the point by a number of over-arranged pieces, like "Land of the North Wind" and "Son of Man," which utilize a band, it seems, just because they can, diluting the power of the songs.

He's much better, for example, on Pete Seeger's "Waist Deep in the Big Muddy," "No Gods and Precious Few Heroes," which he tackles solo, or the very spare "The 51st (Highland) Division's Farewell to Sicily," which shows his guitar talents - and extensive they are, too.

He's a revelation on his cover of "Ruby Tuesday," and brings a wonderfully personal touch to Richard Thompson's "1952 Vincent Black Lightning" - indeed, he's a superb interpreter of songs as well as a writer. But the good stuff simply throws into relief how little Gaughan needs the extraneous instruments, and his production, especially on the fuller arrangements, is curiously flat. But when he's good, he's very good indeed.        


1Land Of The North Wind3:03
2Son Of Man3:56
3Ruby Tuesday4:27
4Waist Deep In The Big Muddy4:50
5No Cause For Alarm2:58
6The 51st (Highland) Division's Farewell To Sicily11:41
7No Gods & Precious Few Heroes3:55
8Geronimo's Cadillac3:17
91952 Vincent Black Lightning4:17
10Sail On5:13
11The Freedom Come-All-Ye5:14

Dick Gaughan - Sail On
(256 kbps, cover art included)

Gisela May - Die großen Erfolge (Amiga, 1975)

Gisela May is a German national treasure, a singing actress (or "diseuse") in the tradition established by Lotte Lenya and Marlene Dietrich and later continued by Ute Lemper. Born to artistic parents, May's career got off to a slow start, working obscure parts in East German films and taking acting lessons in Leipzig.
Her singing talents were discovered by composer Hanns Eisler, and in 1962 she joined the Berliner Ensemble, the theatrical group founded by Bertolt Brecht. May remained a member of the Ensemble for three decades. She is strongly identified with the roles of "Mother Courage", which she took over from Brecht's wife Helene Weigel after the latter died in 1971, and of Mrs. Kopecka in "Schweyk and the Second World War".
In 1992, May decided to leave the Berliner Ensemble and enjoyed a second career starring in German productions of the shows "Cabaret" and "Hello, Dolly!". Although the better part of her career was based in Soviet-bloc East Germany, May was able to pursue it on an international basis, touring to Australia and even the United States.

May is considered an expert interpreter of the work of Brecht, Kurt Weill, Eisler, Kurt Tucholsky, and Jacques Brel. She has recorded extensively and has won numerous prizes and awards, including election to the East German Academy of the Arts. May's memoir, "Es wechseln die Zeiten -Erinnerungen", was a best seller in Germany when it was published in 2002. She also held master classes and workshops in German on Brechtian theater and cabaret performance.


A - 0001 Gisela May - Mackie-Messer-Song 1975
A - 0002 Gisela May - Surabaya-Johnny 1965
A - 0003 Gisela May - Bilbao-Song 1965
A - 0004 Gisela May - Lied der Seeräuber-Jenny 1965
A - 0005 Gisela May - Lied vom achten Elefanten 1966
A - 0006 Gisela May - Lied vom Weib des Nazi-Soldaten
A - 0007 Gisela May - Der Graben 1967
A - 0008 Gisela May - Friedenslied 1973
B - 0001 Gisela May - Das Leibregiment 1967
B - 0002 Gisela May - Das Lied von der Gleichgültigk
B - 0003 Gisela May - Lamento 1975
B - 0004 Gisela May - Danach 1967
B - 0005 Gisela May - Mutterns Hände 1967
B - 0006 Gisela May - Ansprache einer Bardame 1968
B - 0007 Gisela May - Klassenzusammenkunft 1968
B - 0008 Gisela May - Sachliche Romanze 1968
B - 0009 Gisela May - Die Kleptomanin 1974
B - 0010 Gisela May - Hallo, Dolly ! 1972
Gisela May - Die großen Erfolge (Amiga, 1975)
(192 kbps, cover art included)

Donnerstag, 1. Dezember 2016

Lee Perry - Megaton Dub Vol. 2 (1984)

Opinions (mine included) run hot and cold over this hard-to-find two volume set of Scratch dub. I don't think it is as excellent and crucial as many of its supporters claim, nor do I think it's as awful as its detractors insist. File it under odd and occasionally wonderful (but, ultimately not essential), especially if you like your Perry mix so loaded with echo it sounds as if it was recorded in a canyon. Extremely difficult to find.     -

More near nuclear versions, recorded at Black Ark Studio, Kingston, Jamaica. Maybe one should have no fear of atomic energy but this second round of word sound power plants deserve maximum respect. Upsetter at the apogee.
A1Traveling In Dub
A2Fisherman Dub
A3Zion In Dub
A4Groovy Dub
B1Dub Crisis
B2Green Bay Killing
B3Big Neck Dub
B4Living In Dub

Lee Perry - Megaton Dub Vol. 2
(192 kbps, cover art included)