Dienstag, 30. Januar 2018

Terry Jacks - Seasons In The Sun (1973 / 2008)

Terry Jacks (born March 29, 1944 in Winnipeg, Manitoba) is a Canadian singer, songwriter, record producer and environmentalist.His family having relocated to Vancouver, Jacks took up guitar in his teens and at 18 joined a Vancouver, British Columbia, band called The Chessmen. The group had a few minor local hits before disbanding, after which Jacks teamed up with singer Susan Pesklevits (born 1948, Saskatoon, Saskatchewan). Jacks played guitar while Pesklevits sang lead vocals. Initially, their material consisted mainly of cover songs but eventually, Jacks began writing more and his songs were added to the repertoire. The duo performed at small Vancouver clubs before adding another guitarist (Craig McCaw) and tabla player (Satwant Singh) to restyle themselves as The Poppy Family.

Jacks and Pesklevits married in 1968 and eked out a living until the band burst onto the national charts in 1969 with their debut album, "Which Way You Goin' Billy?" which was written and produced by Jacks. The 45rpm single went to No. 1 in Canada and reached No. 2 on the Billboard charts in the United States, selling over three million copies. The single was the first million-selling record to ever recorded in British Columbia. It won a Juno Award for best performance while Jacks earned a Juno for best producer of a single. The Poppy Family won a Juno for best group and immediately followed up with a second album, Poppy Seeds, but it did not match the success of the first album. The Poppy Family did place two other singles in the top five in Canadan and the U.S. Top 50, "That's Where I Went Wrong" (No. 29, 1970) and "Where Evil Grows" (No. 45, 1971), the latter of which was a duet (unusual since Susan was lead singer on most of the group's singles). Jacks then released the solo single "Concrete Sea" which went to number one in Canada. It was never released in the US.

In 1973, Susan and Terry separated but Jacks produced two more albums before the marriage officially ended, Susan's first solo album "I Thought Of You Again" and Terry's "Seasons in the Sun." Jacks had worked with the Beach Boys to record the song "Seasons In The Sun" but the project was never finished so he recorded the song himself. Released in 1973 on his own record label, Goldfish Records, the song became the largest-selling international single by a Canadian artist and earned Jacks four Juno Awards. The song was based on an original called "Le moribond" by Jacques Brel with lyrics and melody modified by Jacks in honour of a friend who had died of leukemia. In the United States, where it was released on Bell Records, the song went to No. 1 on the charts. He released two more singles entitled "If You Go Away" (another English-language version of a Jaques Brel song entitled "Ne Me Quitte Pas") and "Rock & Roll (I Gave You The Best Years Of My Life)", both of which were substantial hits in Canada and placed well on the Billboard Hot 100 chart in the USA.

Jacks wrote and recorded a number of other songs and went on to produce Nana Mouskouri, Chilliwack (including the groups' first hit, ``Crazy Talk.``) and other Canadian artists. He earned Juno and Gold Leaf awards for his production work.

In the late 1970s Jacks married Margaret Zittier and gradually withdrew from the music world. The couple had a daughter, Holly Michelle Jacks, in 1985 and Jacks became involved in the environmental movement, focusing on pulp mill pollution issues in Canada. Jacks`environmental work has earned him several awards including one from the United Nations and the Western Canada Wilderness Committee. He has worked extensively in film and video, producing several shorts on environmental themes including "The Tragedy of Clearcutting", "The Southern Chilcotin Mountains" and "The Warmth of Love" (The Four Seasons of Sophie Thomas). The video production "The Faceless Ones" earned an Environmental Gold Award from the New York International Film Festival.
Jacks`second marriage ended in 2001. In 1996, Jacks released the CD, "A Good Thing Lost 1968-1973", a collection of The Poppy Family songs. He lives in Pender Harbour, British Columbia, and still does the occasional performance.


Tracklist:
01. Concrete Sea
02. I'm Gonna Love You Too
03. Pumpkin Eater
04. Again and Again
05. Since You Broke My Heart
06. Fire on the Skyline
07. The Love Game
08. I'm So Lonely Here Today
09. It's Been There from the Start
10. Sail Away
11. Seasons in the Sun
12. Put The Bone In *
13. If You Go Away *
14. Me And You *
15. Rock N Roll *
* — Bonus tracks

Terry Jacks - Seasons In The Sun (1973 / 2008)
(320 kbps, cover art included)

Sonntag, 28. Januar 2018

Dubliners - Revolution (1970)

Revolution is the title of the tenth album by The Dubliners. It was their second to be produced by Phil Coulter. This was a landmark in their career. Their sound had developed and Coulter, as well as playing piano on the record, had brought in other instrumentalists as well. The album featured "Scorn Not His Simplicity", a song that Coulter had composed about his own son, who had Down's syndrome, as well as a poem penned by Luke Kelly entitled "For What Died The Sons Of Róisín?".

Working with producer Phil Coulter, in 1970 better known for generic pop standards, was a huge risk for these folk ruffians, something that Coulter should have equally been wary of when the group objected to a piano being included on Luke Kelly's boisterous rendition of left-wing anthem 'Joe Hill'. Of course the relationship between Coulter and The Dubliners was never going to be incident free, and 'Revolution' thus stands as a remarkable product of a slightly strained relationship. Discipline is the first factor. Almost completely gone is the temptation to include begorrah laden audience pleasers, instead Kelly rubs his hands with delight at the quality material 'Alabama '58', 'The Button Pusher', and a rare original composition for the group in Kelly's poem 'For What Died the Sons of Róisín?'. Ronnie and Ciaran share spoken leads on the gloomy and atmospheric 'Sé Fáth Mo Bhuartha' alternating between Irish and English, and complimented by Ciaran and John's forlorn tin whistles. Ronnie's Spanish adventures are recognised in the delightful 'Ojos Negros', Coulter's mixing desk skills bringing a grainy cantina feel. Coulter's greatest composition, the tragedy laden 'Scorn Not His Simplicity' was in turn the perfect showcase for Luke Kelly's extraordinary abilities as a vocalist, where Sheehan's fiddle weeps alongside a piercing organ, it was to be their finest hour. Ending with another rousing left-wing anthem 'Peat Bog Soldiers' where McKenna, Bourke, and Sheehan again excel as arrangers, the initially shaky meeting of The Dubliners and Phil Coulter had now produced the pinnacle of the career, something neither could ever truly match.


Tracklist:

Alabama 58
The Captains And The Kings
School Days Over
Se'Fath Mo Bhuartha
Scorn Not His Simplicity
For What Died The Sons Of Roison
Joe Hill
Ojos Negros
The Button Pusher
The Bonny Boy
The Battle Of The Somme / Freedom Come All Ye
Biddy Mulligan
The Peat Bog Soldiers


Dubliners - Revolution (1970)
(320 kbps, cover art included)

Utah Phillips - We Have Fed You All A Thousand Years

"These are songs and stories of the Industrial Workers of the World (Wobblies), a union to which I have belonged for over forty years. Recorded live in front of a group of striking Telecommunications Worker s in British Columbia, this is what I wanted to sing and say about our working class culture and why we should teach, study, and cherish it all the time, using it to build class solidarity and a better future for all workers. By the way, these workers I was singing for really joined in, and they all knew what we were singing about too!"

Utah Phillips was an amazing advocate for workers' rights, and he made it his life's mission to keep alive the songs of the working class. Here, in his 1993 recording, he collected the songs of Joe Hill and others as preserved through the Industrial Workers of the World (IWW) Songbook. Folks interested in learning more about the plight of the labor movement, and the history of the songs that have accompanied it, would appreciate this well-performed collection.

Tracklist:
1Boss0:19
2We Have Fed You All A Thousand Years1:59
3Sheep And Goats1:02
4Timberbeast's Lament1:41
5Dump The Bosses Off Your Back4:15
6Lumberjack's Prayer1:48
7Mr. Block4:27
8Preacher And The Slave4:12
9Popular Wobbly2:04
10Casey Jones2:57
11Where The Fraser River Flows2:53
12Bread And Roses2:56
13Joe Hill4:14
14Union Burying Ground3:31
15Two Bums1:02
16Hallelujah, I'm A Bum5:28
17Solidarity Forever4:19
18There Is Power In A Union3:42

Here´s a link to a nachruf in german language:
http://www.linksnet.de/de/artikel/23569

Utah Phillips - We Have Fed You All A Thousand Years
(320 kbps, front cover included)

Samstag, 27. Januar 2018

John Zorn - Kristallnacht (1993)

Today is the Holocaust Memorial Day, dedicated to the remembrance of the victims of the Holocaust. The chosen date is the anniversary of the liberation of Auschwitz concentration camp by the Soviet Army in 1945.

This release documents an intense musical representation of Kristallnacht, or the Night of Broken Glass, a coordinated attack on Jews throughout the German Reich that occurred on November 9, 1938, during which Nazis, SS members, and Hitler youth broke into Jewish homes and businesses, assaulting the people and their property. The official German report tallied 7,500 businesses destroyed, 267 synagogues burned (with 177 totally destroyed), and 91 Jews killed.

John Zorn has created a musical work that powerfully represents the different stages of this historical event. "Shtetl (Ghetto Life)" is beautiful yet apprehensive klezmer, interspersed with sound bites of German rallies and speeches that become more frequent, increasingly crowding the life from the music. This segues into "Never Again," which, Zorn warns in the liner notes, "contains high frequency extremes at the limits of human hearing and beyond, which may cause nausea, headaches and ringing in the ears." While nearly unbearable, it is a fitting sound representation of Kristallnacht, as thousands of layers of shattering glass assault the ears. "Never Again" is both effective and affecting, if you can listen. This onslaught is followed by the loud silence and emptiness of "Gahelet (Embers)," a walk through the immediate aftermath of wind, darkness, and destruction. Alley echoes are heard as sound is overwhelmed by a dread and horror beyond expressing, and no words can contain what might begin to form in the midst of shock. This is a heavy silence. Strings have gone haggard on the next composition, and from this point the album becomes less literal and explicit, moving away from poignancy and focus into more chaos.

Zorn's forceful undertaking is realized through the expert and passionate musicianship of violinist Mark Feldman, guitarist Marc Ribot, keyboardist Anthony Coleman, bassist Mark Dresser, and percussionist William Winant, as well as guest trumpeter Frank London and clarinetist David Krakauer.

Tracklist:

1 Shtetl (Ghetto Life) 5:51
2 Never Again 11:41
3 Gahelet (Embers) 3:25
4 Tikkun (Rectification) 3:02
5 Tzfia (Looking Ahead) 8:46
6 Barzel (Iron Fist) 2:01
7 Gariin (Nucleus - The New Settlement) 7:58

John Zorn - Kristallnacht (1993)
(320 kbps, cover art included)
               

Mittwoch, 24. Januar 2018

Hugh Masekela & The Union Of South Africa - Same (1971) - Rest In Peace!

Hugh Masekela, the legendary trumpeter, composer, singer and anti-apartheid activist, lost his battle with prostate cancer for which he had been receiving treatment since 2008. “The father of South African jazz” as he had been dubbed, died on Tuesday, January 23 2018.


Hugh Masekela & the Union of South Africa is an inspired mix of soul, highlife, and even New Orleans jazz. This works excellently on the old-fashioned "Goin' Back to New Orleans" and the fast-moving "Ade" and "Dyambo" where horn lines, call-and-response singing, and funky guitars, together with African rhythms, create furious dance music. But some of the slower numbers seem to be left without direction, a fact that is only partly covered by Masekela's trumpet playing. The closing "Hush (Somebody's Calling My Name)," though, is a great exception to that, with simple basslines and chorus, and slow-building energy. But if the mix of cultural influences is the strength of Hugh Masekela & the Union of South Africa, it may also be the weakness of the album; the difference between the groove-based "Ade," jazzier numbers like "Caution," and African highlife songs like "Shebeen" and "Johannesburg Hi-Lite Jive" is so big you'd think they belong on separate albums, and they may not appeal to the same audience. Hugh Masekela & the Union of South Africa was originally released on Masekela's own label, Chisa, and was re-released in 1994 on Motown. 

Tracklist:

Goin' Back To New Orleans5:07
Ade3:47
To Get Ourselves Together2:55
Johannesburg Hi-Lite Jive3:57
Mamani5:20
Shebeen4:00
Dyambo3:48
Caution!5:45
Hush (Somebody's Calling My Name)3:32

Hugh Masekela & The Union Of South Africa - Same (1971)       
(192 kbps, cover art included)   

Samstag, 20. Januar 2018

Erich Kästner - Muttersohn im Vaterland

Erich Kästner (February 23, 1899 - July 29, 1974) was one of the most famous German authors, screenplay writers, and satirists of the 20th century. His popularity in Germany is primarily due to his humorous and perceptive children's literature and his often satirical poetry.
Kästner was a pacifist and was opposed to the Nazi regime in Germany. Unlike many of his fellow authors critical of the dictatorship, Kästner did not emigrate. The Gestapo interrogated Kästner several times, and the writers' guild excluded him. Fanatic mobs burnt Kästner's books as "contrary to the German spirit" during the book burnings of 1933.

"Muttersohn im Vaterland" is a literary and musical voyage through the time, life and dreams of Erich Kästner.

With it´s well selected collection of the satirists poems, notes and fragments of novels this lecture by Ulrich Ritter leads us authentic and in a high tempo through Erich Kästner´s world.

Erich Kästner - Muttersohn im Vaterland
(192 kbps, ca. 88 MB)

Freitag, 19. Januar 2018

The Dream Syndicate - Same (EP, 1982)

The Dream Syndicate is an American alternative rock band from Los Angeles, California, originally active from 1981 to 1989, and reunited since 2012. The band is associated with neo-psychedelia and the Paisley Underground music movement; of the bands in that movement, according to the Los Angeles Times, the Dream Syndicate "rocked with the highest degree of unbridled passion and conviction."´Though never commercially successful, the band met with considerable acclaim, especially for its songwriting and guitar playing.

Dream Syndicate are at the foundation (alongside the Velvet Underground, the Stooges, and R.E.M.) of contemporary alternative music simply because at the time when most bands were experimenting with new technology, the Syndicate deigned to bring back the guitar.

Fronted by Steve Wynn and including Karl Precoda (guitar), Dennis Duck (drums), and Kendra Smith (bass), the band formed in Los Angeles after Smith and Wynn had relocated there from Davis, California. They debuted with a self-titled, unbelievably Velvet Underground-like EP on Wynn's own Down There label. The EP was recorded January 31, 1982 at Southwest Sound, Pasadena, California.

From the opening, icy arpeggios of guitarist Karl Precoda's "Sure Thing" to the six-string train wreck that brings frontman Steve Wynn's "Some Kinda Itch" to a close, the mark of the seminal pre-punk outfit is all over these recordings. A larger kit doesn't stop drummer Dennis Duck from locking the band into a rigid, primal framework à la Maureen Tucker and the White Light/White Heat-style recording tactics of the self-production only enhance the gritty sound of the group's twin-guitar attack. On "That's What You Always Say," Wynn lays down a ragged, metallic strum over which Precoda delivers his buzzing, atonal solo. The two then engage in an exchange of fractured chords and six-string shards against the stark rhythm section. Precoda speaks a similar language on "When You Smile," though here the notes seem to corrode to his guitar strings in a rusted mess. As derivative as the sound may be, Dream Syndicate were clearly onto something. Just months later, a similar combination of Wynn's deadpan vocals and the band's austere soundscapes would surface on the triumphant "The Days of Wine & Roses", the group's acknowledged masterpiece and a classic from the (paisley) underground.                 


Tracklist:

Sure Thing 3:57
That's What You Always Say 4:18
When You Smile 3:05
Some Kinda Itch 5:26


The Dream Syndicate - Same (EP, 1982)
(192 kbps, cover art included)

Mittwoch, 17. Januar 2018

Allen Ginsberg - The Lion For Real

Irwin Allen Ginsberg (June 3, 1926 – April 5, 1997) was an American poet and one of the leading figures of both the Beat Generation of the 1950s and the counterculture that soon would follow. He vigorously opposed militarism, economic materialism and sexual repression and was known as embodying various aspects of this counterculture, such as his views on drugs, hostility to bureaucracy and openness to Eastern religions. He was one of many influential American writers of his time known as the Beat Generation, which included famous writers such as Jack Kerouac and William S. Burroughs.

Recorded in the late '80s, "The Lion for Real" consists primarily of brief poems set to avant-jazz. Producer Hal Willner has assembled a group that at various times features Marc Ribot, Bill Frisell and Arto Lindsay, and they skillfully navigate the emotional tones and wit in Ginsberg's poems.

This doesn't contain any of Ginsberg's major works, but it's a welcome reminder of his irascible humor and mischievousness.            

Tracklist:                           
A1Scribble
A2Complaint Of The Skeleton To Time
A3Xmas Gift
A4To Aunt Rose
A5The Lion For Real
A6Refrain
A7The Shrouded Stranger
A8Gregory Corso's Story
B1Cleveland, The Flats
B2The End
B3Stanzas: Written At Night In Radio City
B4Sunset
B5Hum Bom!
B6Kral Majales
B7Guru
B8Ode To Failure

Allen Ginsberg - The Lion For Real
(320 kbps, cover art included)

Montag, 15. Januar 2018

Atahualpa Yupanqui - L´Integrale, Vol. 4

Atahualpa Yupanqui is a legendary Argentine folk musician and philosopher whose fame was revived during the politically charged "nueva cancion" movement of the 1960s. He´s considered to be the most important Argentian folk musician of the 20th century.

Here´s volume 4 of the "L´Integrale" set.

Tracklist:

1.Camino Del Indio3:40
2.La Del Gualicho1:58
3.Me Gustaba Andar3:28
4.Huinca Onal4:36
5.Melodía Del Adiós Y Danza Rústica4:21I
6.La Llorona3:00
7.Hui, Jo, Jo, Jo !3:26
8.De Tanto Dir Y Venir4:21
9.Guitarra De Pobre2:56
10.El Bien Perdido2:18I
11.A Vos Te Hai Pesar4:35
12.Nunca Jamás!3:49
13.Viene Clareando3:04
14.Huella Triste3:41
15.Amalaya El Cielo2:14
16.El Indio Y La Quena3:35I
17.Madre Del Monte4:09
18.Córdoba Norte2:22
19.La Mano De Mi Rumor3:38


Atahualpa Yupanqui - L´Integrale, Vol. 4
(320 kbps, cover art included)

Freitag, 12. Januar 2018

Dieter Süverkrüp - Die widerborstigen Gesänge des Dieter Süverkrüp (1967)

Dieter Süverkrüp is a german painter and songwriter, born 30 May 1934 in Düsseldorf.

Süverkrüp is a founding father of the singer-songwriter movement after the Second World War. He was well known in the alternative cultural scene of the 1960s and 1970s. Politically, he was a membre of the  DKP for a long time. Some of his best known songs are "Die erschröckliche Moritat vom Kryptokommunisten", "Baggerführer Willibald" and "Das Auto Blubberbumm", a musical for children.






Tracklist:
A1Erschröckliche Moritat vom Kryptokommunisten
A2Nachtgebet eines Untertanen
A3Kinderchor für einen sauerländischen Zwergbahnhof
A4Verkürzte Darstellung eines neuerlichen Deutschlanderwachens
A5Kirschen auf Sahne
A6Versuch eines (naturgemäß theoretischen) Wiegenliedes für unser noch ungeborenes Kind, August 1967
B1Wünsche des Publikums an den Sänger
B2Landesvaters Abendlied
B3Lagerlied
B4Schnulze et iucundum est, fürs Vaterland zu werben
B5Lied vom Tod
B6Nach der endgültigen und vollständigen Einführung und Inkrafttretung der Notstandsgesetze werde ich allen leichtfertig gutgläubigen Wählern ein Liedchen singen. Vorsichtshalber singe ich es schon jetzt.

Dieter Süverkrüp - Die widerborstigen Gesänge des Dieter Süverkrüp (1967)
(256 kbps, cover art included)

Mittwoch, 10. Januar 2018

Atahualpa Yupanqui - L´Integrale, Vol. 3

Hector Roberto Chavero Aramburo was born in Pergamino, a province around 200 kilometres away from Buenos Aires, on January 31st 1908. By the 1960’s he was considered one of the most important Argentinian, and Latin American, folk musicians of all time.
Choosing not to showcase his family name on stage, instead, Hector decided to adopt the alias of Atahualpa Yupanqui. A pseudonym combining the names of two legendary Incan kings. With a father hailing from Argentina and a mother descending from the Basque country, Yupanqui was blessed with a healthy cultural mix, which undoubtedly went some way towards fuelling his desire for travel.
His first musical experience was of playing the violin, but he would soon switch to guitar, and became something of a troubadour, singing folk songs as he travelled around Argentina. This was made possible by his early jobs of delivering telegrams and of working as a muleteer, which is to deliver goods by mule. Gradually the travelling would become more than just a job. He spent a lot of time in the northwest of Argentina and the Altiplano studying the Amerindian indigenous culture. Of particular note, in 1934 he took part in an ethnological study of the Amaichas Indians with Alfred Métraux. It was during these travels that he would learn rhythms such as the zamba, vidala and chacarera, that he would later popularise in his songs.
During this time, the young Yupanqui grappled with political ideologies and decided to join the Communist Party of Argentina. In 1931 the Argentine took part in the attempted, and ultimately unsuccessful, uprising of the Kennedy brothers, which resulted in the musician being forced to seek refuge in Uruguay. Yupanqui would not return to his native land until 1934.
Yupanqui first visited Buenos Aires in 1935, when he was invited to perform on one of the local radio stations at the time and it was shortly after this event that the Argentine met his long-time, collaborative, musical partner and future wife; pianist Antonieta Paula Pepin Fitzpatrick (nicknamed “Nenette”). “Nenette” accompanied Yupanqui for many years under the pseudonym of Pablo Del Cerro, creating vibrant and entertaining compositions. It was also around this time that he became a published writer, with Cerro Bajo hitting Argentine bookshelves in 1941.

Yupanqui’s work suffered as a result of his allegiance to the Communist Party, especially during Juan Peron’s presidency. The musician’s work was largely censored and Yupanqui was even detained and incarcerated on many occasions during this period. Feeling dejected, the Argentine fled to Europe in 1949 and by July 1950, Yupanqui was invited to perform in Paris by Edith Piaf. Here in France he gained much notoriety; he would regularly open for Piaf, but additionally, became friends with artists such as Aragon, Eluard and Picasso, all of whom appreciated his poetry and its nature of dealing with poverty and oppression. He signed a contract with the recording company Le Chant Du Monde, which published his first LP in Europe, entitled “Miner I am”. This LP went on to win the Charles Cros Academy’s prize for best foreign disc and subsequently enabled Yupanqui to tour extensively around Europe with his music.
Yupanqui returned to Buenos Aires in 1952. By this time the musician had broken off all ties with the Argentinian Communist Party, which made it much simpler for him to book radio performances and musical events. During this time Yupanqui’s music flourished and he achieved a fair degree of success.
By the 1960’s Yupanqui’s work was widely recognised, especially by nueva cancion artists such as Mercedes Sosa (who would in 1977 record her Mercedes Sosa interpreta a Atahualpa Yupanqui album, devoted solely to his songs) and Jorge Cafrune who began recording his compositions. This made the Argentine very popular among the younger musicians who affectionately began referring to him as ‘Don Ata’.
During 1963 and 1964 Atahualpa toured around Colombia, Japan, Morocco, Egypt, Israel and even Italy. By 1967 he had also toured Spain and decided to settle in Paris. From his new base he would regularly return to Argentina and he would appear in Argentinisima and Argentinisima II, two Argentine musical documentaries films released in 1972 and 1973 respectively. These visits became more sparse, however, when the military dictatorship of Jorge Videla took over the country in 1976.

In 1989 the University of Nanterre, a prestigious and highly regarded institution, asked Yupanqui to write the lyrics of a Cantata to commemorate the bicentennial of the French Revolution. Yupanqui graciously accepted the offer and produced a composition entitled, “The Sacred Word”. This piece was released before the French authorities and it was thought to be a tribute to all the oppressed towns that freed themselves during the great struggle.
To the grief of many, Yupanqui died in Nimes, France in 1992, aged 84. To this very day, though, his music continues to touch the hearts and lives of many citizens, not just in South America, but all over the entire planet.

Atahualpa Yupanqui recorded over 12,000 songs, many of which are on labels that no longer exist, and are therefore out-of-print. This makes it very difficult to begin making any recommendations, however, the good news is that I’ve never heard a bad record by him. Mis 30 Mejores Canciones and Solo Lo Mejor de are both recommended as strong collections of his songs. Piedra Y Camino: 1936/1947 on Discmedi records, focuses on his early days, and while it may not get great marks for its fidelity, is definitely worth investigating. Buenas Noches, Compatriotas… is a live recording, made in Mar del Plata in 1983, and despite quite annoying crowd noise is a good document of the man in his later life. Additionally, any of his recordings for Le Chant du Monde in the middle of his career are worth keeping an eye out for. Basta Ya! and Soy Libre are two such examples.

Here´s "L´Integrale, Vol. 3":

Tracklist:
1.Canción Para Pablo Neruda4:00
2.De Aquellos Cerros Vengo2:10
3.Salmo A La Guitarra5:21
4.Milonga Triste3:00I
5.Baguala Del Gaucho Pobre3:47
6.Milonga Del Solitario3:40
7.Nada Más3:16
8.Silbando Piensan Las Aves / Humito De Mi Cigarro4:08
9.La Paulita2:08I
10.Canción Del Arriero De Llamas3:14
11.Recuerdo De El Portezuelo3:59
12.Juan Careno2:10I
13.Canción Para Doña Guillermina3:23
14.Nieve, Viento Y Sol3:15
15.Los Dos Abuelos3:26
16.Chacarera Santiagueña2:04I
17.Tum Tum Mañanita5:12
18.El Aromo4:10


Atahualpa Yupanqui - L´Integrale, Vol. 3
(256 kbps, cover art included)

Dienstag, 9. Januar 2018

J. J. Johnson - Plays Mack The Knife And Other Kurt Weill Songs (1961)

The LP "Plays Mack the Knife" (1961) presents J. J. Johnson fronting a quartet that includes André Previn on piano, Red Mitchell on bass and Frank Capp on drums - quartet recordings are not especially common in Johnsons discography - playing songs by the celebrated Kurt Weill.

As the original liner notes clearly indicate, recording a jazz version of "Mack the Knife" in 1961 wasn´t an easy bet, for many other artists had already made their versions (the most celebrated ones were those by Ella Fitzgerald in Berlin in 1960, and by Louis Armstrong, both alone with his All Stars and in a 1955 vocal duet with Lotte Lenya, for whom the song had originally been written). Previn and Johnson succeed in giving this music a new distinctive sound (although always respectful of the original melodies).

Tracklist:

A1 Bilbao-Song 4:05
A2 Barbara-Song 6:10
A3 Overture 5:05
A4 Seeräuberjenny 4:23
B1 Mack The Knife (Moritat) 4:55
B2 Surabaya-Johnny 4:17
B3 Wie Man Sich Bettet 6:03
B4 Unzulänglichkeit 4:55

J. J. Johnson - Plays Mack The Knife And Other Kurt Weill Songs (1961)
(320 kbps, cover art included)

Montag, 8. Januar 2018

Rolando Alarcón - Canta a los Poetas Soviéticos (1971)

The Chilean composer and singer/player Rolando Alarcon (1929 - 1973) is one of the pioneers of the New Chilean Song movement.
He founded the folk band "Cuncumén" in 1955. In 1962 he left the band and in 1965, after the brief period with "Los De Las Condes", he released his first solo album: "Rolando Alarcón Y Sus Canciones", followed by "Rolando Alarcón" and "El nuevo Rolando Alarcón" (1967) where he turned to a more social implication and to the pop music. He also played on "La Peña de los Parra" and in "Chile Ríe y Canta" peñas.

Canta a los poetas soviéticos is his eleventh album. It is a hommage to the soviet poet Yevgeni Yevtushenko and the singer Bulat Okudzhava.


Tracklist:
01. ¿Querrían los rusos la guerra? (Yevgeni Yevtushenko – Eduard Kolmanowski)
02. Cuando mataron a Lorca (Yevgeni Yevtushenko)
03. La prisa es la maldición del siglo (Yevgeni Yevtushenko)
04. La isba (Yevgeni Yevtushenko)
05. El último trolebús (Bulat Okudzhava)
06. Canción del soldado americano (Bulat Okudzhava)
07. Cancioncita sobre la puerta abierta (Bulat Okudzhava)
08. ¿Escuchan los botines al pasar? (Bulat Okudzhava)
09. Sharmanka (Bulat Okudzhava)

Rolando Alarcón - Canta a los Poetas Soviéticos (1971)
(160 kbps, front cover included)

Samstag, 6. Januar 2018

Mississippi John Hurt ‎– The Best Of Mississippi John Hurt - Ain't No Tellin'

No blues singer ever presented a more gentle, genial image than Mississippi John Hurt. A guitarist with an extraordinarily lyrical and refined fingerpicking style, he also sang with a warmth unique in the field of blues, and the gospel influence in his music gave it a depth and reflective quality unusual in the field. 

Coupled with the sheer gratitude and amazement that he felt over having found a mass audience so late in life, and playing concerts in front of thousands of people - for fees that seemed astronomical to a man who had always made music a sideline to his life as a farm laborer - these qualities make Hurt's recordings into a very special listening experience. 

"Ain´t No Tellin´" is a compilation album of live recordings from various performances.

Tracklist:
1Rich Woman Blues
2Trouble I Had All My Days
3Chicken Blues
4Coffee Blues
5Monday Morning Blues
6Frankie & Albert
7Talking Casey
8Here I Am, Oh Lord Send Me
9Hard Times In The Old Town
10Spike Drivers Blues
11Candy Man
12My Creole Belle
13Make Me A Pallet On Your Floor
14Shake That Thing
15I'm Satisfied
16Salty Dog
17Nobody's Business
18The Angels Laid Him Away
19Casey Jones
20Baby What's Wrong With You
21Lonesome Blues

(320 kbps, cover art included)

Freitag, 5. Januar 2018

Atahualpa Yupanqui - L´Integrale, Vol. 2

Argentinean folk icon Atahualpa Yupanqui became one of the most valuable treasures for the local culture. As a child living in the small town of Roca, province of Buenos Aires, Héctor Roberto Chavero was seduced by traditional music, especially by the touching sound of the acoustic guitar. After taking violin lessons, the young man began learning how to play guitar, having musician Bautista Almirón as his teacher.

For many years, Atahualpa Yupanqui traveled around his native country, singing folk tunes and working as muleteer, delivering telegrams, and even working as a journalist for a Rosario newspaper. In the late '30s, the artist started recording songs, making his debut as a writer in 1941 with Piedra Sola, later writing a famous novel called Cerro Bajo. In 1949, the singer/songwriter went on tour around Europe for the first time, including performances with France's Edith Piaf. During the following decades Atahualpa Yupanqui achieved an impressive amount of national and international recognition, becoming an essential artist, a distinguished Latin American troubadour, and influencing many prominent musicians and Argentinean folk groups. Atahualpa Yupanqui passed away in France in May, 1992.     

Tracklist:

1.Preguntitas Sobre Dios3:43
2.Canción Del Cañaveral3:49
3.Ahí Andamos Senor2:36
4.Juan4:07
5.La Del Campo2:09I
6.El Pajarillo4:17
7.Cachilo Dormido2:00
8.Los Hermanos3:07
9.Baguala Del Minero4:17
10.Chilca Juliana2:02I
11.Basta Ya5:38
12.La Pobrecita2:56
13.El Pampino2:51
14.El Alazán5:00
15.Lo Miro Al Viento Y Me Río3:02
16.La Flecha2:59
17.Recauda Tus Prendas2:16I
18.Vidala Del Yanarca3:35
19.Yo Quiero Un Caballo Negro2:26

Here´s the second volume of the "L´Integrale" edition.

Atahualpa Yupanqui - L´Integrale, Vol. 2
(256 kbps, cover art included)

Montag, 1. Januar 2018

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)