Dienstag, 31. Oktober 2017

VA - Wien - Zoten und Pikanterien - Rare Schellacks 1906 - 1932

Throughout the world, the rise of mass culture in the 19th century brought the music of the common man to the forefront of the popular agenda. Expressions of "high culture" no longer dominated in the big cities. The taste of recently-urbanised country migrants was increasingly catered for.

Since the turn of the 20th century popular melodies, folk songs, humorous commentaries and dance music with a hard edge gained widespread acceptance. In the suburbs of Vienna, Berlin, Munich, Leipzig and Dresden new types of urban folk singers and entertainers emerged at the cutting edge of recreation. Their songs reflected the dissonant and raucous reality of urban life in harsh and critical lyrics, but always modified by a pinch of irony and a considerable amount of humor.

The commercial recording industry recognized the mass appeal of these emergent syncretic forms and a representative sample from that early period is featured on this series.

Die Erbsünd - Freddy Wellmann
Der Grillenkitzler - Karl Huber mit Lenz Quartett
Brombeerlied - Franz Niernsee mit Lenz Quartett
Der Pfannenflicker - Brder Breier mit "Neuwirth" Quartett
Wiener Lokal-Verse - Franz Mika mit Neustifter Schrammel Begleitung
Das Lied ist modern - Scheimbauer & Lenz mit Mojka-Nast Schrammelbegleitung
Roserl, wie schön bist du im Hoserl - Richard Waldemar mit Klavier Begleitung
Weil ich anstnädig bin - Fritzi Rolly mit Orchesterbegleitung
Im roten Hahn - Franz Mika mit original Lanner-Quartett
Die Müllerin - Jungbauer mit Lenz-Quartett
Wo's Wasser herrauscht - Franz Niernsee mit Schrammelquartett "Lenz"
Breier G'stanzeln - August Breier begleitet vom "Neuwirth-Quartett"
Stilleben - Mika und Drechsler mit Schrammelbegleitung "Pischinger"
Hansi Führer am Telefon - Hansi Fhrer mit Klavierbegleitung
Schnauzbart-G'stanzln - Karl Huber mit Butschetty-Quartett
I hab mei Freud mit die Vögln - Mika & Drechsler mit Schrammel-Terzett
Unterm Paraplui - Rudi Hermann mit Schrammel-Terzett
Der Landkirtag - Scheimbauer & Lenz mit Schrammelquartett Moja-Nast
Bauerng'stanzeln - Karl Huber mit "Quartett Lenz und Ernst"
Beim Heurigen in Ottakring - Mika & Drechsler mit Schrammelbegleitung "Pischinger"
Laternderl - Franz Niernsee begl. Vom Wiener Salon Orchester "D`Geigerbuben"
I hab an alten Daimler - Rudi Hermann mit Schrammel-Terzett
Das Vergissmeinnicht - Franz Mika mit Original-Lanner-Quartett
Bauerng'stanzeln - Rudolf Heller mit Klavierbegleitung
Brunnstangl - Lenz und Scheimbauer mit Schrammelbegleitung

VA - Wien - Zoten und Pikanterien - Rare Schellacks 1906 - 1932
(192 kbps, cover art included)

Montag, 30. Oktober 2017

Django Reinhardt et son Quintette du HCF - Concert A Bruxelles 1948

From the liner notes:

"This is a recording in which every Django Reinhardt admirer will be interested. It is the only public performance we know and it had been recorded on an amateur tape recorder he bought in Brussels.

When Mrs. Reinhardt played it to us after Django´s death, we immediately thought that such a rarity had to be issued, although the recording quality is poor.

So here is Django Reinhardt with his quintet on the stage of the Theatre des Galeries in Burssels in December 1948 featuring Hubert Rostaing, Louis Vola, Arthur Motta and his older son Henri "Louson" Baumgartner."


A1Artillerie Lourde4:19
A4Cadillac Slim2:43
B1Place De Broukere2:49
B3Improvisation Sur Un Theme Mineur4:20
B4Festival 481:48
B5Minor Swing2:17

Django Reinhardt et son Quintette du HCF - Concert A Bruxelles 1948
(320 kbps, cover art included)

Dienstag, 24. Oktober 2017

Joshua White & His Carolinians - Chaing Gang (1940)

Most blues enthusiasts think of Josh White as a folk revival artist. It's true that the second half of his music career found him based in New York playing to the coffeehouse and cabaret set and hanging out with Burl Ives, Woody Guthrie, and fellow transplanted blues artists Sonny Terry and Brownie McGhee. When I saw him in Chicago in the 1960s his shirt was unbuttoned to his waist à la Harry Belafonte and his repertoire consisted of folk revival standards such as "Scarlet Ribbons." He was a show business personality — a star renowned for his sexual magnetism and his dramatic vocal presentations. What many people don't know is that Josh White was a major figure in the Piedmont blues tradition. The first part of his career saw him as apprentice and lead boy to some of the greatest blues and religious artists ever, including Willie Walker, Blind Blake, Blind Joe Taggart (with whom he recorded), and allegedly even Blind Lemon Jefferson. On his own, he recorded both blues and religious songs, including a classic version of "Blood Red River." A fine guitar technician with an appealing voice, he became progressively more sophisticated in his presentation. Like many other Carolinians and Virginians who moved north to urban areas, he took up city ways, remaining a fine musician if no longer a down-home artist. Like several other canny blues players, he used his roots music to broaden and enhance his life experience, and his talent was such that he could choose the musical idiom that was most lucrative at the time.
- Barry Lee Pearson, AMG

"Chain Gang" was a set of four 78rpm records recorded June 4, 1940 in New York City and released in the same year by Columbia with the follwing tracks:

- Chain Gang Boun'
- Nine Foot Shovel

- Trouble
- Goin' Home Boys

- Cryin' Who Cryin' You (part 1)
- Cryin' Who Cryin' You (part 2)

- Told My Cap'n
- Jerry

"Chain Gang" was produced for Columbia records in 1940, under the sponsorship of John Hammond, and within the next year Josh would become ubiquitous in the leftist folk music world. He was singing on Alan Lomax’s CBS radio programs, and acting as accompanist and sometimes vocalist for the Almanac Singers, the loose-knit group of agit-prop folkies centered around Pete Seeger, Lee Hayes, Fred Hellerman, and often Woody Guthrie. Featuring a vocal group called the Carolinians that included White's brother Bill and future civil rights leader Bayard Rustin, "Chain Gang" moved White's music further in the direction of pointed social commentary.

From the liner notes:
"Columbia Records proudly presents what is perhaps the most genuine folk music of our times...seven Negro laments of the chain gang sung by Joshua White and his Carolinians"

(192 kbps, front cover included)

Donnerstag, 19. Oktober 2017

Joe Gibbs & The Professionals - African Dub All-Mighty - Chapter 3

The third (and most impressive) of four volumes of dub mixes from the studio of producer Joe Gibbs, "African Dub, Chapter 3" finds engineer Errol Thompson getting a bit more adventurous than he had on the earlier installments. More of these dub versions keep shreds and snatches of the original vocal tracks in the mix, which is almost always a plus in a dub context - little snippets of disembodied vocals float through the otherworldly musical atmosphere, lending a sometimes spooky human element to the sound and often casting new and refracted light on the meaning of the original lyrics.

And on this volume, Thompson seems to be taking a few cues from his competitor Lee "Scratch" Perry, throwing such extramusical elements as water sounds (on "Freedom Call") and ringing telephones (on "Jubilation Dub") into the mix along with the usual gossamer shreds of guitar, horn, and keyboard. Highly recommended.               


Chapter Three
Rema Dub
Tribesman Rockers
Freedom Call
Jubilation Dub
The Entebbe Affair
Angolian Chant
Zion Gate
Jungle Dub
Dub Three

Joe Gibbs & The Professionals - African Dub All-Mighty - Chapter 3
(320 kbps, cover art included)

Dienstag, 17. Oktober 2017

Nico - Desertshore (1970)

While Nico was the member of the Velvet Underground who had had the least experience in music prior to joining the group (while she had recorded a pop single in England, she'd never been a member of a working band before Andy Warhol introduced her to the Velvets), she was also the one who strayed farthest from traditional rock & roll after her brief tenure with the band, and by the time she recorded "Desertshore", her work had little (if anything) to do with traditional Western pop.

John Cale, who produced and arranged "Desertshore", once described the music as having more to do with 20th century classical music than anything else, and while that may be going a bit far to make a point, even compared to the avant-rock frenzy of the Velvet Underground's early material, "Desertshore" is challenging stuff. Nico's dour Teutonic monotone is a compelling but hardly welcoming vocal presence, and the songs, centered around the steady drone of her harmonium, are often grim meditations on fate that are crafted and performed with inarguable skill and intelligence, but are also a bit samey, and the album's downbeat tone gets to be rough sledding by the end of side two. Cale's arrangements are superb throughout, and "My Only Child," "Afraid," and "The Falconer" are quite beautiful in their own ascetic way, but like the bulk of Nico's repertoire, "Desertshore" is an album practically designed to polarize its listeners; you'll either embrace it's darkness or give up on it before the end of side one. Then again, given the thoroughly uncompromising nature of her career as a musician, that's probably just what Nico had in mind. 


Janitor Of Lunacy 4:01
The Falconer 5:39
My Only Child 3:27
Le Petit Chevalier 1:12
Abschied 3:02
Afraid 3:27
Mütterlein 4:38
All That Is My Own 3:54

Nico - Desertshore (1970)
(320 kbps, cover art included)             

Mittwoch, 11. Oktober 2017

Gil Scott-Heron & Brian Jackson - Secrets (1978)

Gil Scott-Heron and Brian Jackson made a lot of incredible music together and "Secrets" is no exception. Soul and Jazz come together with the brilliance that is Gil Scott-Heron's mind and the result is truly inspiring. This 1978 album from the poet/musician, an album that continues the journey started on the 1977 album, "Bridges".

"Angel Dust" warns of the dangers of drug abuse. "Show Bizness" is a hilarious look at the perils of the music business ('they'll take care of everything for only 95%'), whilst "Madison Avenue" talks of the over commercialization of western society ("buying is all that's asked of you..."). "Better Days Ahead" and "Prayer For Everybody" see Gil in a more optimistic light hoping for a better future.

Gil Scott Heron was rapping and telling it like it is long before hip hop even thought about running its course. This album was a good example of Gil's finest works.

1. Angel Dust
2. Madison Avenue
3. Cane
4. Third World Revolution
5. Better Days Ahead
6. 3 Miles Down
7. Angola Louisiana
8. Show Bizness
9. A Prayer For Everybody To Be Free

Gil Scott-Heron & Brian Jackson - Secrets
(192 kbps, front cover included)

Montag, 9. Oktober 2017

Hanns Eisler - Klingende Dokumente IV (1982)

Hanns Eisler´s reflections "On the task of music in our time" ("Über die Aufgabe der Musik in unserer Zeit") suggest that music, by exerting a cathartic effect on human feelings, should help produce people who are "better equipped" for socialism. Such views strike us as antiquated today. But the words he then added appear to have gained a new relevance in the complex world situation we are facing at the beginning of the 21th century in the light of the near-total collapse of the socialist world and the worldwide triumph of capitalism, but also in view of an incresingly widespread sense of apocalyptic resignation: "There exists a facile cynicism, a facile objectivism, a facile tendency to look at our weakneses and denying our merits and virtues which fills me with gloom and anger."

The "White Bread Cantata " ("Weißbrot-Kantate", after an Italian peasant legend) belongs to a group of small cantatas for vocalists and several instruments composed in 1934.

The "Peace Song" ("Friedenslied") figures among a group of children´s songs which were written around 1950 while Eisler was composing the "New German Folk Songs " based on texts by Johannes R. Becher.

The "Lenin Requiem" (words by Brecht) was finished in exile as early as 5 August 1937, but it was not until 22 November 1958 that it received its first perfomance in Berlin. The cantata "The Carpet-Weavers of Kuyan-Bulak" ("Die Teppichweber von Kujan Bulak", Brecht) was composed in 1957 and had its premiere on 17 February 1958.


(01) Vom Sprengen des Gartens
(02) Haltung zum Lehrer Schönberg - Treue des Schülers zum Lehrer (Bunge-Gespräch, 1958)
(03) Lenin - Requiem für Alt- und Baritonsolo, Chor und Orchester
(04) Eisler - ein politischer Komponist?
(Herrmann-Gespräch, 1961)
(05) Aus ,,Die Weissbrotkantate"
Nr.3 Abschließende Bemerkung
(06) Die Weißbrotkantate
(07) Friedenslied
(08) Die Tage der Kommune
Aus der Bühnenmusik Nr.1-3
(09) Brecht, Eisler und Chaplin
(Bunge-Gespräch, 1958)
(10) Galileo Galilei
Ballade Nr.9 aus der Bühnenmusik
(11) Lebensfreude - ohne Konformismus zur Vergangenheit hin (Bunge-Gespräch, 1958)
(12) Der Held der westlichen Welt
Vier Lieder aus der Bühnenmusik
(13) Über die Aufgabe der Musik unserer Zeit
(Herrmann-Gespräch, 1960)
(14) Die Teppichweber von Kujan-Bulak
Kantate für Sopran und Orchester

Hanns Eisler - Klingende Dokumente IV (1982)
(320 kbps, no cover art)

Mittwoch, 4. Oktober 2017

Kurt Weill & Bertolt Brecht - Aufstieg und Fall der Stadt Mahagonny (Lotte Lenya, Wilhelm Brückner-Rüggeberg, 1956)

In the mid-'50s, Lotte Lenya, Kurt Weill's widow, contracted with Columbia Records to participate in a series of new recordings of her late husband's major German works.

Here, she is featured as Jenny Hill in a 1956 studio cast album of "Aufstieg und Fall der Stadt Mahagonny" ("Rise and Fall of the City of Mahagonny"), Weill's 1930 musical written with lyricist Bertolt Brecht. That allows her to sing the show's most famous number, "Alabama-Song." (Although Mahagonny is presented in the original German, "Alabama-Song" was written and is sung in English.). It is an ensemble work, not a star vehicle, with the other principal parts handled by Heinz Sauerbaum (as Jimmy Mahoney) and Gisela Litz (as Leokadja Begbick). The orchestra is conducted by Wilhelm Brückner-Rüggeberg.

As its title suggests, Mahagonny traces the founding of a fictional American city and its evolution into a sort of modern Sodom and Gomorrah with the characters being lowlife types such as gamblers and prostitutes. It is similar in many ways to its predecessor, "The Threepenny Opera". But where that song-based work was more of a conventional Broadway-style musical, Mahagonny is more of an operetta, with extended recitatives and a larger orchestra playing more elaborate music. It is at once more ambitious and less accessible than "The Threepenny Opera" and consequently has been less often performed. This recording aims to be definitive and, with a talented cast and musicians, plus excellent sound courtesy of a Hamburg studio, it arguably achieves that goal.               


Akt I
Nr. 1
1-1 Gesucht werden Leokadja Begbick 3:41
1-2 Sie soll sein wie ein Netz 3:52
Nr. 2
1-3 Rasch wuchs / Oh, show us the way 4:13
Nr. 3
1-4 Die Nachricht 4:26
Nr. 4
1-5 In den nächsten Tagen 2:04
Nr. 5
1-6 Damals kam unter anderen 2:14
1-7 Heraus, ihr Schönen von Mahagonny 0:55
1-8 Ach, bedenken sie 2:00
Nr. 6
1-9 Ich habe gelernt 1:55
Nr. 7
1-10 Alle grosse Unternehmungen 1:23
1-11 Auch ich bin einmal 3:34
Nr. 8
1-12 Alle wahrhaft Suchenden 2:44
1-13 Aber etwas fehlt 3:47
Nr. 9
1-14 Klaviersolo / Das ist die ewige Kunst 4:16
1-15 Sieben Jahre 2:28
Nr. 10
1-16 Ein Taifun! 2:21
Nr. 11
1-17 In dieser Nacht des Entsetzens 5:30
1-18 Nein, jetzt sage ich 1:50
1-19 So tuet nur, was euch beliebt 3:28
Akt II
Nr. 12
1-20 Hurrikan bewegt 3:26
1-21 O wunderbare Lösung 1:19

 Nr. 13
2-1 Von nun an war der Leitspruch 1:08
2-2 Jetzt habe ich gegessen zwei Kalber 4:00
Nr. 14
2-3 Zweitens kommt die Liebe dran! 6:18
2-4 Sieh jene Kraniche 5:02
2-5 Erstens, vergesst nicht, kommt das Fressen 0:37
Nr. 15
2-6 Wir, meine Herren 4:28
2-7 Dreimal hoch Dreieinigkeitsmoses! 2:30
Nr. 16
2-8 Freunde kommt, ich lade euch ein 7:37
2-9 Meine Herren, meine Mutter prägte 5:58
Nr. 17
2-10 Wenn der Himmel hell wird 4:09
Nr. 18
2-11 Haben alle Zuschauer Billette? 2:01
2-12 Zweitens der Fall des Jimmy Mahoney 8:37
Nr. 19
2-13 In dieser Zeit gab es in Mahagonny 4:04
Nr. 20
2-14 Hinrichtung und Tod des Jimmy Mahoney 3:30
2-15 Erstens, vergesst nicht, kommt das Fressen 3:25
Nr. 21
2-16 Wohlt ihr mich denn wirklich hinrichten? 4:08
2-17 In diesen Tagen fanden in Mahagonny 6:29

Kurt Weill & Bertolt Brecht - Aufstieg und Fall der Stadt Mahagonny (Lotte Lenya, Wilhelm Brückner-Rüggeberg, 1956) CD 1
Kurt Weill & Bertolt Brecht - Aufstieg und Fall der Stadt Mahagonny (Lotte Lenya, Wilhelm Brückner-Rüggeberg, 1956) CD 2
(256 kbps, cover art included)

Sonntag, 1. Oktober 2017

Hanns Eisler - Klingende Dokumente III (1975)

The four "Klingende Dokumente" albums  were published in the GDR between 1973 and 1982. They take the form of musical utterances by Hanns Eisler as a "singer", "pianist" and conducter as well as interviews, talks and a lecture attesting to his views about the social function of music and the role of the musician in challenging social and musical conventions. Most of these recordings were not intended for release and, given their poor quality, are not entirely suitable for such a purpose. 

The "Bankenlied" ("Banking Song", 1932) is typical of Eislers militant style. The recording was mide in the 1950s.
The "Suite für Septett Nr. 1, Op 92 a" (Variatons on American Children´s Songs), written in the United States in 1946, was recorded in 1956, with Eisler wielding the baton.


A2Über Hölderlin16:15
A3Die Gesichte der Simone Machard (A) Der zweite Traum3:50
A4Die Gesichte der Simone Machard (B) Lied der Simone und Marsch1:55
A5Kantate auf den Tod eines Genossen Op. 644:05
A6Über Schoenberg4:30
B1Schwejk im Zweiten Weltkrieg8:50
B2Über Wissenschaft und Kunst9:40
B3Suite für Septett Nr. 1 Op. 92a4:15

Hanns Eisler - Klingende Dokumente III
(320 kbps, cover art included)