Freitag, 29. Juni 2018

Albert Ayler - In Greenwich Village (1967)

During 1967-69 avant-garde innovator Albert Ayler recorded a series of albums for Impulse that started on a high level and gradually declined in quality. This LP, Ayler's first Impulse set, was probably his best for that label.

There are two selections apiece from a pair of live appearances with Ayler having a rare outing on alto on the emotional "For John Coltrane" and the more violent "Change Has Come" while backed by cellist Joel Friedman, both Alan Silva and Bill Folwell on basses and drummer Beaver Harris. The other set (with trumpeter Donald Ayler, violinist Michel Sampson, Folwell and Henry Grimes on basses and Harris) has a strong contrast between the simple childlike melodies and the intense solos. However this LP (which was augmented later on by the two-LP set "The Village Concerts") will be difficult to find.         

Tracklist:     
  1. "For John Coltrane" – 13:38
  2. "Change Has Come" – 6:24
  3. "Truth Is Marching In" – 12:43
  4. "Our Prayer" – 4:43

(320 kbps, cover art included)

Donnerstag, 28. Juni 2018

Bo Diddley - Bo Diddley (1986, Chess)

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"I was the first son-of-a-gun out there. Me and Chuck Berry. And I'm very sick of the lie. You know, we're over that black-and-white crap, and that was all the reason Elvis got the appreciation that he did. I'm the dude that he copied, and I'm not even mentioned."
- Bo Diddley, 2005


"Bo Diddley" is the debut album by rock and roll pioneer and blues icon Bo Diddley. It is a compilation of his singles since 1955 and collects several of his most influential and enduring songs. An innovative guitarist, prolific songwriter, and sensational vocalist (check out "Dearest Darling"), Diddley had an influence on rock music from Buddy Holly to U2 that was all pervasive.

For anyone who wants to play rock & roll, real rock & roll, this is one of the few records that you really need. Along with Chuck Berry, Elvis, Little Richard, Jerry Lee Lewis, Muddy Waters, B.B. King, and a few select others, Bo Diddley was one of the founders of the form & he did it like no other. Diddley had only one real style, that being the Bo Diddley beat: a syncopated, rhythmic drive, loaded with tremolo. There are many examples of it on this record, and that is about all you need. It's one of those records that, after listening to just a few cuts, will find you tapping the beats on every available surface. Diddley's guitar and vocals have a gruff feeling that recalls bluesmen such as Waters, yet he has his own style. Buttressed by drums, funky piano, and usually maracas, it's absolutely infectious.

Bo Diddley - Bo Diddley (1986)
(256 kbps, cover art included)

Mittwoch, 27. Juni 2018

Leadbelly, Big Bill Broonzy & Josh White - A Treasury Of Folk Music (1966)


Huddie William Ledbetter (January 1888 – December 6, 1949) was an iconic American folk and blues musician, notable for his strong vocals, his virtuosity on the 12-string guitar, and the songbook of folk standards he introduced. He could also play the piano, mandolin, harmonica, violin, concertina, and accordion. In some of his recordings, such as in one of his versions of the folk ballad "John Hardy", he performs on the accordion instead of the guitar. In other recordings he just sings while clapping his hands or stomping his foot.
The topics of Lead Belly's music covered a wide range of subjects, including gospel songs; blues songs about women, liquor and racism; and folk songs about cowboys, prison, work, sailors, cattle herding and dancing. He also wrote songs concerning the newsmakers of the day, such as President Franklin Roosevelt, Adolf Hitler, Jean Harlow, the Scottsboro Boys, and Howard Hughes.

Big Bill Broonzy (26 June 1898 – 15 August 1958) was a prolific American blues singer, songwriter and guitarist. His career began in the 1920s when he played country blues to mostly black audiences. Through the ‘30s and ‘40s he successfully navigated a transition in style to a more urban blues sound popular with white audiences. In the 1950s a return to his traditional folk-blues roots made him one of the leading figures of the emerging American folk music revival and an international star. His long and varied career marks him as one of the key figures in the development of blues music in the 20th century.
Broonzy copyrighted more than 300 songs during his lifetime, including both adaptations of traditional folk songs and original blues songs. As a blues composer, he was unique in that his compositions reflected the many vantage points of his rural-to-urban experiences.

Joshua Daniel White (February 11, 1914 – September 5, 1969), best known as Josh White, was an American singer, guitarist, songwriter, actor, and civil rights activist. In the early 1930s, he also recorded under the names "Pinewood Tom" and "Tippy Barton."
He became a 1920s and 1930s star of "race records", with a prolific output of recordings in genres including Piedmont blues, country blues, gospel, and social protest songs. He was billed in concert as "The Sensation of the South". In 1931, White moved to New York and within a decade his fame had spread widely, and his repertoire expanded to include urban blues, jazz, Tin Pan Alley, cabaret, folk songs from around the world, and hard-hitting political protest songs. He soon was in demand as an actor on radio, Broadway, and film. However, his pioneering guitar playing never altered or diminished, while some would even argue it broadened with the expansion of his musical repertoire.

Tracklist:

A1. Leadbelly - How Long                  
A2. Leadbelly & Sonny Terry - John Henry
A3. Leadbelly & Josh White - Don't Lie Buddy
A4. Leadbelly - Ain't You Glad
A5. Big Bill Broonzy - Letter To My Baby
B1. Josh White - Saint James Infirmary
B2. Josh White - Lass With The Delicate Hair
B3. Josh White - When I Lay Down & Die Do Die 
B4. Josh White - Early Morning Blues
B5. Big Bill Broonzy - Baby Please Don't Go

Leadbelly, Big Bill Broonzy & Josh White - A Treasury Of Folk Music (1966)
(ca. 170 kbps, cover art included)

B.B. King, Big Mama Thornton, Muddy Waters - Live At Newport

Universally hailed as the reigning king of the blues, the legendary B.B. King is without a doubt the single most important electric guitarist of the last half century. His bent notes and staccato picking style have influenced legions of contemporary bluesmen, while his gritty and confident voice - capable of wringing every nuance from any lyric - provides a worthy match for his passionate playing.

A postwar Chicago blues scene without the magnificent contributions of Muddy Waters is absolutely unimaginable. From the late '40s on, he eloquently defined the city's aggressive, swaggering, Delta-rooted sound with his declamatory vocals and piercing slide guitar attack. When he passed away in 1983, the Windy City would never quite recover.

Willie Mae "Big Mama" Thornton only notched one national hit in her lifetime, but it was a true monster. "Hound Dog" held down the top slot on Billboard's R&B charts for seven long weeks in 1953. Alas, Elvis Presley's rocking 1956 cover was even bigger, effectively obscuring Thornton's chief claim to immortality.
That's a damned shame, because Thornton's menacing growl was indeed something special.
Released on the "Golden Legend Series" this album collects 7 tracks recorded at the Newport festival:

01. Little Red Rooster - Thorton
02. Ball And Chain - Thorton
03. Outside Help - B.B.King
04. Long Distance Call - Waters
05. Where's My Woman Benn - Waters
06. Got My Mojo Workin'- Waters
07. You Done Lost Your Good Thing Now - B.B.King

Fresh link:
B. B. King, Big Mama Thornton, Muddy Waters - Live At Newport
(192 kbps, cover art included)

Dienstag, 26. Juni 2018

The Kingston Trio - The Kingston Trio (1958)


"The Kingston Trio" is The Kingston Trio's debut album, released in 1958. It entered the album charts in late October 1958, where it resided for nearly four years, spending one week at #1 in early 1959.

Dave Guard, Nick Reynolds, and Bob Shane formed the Kingston Trio in Palo Alto, California in June 1957. By 1958 they had a recording contract with Capitol Records and were in the studio by February. From their first recording sessions, the single "Tom Dooley" was released and became a number one hit in the US. The single's success helped propel their debut album to the number one spot of the Billboard Pop chart.


It's easy to rate the group's debut album too low, since its two best-known songs ("Tom Dooley," "Scotch and Soda") have had no shortage of appearances elsewhere in the decades since, and the group went on to cut more than 20 additional albums in their prime years. A little less polished and accomplished than, say, the music that Terry Gilkyson and the Easy Riders were cutting at Columbia around this time, it makes up for those shortcomings with youthful spring, exuberance, freshness, and a number of song choices that spoke of a new generation of folk singing -- not only their hits but the first version of the comedic piece "Coplas" and "Sloop John B," which would become a rock standard in the hands of the trio's fellow stripe-shirted labelmates the Beach Boys. Dave Guard was the most influential member of the group here, in terms of song selections and arrangements, but the entire trio is well represented.

Additionally, producer Voyle Gilmore made their singing on "Bay of Mexico" and "Fast Freight" into something slightly larger than life. "Sara Jane," which the group learned from Louis Gottlieb of the Gateway Singers and, later, the Limeliters, who also arranged it, isn't far behind, a potential hit single in the same league with "Wimoweh." Listening to this album, one also gets a sense of just how strong the trio was musically right out of the starting gate - "The Kingston Trio" was essentially an idealized version of the group's stage show of the era, recorded over three days in the studio, and a fine, bracing body of music.  

The Kingston Trio - Same (1958)
(192 kbps, cover art included)

Sonntag, 24. Juni 2018

The Almanac Singers - Songs Of Protest


Protest Music is a long-standing part of American culture, but it wasn't always considered to be part of the folk music tradition. There was a certain consensus among some of the earliest folklorists and song collectors that songs of protest weren't universal enough to fit under the folk music umbrella. Then came the Almanac Singers, who sought out the songs of the labor movement and other traditional tunes of the working class - along with their own original compositions - hoping to use folk music as a tool to organize communities. It's was kind of an experiment with folk songs and, as the mid-century protest song movement can attest, it sort of caught on.

The Almanac Singers were one of the first, most influential groups of protest singers in the history of contemporary American folk music. Singing labor songs in union halls and daring to use music to speak out against oppression, the Almanacs have moved generations of topical singers to action. The Almanacs used songs to organize people, to inspire action, and to nurture communities around the notion of standing up to injustice. Their "Songs of Protest" is easily one of the best recordings in the history of folk music.

The Almanac Singers' Songs of Protest also included what was, arguably, one of Woody Guthrie's greatest topical story-songs, "The Sinking of the Reuben James." The song tells the story of a U.S. Naval ship which was attacked by the Nazi military in 1941, killing 86 people. In Guthrie's quintessential empathetic songwriting style, he created a song that humanized the large number of deaths in the tragedy. It was Guthrie's gift of humanizing history that inspired so many of the political folksingers that followed, and this song was one of the Almanac Singers' greatest efforts (its chorus was actually written by Seeger and Lampell).
Other great highlights from this recording include the traditional "Blow the Man Down" and "The Dodger Song", both of which sung to a suspicion against the government and those who seek to abuse the system. Overall, Songs of Protest is not only an excellent introduction to the work of the Almanac Singers - and, in turn, that of Seeger, Guthrie, and the others - but is also an excellent primer on the history of the American protest song.

Tracklist:

1. I Ride an Old Paint (WG)
2. The Dodger Song (LH)
3. The Golden Vanity (PS)
4. House of the Rising Sun (WG)
5. Blow Ye Winds, Heigh Ho (PS)
6. Haul Away Joe (PH)
7. Blow the Man Down (WG)
8. Ground Hog (PS)
9. State of Arkansas (LH)
10. The Coast of High Barbary (PS)
11. Hard, Ain't It Hard (WG)
12. Away, Rio (LH)
13. Billy Boy (JW/ML)
14. Ballad of October 16 (PS)
15. Plow Under (PS)
16. Get Thee Behind Me Satan (PH)
17. The Strange Death of John Doe (PS)
18. Round and Round Hitler's Grave (PS)
19. The Sinking of the Reuben James (PS)
20. Liza Jane (PS/WG/JW)
21. All I Want (PS)
22. Union Maid (PS)
23. Talking Union (PS)
24. Which Side Are You On? (PS)
25. Deliver the Goods (PS)
26. C for Conscription (PS)
27. Washington Breakdown (PS)
28. Dear Mr President (PS)
29. Round and Round Hitler's Grave - Radio Broadcast (PS)

The Almanac Singers - Songs Of Protest
(320 kbps, front cover included)

This European compilation contains 28 of the 35 studio recordings made by the Almanac Singers in 1941-1942, plus an aircheck of "Round and Round Hitler's Grave." The recordings were released originally on five albums of 78s. The CD gathers all seven tracks from the group's debut album, "Songs for John Doe", five of the six from "Talking Union" (not including "The Union Train"), all six from "Deep Sea Chanteys and Whaling Ballads", all six from "Sod Buster Ballads", and four of six from "Dear Mr. President" (not including "Beltline Girl" and "Side by Side"). But the first-time listener is bound to be surprised by the album's title, "Songs of Protest", at least while listening to the first 12 tracks, all of which are drawn from the non-political third and fourth albums. The compilers have decided against chronological sequencing, which is a big mistake when it comes to the Almanac Singers. The group changed their view radically during the course of their career. "Songs for John Doe", recorded prior to American involvement in World War II, was scathingly anti-war, while "Dear Mr. President", recorded after Pearl Harbor, was just as scathingly pro-war (as a title like "Round and Round Hitler's Grave" suggests). Even 60 years later, sequencing songs from these two albums beside each other creates considerable confusion. Aside from this gaffe, folk fans should welcome having these historical recordings on a single disc.

Sun Ra - The Magic City (1965)

The boundaries of Sun Ra's self-proclaimed "space jazz" underwent a transformation in the mid-'60s. "The Magic City" is an aural snapshot of that metamorphic process. Many enthusiasts and scholars consider this to be among Ra's most definitive studio recordings.

Although the "city" in the album's title was thought to have been New York - where the disc was recorded - it is actually Ra's earthly birthplace of Birmingham, AL. "The Magic City" consists of four free jazz compositions: the album side-length title track, "The Shadow World," "Abstract Eye," and "Abstract I" - two variants of a common work. These pieces are essentially ensemble improvisations recorded live. Any direction from Ra, indicating the order of soloists for instance, would be given either through his playing or with hand signals.

Sun Ra & His Solar Myth Arkestra took up residency in Manhattan's East Village in the early to mid-'60s. Their neighbors included Pharaoh Sanders as well as Babatunde Olatunji. In fact, "The Shadow World," "Abstract Eye," and "Abstract I" were actually recorded in Olatunji's loft. The title track begins with weaving distant and frenetic lines from Ronnie Boykins (bass) and Ra (piano, clavoline), connected by intermittent eruptions from Roger Blank (drums). All the while, Marshall Allen's dreamlike piccolo randomly maneuvers through the sonic haze. The piece also contains an ensemble onslaught that abruptly contrasts with everything experienced up through that point. In the wake of the innately earthbound "Magic City" are three comparatively shorter pieces with subtle undercurrents that return Ra to space motifs. For example, the importance of sonic contrast defines "The Shadow World" by juxtaposing the lightly churning bass and cymbal into some surreal keyboard interjections from Ra. The Magic City also comes with an insightful liner notes essay from Ra scholar John F. Szwed, aiding in understanding the circumstances surrounding this piece of free jazz genius.

John F. Szwed explains in the Village Voice:
"[Birmingham was] the earthly birthplace he steadfastly denied, and in the recording he reimagines the city without its grim, racist, smoke-choked past. By simply pointing to musicians when he wanted them to play, he proved it possible to collectively improvise an entire album on the strength of nothing more than a shared belief. 

Tracklist:
AThe Magic City27:24
B1The Shadow World10:59
B2Abstract Eye2:45
B3Abstract "I"4:01

Sun Ra - The Magic City (1965)
(320 kbps, cover art included)     

Freitag, 22. Juni 2018

Eulenspygel - Eulenspygel 2

"Eulenspygel 2" is a killer 70's underground recording. Released in 1971 and called "2" because the same band had already released an album under the name Royal Servants. 

When they decided to write the lyrics in German instead of English they thought they better change their band name to a German one as well. Some critics say that the album cover is one of the most tasteless ones .They actually pulled it off of the market after selling about 7,000 copies and put it back out minus the dead chick. 

The lyrics are very left wing and anti-war but also very "out there" at times. An excellent album!


Tracklist:
1. Till 3:45
2. Son My (My Lay) 11:14
3. Konsumgewäsche 4:03
4. Staub Auf Deinem Haar 7:58
5. Die Wunde Bleibt 1:58
6. Das Lied Vom Ende (10:15)
    - Erstens
    - Alt
    - Jung Sein
    - Hastig Und Kaputt
    - Das Ende Vom Lied


Eulenspygel - Eulenspygel 2
(ca. 192 kbps, cover art included)

Donnerstag, 21. Juni 2018

Ewan MacColl & Peggy Seeger‎ - Chorus From The Gallows (1960)

Ewan MacColl was one of the architects of the folksong revival. Whether as an interpreter of ancient ballads or as a writer of new songs, he influenced almost everyone involved in folk music in the 1950s, ’60s and ’70s. He brought the same skill and understanding to songs of Britain’s industrial cities, ballads of Scots history and lyrics from the English countryside. His own compositions, many of which have passed into the common currency of folk music, are featured both on his own albums and on The Radio-Ballads.
Chorus From The Gallows, released in 1960, opens with the tale of Craig and Derek Bentley and closes with "Go Down Ye Murderers," which relates the story of Timothy John Evans, convicted and executed for murders he did not commit, both true and awful stories from the annals of 20th century British justice.

While MacColl, in collaboration with partner Peggy Seeger, visits a number of traditional ballads of criminal misfortune, the underlying theme here is one of protest against the vagaries of the justice system in both England and America. Despite the odd attempt of levity, the unremitting darkness of the material is likely to put some listeners off. For all that, this is a vital piece of work from the British folk movement of the 1950s - 1960s.                


Tracklist:
A1Derek Bentley
A2The Black Velvet Band
A3Jamie Raeburn's Farewell
A4Johnny O' Breadiesley
A5Hughie The Graeme
A6Minorie
A7The Treadmill Song
B1Turpin Hero
B2The Crafty Farmer
B3McKaffery
B4Jimmy Wilson
B5The Lag's Song
B6Van Dieman's Land
B7Go Down Ye Murderers

Ewan MacColl with Peggy Seeger‎ - Chorus From The Gallows            
(ca. 250 kbps, cover art included)                       

Dienstag, 19. Juni 2018

The Pop Group - For How Much Longer Do We Tolerate Mass Murder? (1980)

The Pop Group's second full-length album, 1980's "For How Much Longer Do We Tolerate Mass Murder?", was an even more abrasive and challenging assault upon the listener than their striking debut, "Y", and every bit as urgent and uncompromising as the title would lead one to expect.

Reeling from the first salvos of Margaret Thatcher's reign as British Prime Minister, Mark Stewart's agitprop lyrics became even more direct and filled with purposeful rage on tracks like "Forces of Oppression," "Rob a Bank," "Justice," and "How Much Longer," while the music similarly upped the ante from the debut.

"For How Much Longer Do We Tolerate Mass Murder?" lacks the dubwise tone of Dennis Bovell's production on "Y", but the lean, blunt sound of this album connects with even greater ferocity, starting with a guitar-driven variation on James Brown's primal funk sides of the late '60s and adding elements of free jazz, atonal experimental music, and found noises until the music begins to sound like some sort of riot pouring out of your stereo. New bassist Dan Catsis made it clear he was equal to the Pop Group's aggressive low-end fury, Bruce Smith was capable of holding down the beat on drums while adding color and texture to their unfettered forward charge, and Gareth Sager and John Waddington's guitars cut with the precise yet random impact of a machete. Gang of Four's stellar early work sounds meek and toothless compared to the Molotov cocktail that is "For How Much Longer Do We Tolerate Mass Murder?", and it seems somehow fitting that this would be the Pop Group's last album (at least until they reunited in the 2000s) - it's anyone's guess how they could ever match this album for genuine rancor and chaos.   

Tracklist:

A1 Forces Of Oppression
A2 Feed The Hungry
A3 One Out Of Many
A4 Blind Faith
A5 How Much Longer
B1 Justice
B2 There Are No Spectators
B3 Communicate
B4 Rob A Bank

The Pop Group - For How Much Longer Do We Tolerate Mass Murder? (1980)
(320 kbps, cover art included)

Montag, 18. Juni 2018

Lightnin´ Hopkins - Goin´ Away (1963)

Sam “Lightnin’” Hopkins was a true poet who invented most of his lyrics on the spot and never seemed to run out of new ideas. He was a blues giant of post-war blues whose style was rooted in pre-war Texas traditions. While he cranked up his amp to fierce proportions when performing for his friends at Houston juke joints, producers who recorded him for the so-called folk-blues market usually insisted that he use an acoustic guitar for more “authentic” results.

Either way, Lightnin’ seldom made a bad record, and this June 4, 1963, session on which he played acoustic was among his finest, thanks much to the sensitive support of bassist Leonard Gaskin and drummer Herbie Lovelle, who did a remarkable job of following his irregular bar patterns and abrupt song endings.  They managed to follow his ramshackle, instinctual sense of rhythm quite dexterously, giving Hopkins' skeletal guitar playing some muscle. Still, the spotlight remains Hopkins, who is in fine form here. There are no real classics here, but everything is solid, particularly "Stranger Here" and "You Better Stop Her," making it worth investigation by serious fans of Hopkins' classic material.   

Tracklist:

A1 Wake Up Old Lady 4:24
A2 Don't Embarrass Me, Baby 3:20
A3 Stranger Here 5:49
A4 Little Sister's Boogie 3:30
B1 Goin' Away 5:45
B2 You Better Stop Her 4:39
B3 Business You're Doin' 3:18
B4 I'm Wit' It 3:58

Lightnin´ Hopkins - Goin´ Away (1963)
(320 kbps, cover art included)

Samstag, 16. Juni 2018

Joachim Kühn, Daniel Humair, Jean-François Jenny-Clark - Music from the Threepenny Opera (1994)

While the music of Kurt Weill has been frequently recorded by jazz musicians, most of the songs on this trio date, other than the well-known "Mack the Knife," are not commonly performed in a jazz setting (one early exception was the album by the Sextet of Orchestra, USA).

Pianist Joachim Kuhn is joined by his frequent bandmates, Jean-François Jenny-Clark on bass and drummer Daniel Humair, for this introspective and very entertaining examination of eight songs from Weill's "The Threepenny Opera". "Pirate Jenny" is a driving hard bop performance that becomes quite intense, while the dark "Mr. Peacham's Morning Hymn" begins with a long exchange between Humair and Jenny-Clark, before it slows down for Kuhn's entry. "Solomon's Song" is a delicate waltz with a few dissonant twists added. "Love Song" is a bittersweet ballad made even more poignant by the trio's interpretation.

Kuhn frees himself from the rhythmic boundaries of the original score of "Mack the Knife" almost immediately, turning it into a long free improvisation piece featuring each member of the group in turn before eventually returning to its theme. Fans of post-bop and avant-garde will best appreciate the adventurous music within this highly recommended CD.

Joachim Kühn, Daniel Humair, Jean-Francois Jenny-Clark - Music From The Threepenny Opera
(192 kbps, front cover included)

Donovan - The Universal Soldier (EP, Pye, 1965)

 "The Universal Soldier" was written by Canadian singer-songwriter Buffy Sainte-Marie, who released it on her debut album "It's My Way! "in 1964. The song caught the attention of Donovan, who recorded it with a similar arrangement to the original version.

This song meant a great success for Donovan's early career. Donovan's version of "Universal Soldier" was a hit EP in 1965


Side A:
01. Universal Soldier
02. Ballad Of A Crystal Man

Side B:
03. Do You Hear Me Now
04. The War Drags On

Track 1 by Buffy Sainte-Marie, track 2 by Donovan P. Leitch, track 3 by Bert Jansch, track 4 by Mick Softley.


Donovan - The Universal Soldier EP (Pye, 1965)
(192 kbps, front cover included)

VA - The Gospel Sound (2 CDs)

"This recording documents the changes in Afro-American religious music over a forty-year period. This collection is powerful, filled with vitality, integrity and direct personal communcation.

The best in gospel music from the mid-forties to the late fifties contained moving spirituals by Mahalia Jackson, Marion Williams, The Staple Singers and many other great gospel artists.

Gospel is one of the dominant sounds of our times. In one form or another, gospel has reformed our listening expectations.

The tension between beats, the almost subliminally anticipated climac are straight out of the church. The dance steps that ushered in a new physical freedom were copied form the church dance, the shout. The sit-ins soothed by hymns, the freedom marches powered by shouts, the "brother and sister" fraternity of revolution: the black gospel church gave us all these." - From the liner notes

VA - The Gospel Sound pt 1
VA - The Gospel Sound pt 2
(192 kpbs, front cover included)

Freitag, 15. Juni 2018

Nina Simone - The Amazing Nina Simone (1959)

There is a remarkable amount of variety on this disc, Nina Simone's second recording. Her repertoire ranges from a swinging "Stompin' at the Savoy" and an emotional "It Might as Well Be Spring" to an English folk ballad ("Tomorrow"), spirituals, an R&B song ("You've Been Gone Too Long") and the theme song from the movie "Middle of the Night".

Somehow Simone brings credibility to each of these very different songs. She does not play much piano (just cameos on two songs) and is backed by a subtle orchestra arranged by Bob Mersey that is effective accompanying her vocals. This session finds Nina Simone's voice in top form and with a few exceptions is generally jazz-oriented.                

Tracklist:

01 - Blue Prelude
02 - Children Go Where I Send You
03 - Tomorrow (We Will Meet Once More)
04 - Stompin' at the Savoy
05 - It Might as Well Be Spring
06 - You've Been Gone Too Long
07 - That's Him over There
08 - Chilly Winds Don't Blow
09 - Theme from Middle of the Night
10 - Can't Get Out of This Mood
11 - Willow Weep for Me
12 - Solitaire

Nina Simone - The Amazing Nina Simone (1959)
320 kbps, front cover included)

VA - Cowboy Songs On Folkways





The album features a richly varied set, from Leadbelly to Woody Guthrie, drawn from the vast Folkways archives and dating from the early 40s to the 60s.

VA - Cowboy Songs On Folkways
(192 kbps, front cover and linernotes included)

Max Hansen - Perlen der Kleinkunst

Image

Max Hansen was born in Mannheim, Germany, but was raised by his step parents in Munich. His mother was a Danish Actress, Eva Haller, his father's name was von Waldheim.

In his school days, he already sang at the Opera House, so he earned the nickname "The Little Caruso" ("Der kleine Caruso"). Later he studied Music and Voice and got a job at the "Simplizissimus Cabaret" in Munich. From 1914 he played operettas in Vienna and became a good friend of Franz Lehár. After that he worked in Berlin at the Metropole Theater and became there a superstar of operettas, revues, cabaret and radio.

He began acting in five silent films, from 1926 to 1928. His first talkie was "Wien, du Stadt der Lieder" (1930) ("Vienna, City of Song") (1930). In 1932 he played opposite Gitta Alpar in "Die - oder keine" (1932) ("She, or Nobody").

His career was brought to an abrupt end because of his Jewish origin but this was only a pretext. He attracted anger of the Nazis above all since he ridiculed Adolf Hitler as homosexual in his hit "Warst Du schon mal in mich verliebt?" in 1932.

Hansen went to Vienna in 1933 and continued to play in theaters. Only before the affiliation of Austria with the Deutsche Reich Hansen moved to Copenhagen. From there he appeared in scandinavian theaters and found work in the Sweden film business. In addition he wrote several songs under the pseudonymous "Sylvester".
In 1951 Max Hansen returned to Germany for occasional stage engagements but he didn't shoot films any longer.
He died in Copenhagen, Denmark in 1961.

Here´s a fine compilation with 40 tunes by Max Hansen:

Max Hansen - Perlen der Kleinkunst CD 1
Max Hansen - Perlen der Kleinkunst CD 2
(192 kbps, cover art included)

Leroy Smart - Let Everyman Survive (1979)

Leroy Smart (born 1952, Kingston, Jamaica) is a reggae singer and producer. He was orphaned at the age of two. He was raised at Maxfield Park Children's Home and educated at Alpha Boys School, where he studied singing, drums and dancing.

Smart recorded his first single, "It Pains Me" in 1969 for a producer called Mr. Caribbean. In 1970 he recorded "Ethiopia" for Joe Gibbs, and the first version of one of his most famous songs, "Pride & Ambition", with producer Gussie Clarke. His breakthrough would come in 1973 with "Mother Liza", produced by Jimmy Radway, which topped the local singles chart, and led to "Pride & Ambition" also becoming a big local hit. After working with Bunny Lee for several years, he recorded another of his best-known songs, "Ballistic Affair" at Channel One, in 1976, and began producing himself in 1977. Smart has continued recording and remains popular, with over 35 albums to his name. He is regarded as one of Jamaica's most outrageous and colourful characters.
Smart appeared in the film Rockers along with contemporaries such as Gregory Isaacs and Jacob Miller.

In 1979, Leroy Smar joined up with producer Alvin "GG" Ranglin to bring out two albums, "Showcase Rub A Dub" and "Let Everyman Survive". It becomes abundantly clear from the ten numbers on this album that besides singing talent, Leroy also possesses original ideas and the ability to convert them into flowing texts.

Tracklist
1Sugar In My Coffee
2Jah Is At Hand
3I Still Pray
4If You Want My Love
5Live Up Right
6Let Everyman Survive
7Collie Give Me Wisdom
8You Are Mine
9Black And White
10You Never Need Me

Leroy Smart - Let Everyman Survive
(192 kbps, front cover included)

Donnerstag, 14. Juni 2018

Buffalo Springfield - The Missing Herd

Buffalo Springfield was a North American rock band renowned both for its music and as a springboard for the careers of Neil Young, Stephen Stills, and Richie Furay. Among the first wave of North American bands to become popular in the wake of the British invasion, the group combined rock, folk, and country music into a sound all its own.

They were very diverse, encompassing all of the country, rock, folk, pop, and psychedelic influences in a strange and unique blend, and while they only were together for a period of about 2 years total, produced many all-time classic tracks and jams.

Here is an excellent bootleg compilation (1 disc of live tracks, 1 disc of outtakes & rarities), titled "The Missing Herd", which was compiled to be a companion to the officially-released 4-CD Buffalo Springfield Box Set, released in 2001.


Tracklist:

1-1Nowadays Clancy Can´t Even Sing (Demo)3:00
1-2Do I Have To Come Right Out And Say It (Alt)3:08
1-3"Raga 1" (Unreleased)1:29
1-4My Kind Of Love (Alt)2:33
1-5Down To The Wire (Alt)2:33
1-6Mr. Soul (Alternative Mix)2:40
1-7Bluebird (Extended Mix)9:11
1-8Sell Out (Demo)2:36
1-9For What It´s Worth2:57
1-10Nowadays Clancy Can´t Even Sing3:33
1-11Rock`N´Roll Woman4:06
1-12Bluebird4:24
1-13A Child´s Claim To Fame2:00
1-14Merry Go Round (45, Alt. Mix)2:07
1-15Uno Mundo (45, Alt. Mix)2:06
1-1649 Reasons (Demo)2:32
1-17Road Of Plenty (Barn Rehearsals 1988)4:22
1-18"Stills Boogie" (Barn Rehearsals 1988)3:29
1-19Bluebrid (Extended Mix, Alt)9:30
2-1Introduction0:41
2-2Go And Say Goodbye2:40
2-3Mr. Soul6:27
2-4Bluebird9:18
2-5Pay The Price5:32
2-6Nobodys Fool4:11
2-7My Kind Of Love4:21
2-8Good Time Boy3:32
2-9For What It's Worth3:30
2-10Rock`N´Roll Woman4:13
2-11A Child´s Claim To Fame2:36
2-12Nowadays Clancy Can´t Even Sing4:50
2-13Uno Mundo2:32
2-14For What It´s Worth3:30
2-15Blue Bird12:13
2-16Epilogue: On The Way Home2:14

CD1: (68:15min)
Tracks 1-8: Studio outtakes.
Tracks 9-13: International Pop Festival, Monterey, CA, USA, 18th June 1967.
Tracks 14-19: Studio outtakes.

CD2: (72:37min)
Tracks 1, 8, 9: Long Beach Arena, Long Beach, CA, USA, 05th May 1968
Tracks 2-7: Teen And Twenty Club, Huntington Beach, CA, USA, 11th&12th August 1967
Tracks 10-15: Market Hall, Dallas, TX, USA, 20th April 1968
Track 16: Fillmore Auditorium, San Francisco, CA, USA, December 1967           


Buffalo Springfield - The Missing Herd pt 1
Buffalo Springfield - The Missing Herd pt 2
(192 kbps, cover art included)

Luis Mariano - Le Chanteur de Mexico

Mariano Eusebio González y García (13 August 1914 – 14 July 1970), also known as Luis Mariano, was a popular tenor of Spanish Basque origin who achieved celebrity in 1946 with « La belle de Cadix » (« The Beautiful Lady of Cadix ») an operetta by Francis Lopez. He appeared in the 1954 film Adventures of the Barber of Seville and Le Chanteur de Mexico (1957) and became popular in France as well as his native Spain.

Luis Mariano was born in Irun, Spain on 13 August 1914, the son of a garagiste and taxi-driver and showed interest in singing as a child. His family moved to France at the start of the Spanish Civil War and settled in Bordeaux where he studied at the Conservatoire, and also sang in cabarets.
Jeanne Lagiscarde, who was in charge of the classical department of a record store in Bordeaux, took Mariano under her wing, and gave up her job to nurture his talent in Paris. To earn a living, he sang in stage shows and appeared in films, starting with 'L'escalier sans fin' in 1943. That year he auditioned for the role of Ernesto in Don Pasquale, and sang in the opera at the Palais de Chaillot and later at the Théâtre des Variétés, with Vina Bovy, recording excerpts from the opera. He also left many recordings of popular song and operetta.

He continued to appear in other films from 1946, including a singing role in Napoléon and a film adaptation of Lehar's Der Zarewitsch.
In his encyclopedia Gänzl describes Mariano as a "svelte singing idol of French operetta of the post-war stage and screen". Mariano died in Paris in 1970.
His music is featured prominently in the 1996 Belgian film Le huitième jour in which he is played by Laszlo Harmati during scenes employing magical realism.

Luis Mariano - Le Chanteur de Mexico
(256 kbps, front cover included)

Mittwoch, 13. Juni 2018

Woody Guthrie - Struggle (1941)

This album was originally released by Moses Asch, founder of the Folkways label, on Asch Records in 1941 as "Struggle: Documentary No. 1".

It was re-released by him in 1976 to commemorate the bicentennial of the American Revolution with a special series of liner notes by Asch explaining the importance of Woody Guthrie's history of the working class through song.

Both Guthrie's songs and the liner notes are stuff of supreme cultural importance. In the notes, Asch lays out a theory that the American Revolution has not yet been completed and there is a need for a "continuing struggle for human rights and equality."
As a collection of songs, this is surely one of the best Guthrie collections, especially once it's known how important it was to him personally. In many ways, it seems as if this album was the fulfillment of a very personal vision, which starts with the songs but is only realized in their collectivity.

Included here are such excellent songs as the unsettling "Hang Knot," the elliptic "Union Burying Ground," and the finely spun "Pretty Boy Floyd." These songs define Guthrie at his best, never didactic in tone but supreme in import. The album also features the Cisco Houston (Guthrie's sometime tramping companion) number "Get Along Little Doggies," as well as his vocal accompaniment on several tracks. Sonny Terry guests on "Lost John," lending his harmonica to Guthrie's tale of a chain gang escapee. Both as a historical artifact and as an amazing Guthrie album, this is required listening.

(320 kbps, cover art included)

Dienstag, 12. Juni 2018

Varius Artists - Beat Jazz - Pictures From The Gone World (1995)



"Beat Jazz" is a out-of-print 20 track compilation of cool 50s style jazzy beat numbers. Kind of
Beat era recordings from spoken word, to sung poetry, to bebop, to doo-wop, to R&B, to hipster and jive....
It was released on Pesky Serpent Records in 1994.

From the web:
"this is one beautiful collection of beat music,
spoken word and crazed goofballed lyrics. Way out there selections
of many unknown beat artists at their most primitive level spewing
forth underground sounds and styles of a bygone era. No Zane or kitch
here but straight ahead songs that ooze the beat feel! This is a
fantastic selection of music. For me its the beat of this genre..."


Tracklist:

1. FROSTY AND THE DIAMONDS - Destination Mars
2. SLIM GAILLARD - Travelin Blues
3. KENNETH REXROTH - State & 32nd
4. COLEMAN HAWKINS - Picasso
5. GREGORY CORSO - Bomb
6. SCOTTY McKAY - Black Cat
7. JACK HAMMER - Like
8. GIL MELLE - The Gears
9. DOCTOR BOP - Satin & Velvet
10. ANITA ELLIS w/DAVID AMRAM - The Crazy Daisy
11. BOB DOROUGH (by Ferlinghetti) - Dog
12. HARVEY ANDERSON - Monday Night at 8pm
13. JACK KEROUAC - Cockroach
14. THE COSMIC RAYS with SUN RA - Dreaming
15. ROY GLENN - Big High Song For Somebody
16. ADA MOORE - Devil
17. MOONDOG - Up Broadway
18. WOODY LEAFER - Drums In My Typrewriter
19. THE NEW BANGS - Go Go Kitty
20. ELLIE GIRL & THE 7 BEAT SULKS - Let's Make It

VA - Beat Jazz - Pictures From The Gone World

King Size Ska - Original Jamaican Instrumental Ska Sounds 1964-1966 (Trojan)

This album is a collection of original Jamaican instrumental ska sounds, recorded from 1964 to 1966.
This compilation collects some excellent ska tunes, in particular "El Torro" and "The Cat" by Roland Alphonso. Baba Brooks trumpet never sounded better as it does on "First Session", check it out. Well done, Trojan!

Trojan Records was founded in 1967 by Chris Blackwell and Lee Gopthal, as an Island Records subsidiary. The first releases were licensed from Duke Reid's Treasure Isle label, and the company took its name from Reid's sound system - The Trojan. In the 60s and 70s Trojan did a major effort in spreading Reggae over the UK, licensing Jamaican releases as well as pushing their own UK acts.

Tracks:
1 Roland Alphonso -El Torro
2 Baba Brooks & His Recording Band -King Size
3 Granville Williams Orchestra -Hi Life
4 Roland Alphonso -On The Move
5 Sammy Ismay & Baba Brooks Band- Cocktails For Two
6 Raymond Harper & Carib Beats- No Other Love
7 Roland Alphonso -Women Of The World
8 Baba Brooks & His Recording Band- Faberge
9 Granville Williams Orchestra -Old McDonald
10 Roland Alphonso -Nothing For Nothing
11 Tommy McCook & The Supersonics- Riverton City
12 Val Bennett & His Selected Group -Atlas
13 Roland Alphonso -Jungle Bit
14 Baba Brooks & His Recording Band -First Session
15 Granville Williams Orchestra-Popeye Ska
16 Roland Alphonso The Cat
17 Roy Richards & Baba Brooks Band, The Contact
18 Raymond Harper & Carib Beats, The Amour
19 Roland Alphonso Guantanamera
20 Carib Beats, The J.J. Special
21 Granville Williams Orchestra-Honky Tonk (Ska)
22 Roland Alphonso -Song For My Father
23 Baba Brooks & His Recording Orchestra -The Scratch
24 Granville Williams Orchestra -Tear Up
25 Cluett Johnson Orchestra Hot Nosh


King Size Ska - Original Jamaican Instrumental Ska Sounds 1964-1966  (Trojan)

(192 kbps, front cover included)

Mississippi John Hurt‎– Today! (1966)

"Today!" is Mississippi John Hurt's first and finest studio release since his "rediscovery" on his Avalon farm by folklorist Tom Hoskins in 1963.

Eclipsed possibly only by his earlier "1928 Sessions", this album shows a more mature Hurt picking his way through standards and originals after the Depression years and Hurt's fall into obscurity before the folk revival of the 1960s. It shows, however, that all that the great bluesman has lost is years; his voice retains its characteristic Buddha-esque warmth and it is still difficult to believe that there is just one man playing on the seemingly effortless guitar work.

The music on the album comes from a variety of different influences, from the fun and poppy "Hot Time in Old Town Tonight" and "Coffee Blues," to the bluesy standards "Candy Man" (Hurt's most famous song) and "Spike Driver's Blues" to the soulful spirituals "Louis Collins" and "Beulah Land."

Hurt's tranquil guitar work - mixing country, Scottish folk, and Delta blues - strings all of the songs along the same simple and elegant thread. Hurt himself never could explain his guitar playing, as he used to say, "I just make it sound like I think it ought to." Regardless, that sound, along with a mellow and heartfelt voice, wizened here by decades, combine to make "Today!" an unforgettable whole. A truly essential album of the folk revival, unrivaled in its beauty and warmth.    

Tracklist
A1Pay Day4:18
A2I'm Satisfied2:50
A3Candy Man2:53
A4Make Me A Pallet On The Floor4:29
A5Talking Casey5:04
A6Corinna, Corinna1:51
B1Coffee Blues3:43
B2Louis Collins4:04
B3Hot Time In The Old Town Tonight3:03
B4If You Don't Want Me , Baby3:18
B5Spike Driver's Blues3:24
B6Beulah Land3:43

Mississippi John Hurt‎– Today! (1966)  
(192 kbps, cover art included)

Donovan - Summer Day Reflecting Song (EP, Pye, 1965)

Upon his emergence during the mid-'60s, Donovan was anointed "Britain's answer to Bob Dylan," a facile but largely unfounded comparison which compromised the Scottish folk-pop troubadour's own unique vision. Where the thrust of Dylan's music remains its bleak introspection and bitter realism, Donovan fully embraced the wide-eyed optimism of the flower power movement, his ethereal, ornate songs radiating a mystical beauty and childlike wonder; for better or worse, his recordings remain quintessential artifacts of the psychedelic era, capturing the peace and love idealism of their time to perfection. Donovan Leitch was born May 10, 1946 in Glasgow and raised outside of London; at 18 he recorded his first demo, and in 1965 was tapped as a regular on the television pop showcase Ready, Steady, Go! He soon issued his debut single "Catch the Wind," earning the first round of Dylan comparisons with his ramshackle folk sound and ragamuffin look; the single nevertheless reached the U.K. Top Five, with a subsequent meeting between the two singer/songwriters captured in the classic D.A. Pennebaker documentary Don't Look Back.

Donovan's follow-up single, "Colours," was also a hit, and after making his American debut at the 1965 Newport Folk Festival, he issued Fairytale, his second and last LP for the Hickory label. Signing with Epic in 1966, he released his breakthrough album, Sunshine Superman, which in its exotic arrangements and pointedly psychedelic lyrical outlook heralded a major shift from his previous work; the title track topped the charts on both sides of the Atlantic, with the enigmatic "Mellow Yellow" reaching the number two spot a few months later

In 1965, before Donovan's U.S. contract was transferred to Epic, he made 30-plus recordings for Pye in the U.K., all in an acoustic folk mold (with occasional additional instruments and percussion).

Here is the first bunch of these recordings, released on the EP "Summer Day Reflecting Song":

Side A:
01. Summer Day Reflection Song
02. Ballad Of Geraldine

Side B:
03. To Try For The Sun
04. Belated Forgiveness Plea
 

Donovan - Summer Day Reflecting Song (EP, Pye, 1965)

Montag, 11. Juni 2018

Bob Dylan - Folksingers Choice - Cynthia Gooding Radio Show, February 1962

PhotobucketThis is a true not-to-be-missed gem. It belongs in every Bob Dylan fan's collection.

The recording was made in February 1962. The date of March 11, 1962 is listed on the cover, though this is most likely a re-broadcast date. The original radio show broadcast could have been as early as February.

History is a bit fuzzy here. This long lost radio show is in perfect quality. It is complete with wonderful live-on-the-spot renditions of the above traditional and Dylan songs, as well as fascinating conversation with a young, as yet undiscovered talent.

Bob relates, hilariously, the eponymous title of his soon to be released first LP, and so much more. There is conversation in-between each song that is priceless. All in all, one of the best boots ever to emerge.


Tracks:
Lonesome Whistle Blues
Fixin' To Die
Smokestack Lightning
Hard Travelin'
Death Of Emmett Till
Standing On The Highway
Roll On John (Misidentified as "Long John")
Stealin'
Long Time Man Feel Bad
Baby Please Don't Go
Hard Times In New York

Bob Dylan - Folksingers Choice - Cynthia Gooding Radio Show, February 1962

Sonntag, 10. Juni 2018

Ton Steine Scherben - IV ("Die Schwarze")

West Berlin was, for obvious reasons, a city where many political rock bands developed during the late sixties and early seventies.
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The most important artists of this movement were Ton Steine Scherben, along with Lokomotive Kreuzberg. The guiding forces of the band were Ralph Mobius aka Rio Reiser and Ralph Steitz aka R.P.S. Lanrue who first played together in the quartet Degalaxis in 1965. In 1967 Mobius was involved in the foundation of an early beat-rock-opera attempt named "Robinson 2,000". That year Mobius and Steitz also formed a theatre and music group named Hoffmann's Comic Theater. Kai Sichtelmann and Wolfgang Seidel aka Wolf Sequenza also joined this group in 1969 and 1970 respectively. A single "Macht Kaputt Was Euch Kaputt Macht" coupled with "Wir Streiken" was released in 1970.

After this, Hoffmann's Comic Theater changed its' name to Ton Steine Scherben. The single sold surprisingly well and the band appeared on German TV. This, and their constant, aggressive political agitation, quickly established them as leading proponents of the Berlin counter culture. Their concerts often resulted in riots and house occupations. After a concert in Basel, the band promptly organised a demonstration against political injustice in Switzerland. The Swiss authorities honoured this action by declaring the band 'persona non grata'. The band's debut LP appeared in September 1971 on their own David Volksmund label. With very aggressive music and lyrics, partly recorded live at Alte Mensa, the band earned their reputation as the first new wave/punk band in Germany.

A member of the group's living commune once finished a television-broadcasted public discussion by splitting the studio's table with an axe. Wolf Sequenza left the band at the end of 1971. In the late seventies he resurfaced with Conrad Schnitzler, making experimental electronic music. The band's next work was "Keine Macht Für Niemand", a double album which covered a much larger musical span than the debut. Jorg Schlotterer and Jochen Petersen contributed to the album. Indeed, this was a fine collection of progressive political rock, quite different to Floh de Cologne's style. After an early 1972 tour, the band temporarily withdrew from live appearances and in 1973 the only life-sign was (the reinforced) Hoffmann's Comic Theater record for children, entitled "Herr Fressack" (Rothkehlchen 1) (1973). In the Spring of 1974 they attempted a live come-back with mixed results. The audiences expected the band to be aggressive leaders of a desired, forthcoming political revolution, but were met by a band outrageously dressed in satin and velvet, who poured out glitter from the stage. However, after rethinking their stage presentation, Ton Steine Scherben was again met by acclaim. The next album, "Wenn den Nacht am Tiefsten" (1975), was another double one, taking 12 months to complete and including a lot of different musical styles. Their lyrics this time were more resigned. Along with its predecessor, this was their highest achievement.

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For me, their fourth album, simply called "IV" or "Die Schwarze" always was an absolute favourite - maybe the best rock album in german language. It is still a mysterious recording, with deep lyrics and a kind of strange, psychedelic, melancholic and avantgarde sounds, sometimes compared to The Clash´s "Sandinista".

"Alles ist viel und viel ist nichts - luftig zu dir."

Ton Steine Scherben - IV part 1
Ton Steine Scherben - IV part 2
(192 kbps, cover art included)