Freitag, 26. Februar 2021

The Fugs - Virgin Fugs

"Virgin Fugs" collects outtakes from the April 1965 and July 1965 sessions that yielded the Fugs' first album.

It does, however, contain some barrier-breaking (in terms of subject matter) compositions of note, such as "Coca Cola Douche," "CIA Man," "The Ten Commandments" (credited to GOD and Tuli Kupferberg), and "I Saw the Best Minds of My Generation Rot," which is Allen Ginsberg prose set to music by Ed Sanders.

Several of the songs were given far more professional, full rock arrangements on the live album "Golden Filth" (recorded in 1968), if you want to hear them in less grating contexts. View this album as comedy, or as a political message, and not as outstanding music. Of course, this album is brilliant, enjoyable, and listenable again and again. Simply don't expect Hendrix - these guys aim to offend. And listen with a smile...

The Fugs - Virgin Fugs (2005 Reissue)
(192 kbps, ca. 47 MB)

Ed Sanders - Beer Cans On The Moon (1973)

"They say rock & roll and politics don't mix," sings Ed Sanders at the very beginning of his second and final solo LP. That's not necessarily true, but if you were going to make an argument against that declaration, this album is one of the last exhibits you'd want to use as evidence.

The crucial flaws were not those of intent: Sanders wasted no time in advocating "Nonviolent Direction Action," satirizing the war-mongering of Henry Kissinger, hailing the unwinding of the Watergate scandal, and grinding out a "Universal Rent Strike Rag." Perhaps these weren't as immediately attention-grabbing issues as Vietnam and free love, but they were still important, especially in 1973. But Sanders was let down by the pedestrian, typically laissez-faire early-'70s rock arrangements, the severe limitations of his nasal twanging vocals, and most crucially by his own bluntly unwitty songwriting.

Sanders had proved he was skilled at crude wit with the Fugs, yet even though his efforts here are similar thematically, they sound forced and overly didactic, and are more tiresome than funny, even for many who wholeheartedly agree with his sociopolitical outlook. Sad to say, even many left-wingers and Fugs fans will demand the record be removed from the turntable long before its conclusion, or at any rate before the daft, echo-laden novelty tune about a "Yodeling Robot" that falls in love with Dolly Parton.

- Richie Unterberger

Ed Sanders - Beer Cans On The Moon (1973)
(256 kbps, cover art included)

Donnerstag, 25. Februar 2021

Richie Havens - Alarm Clock (1971)

Richard P. "Richie" Havens (born January 21, 1941; died April 22, 2013) is an American folk singer and guitarist. He is best known for his intense rhythmic guitar style (in open tunings), soulful covers of pop and folk songs, and his opening performance at the 1969 Woodstock Festival.

Following the success of his Woodstock performance, Richie started his own record label, "Stormy Forest", and delivered "Stonehenge" in 1970. Later that year came "Alarm Clock", which yielded the George Harrison- penned hit single "Here Comes the Sun", and became Havens's first album to reach Billboard’s Top 30 Chart.


A1 Here Comes The Sun 3:43
A2 To Give All Your Love Away 2:48
A3 Younger Men Grow Older 3:34
A4 Girls Don't Run Away 4:17
A5 End Of The Seasons 3:38
B1 Some Will Wait 2:40
B2 Patient Lady 4:45
B3 Missing Train 4:55
B4 Alarm Clock 5:17

Richie Havens - Alarm Clock (1971)
(320 kbps, cover art included)

Dienstag, 23. Februar 2021

Os Mutantes - Tecnicolor (1970)

"Tecnicolor" would have been the fourth album by the Brazilian band Os Mutantes. The album was intended to be their introduction in the English-speaking world and included English versions of songs from the albums "Os Mutantes" and "A Divina Comédia ou Ando Meio Desligado", re-recordings in Portuguese and French and several new songs.

It was recorded in Paris in 1970, the tapes were lost until writer Carlos Calado, working on an Os Mutantes biography, uncovered them. Another version of the myth is that they were unsatisfied with many of the recording and abandoned the project to return to Brazil, explaining why three of the recordings were used later that year for their album "Jardim Elétrico".

It was released in 2000 on Universal Records, with artwork by Sean Lennon, in order to capitalize on the growing interest in Os Mutantes following the re-release of their early albums in the late 1990s.
By no means did Mutantes commercialize their sound. The tape-music experimentation and freak-out guitar lines are, if anything, farther out than the first few Mutantes LPs.

Though a few of the tracks -- "Panis Et Circenses" especially -- lose much of their cache with the addition of English lyrics, for the most part these versions equal or even better the originals.


Panis Et Circenses 2:12
Bat Macumba 3:16
Virginia 3:23
She's My Shoo Shoo (A Minha Menina) 2:52
I Feel A Little Spaced Out (Ando Meio Desligado) 2:51
Baby 3:36
Tecnicolor 3:54
El Justiciero3:52
I'm Sorry Baby (Desculpe, Babe) 2:42
Adeus, Maria Fulo 2:39
Le Premier Bonheur Du Jour 2:46
Saravah 2:59
Panis Et Circenses (Reprise) 1:23

Os Mutantes - Tecnicolor (1970)
(192 kbps, cover art included)

Richie Havens - Stonehenge (1970)

Stonehenge is the 1970 album by folk rock musician Richie Havens.

More production that usual for this American Folk music "treasure" - I surmise Richie Havens himself wouldn't be comfortable with that tried but true (pause) cliche, but this trove has it all: some of his most melodic and personal statements, all completely believable: "Open Our Eyes", "Ring Around The Moon", "There's A Hole In The Future", among others here have an inescapable pull, resonant now for four decades.

His world view is universal, if you will, and the final, the long (for its' time) at 7:58 "Shouldn't All The World Be Dancing?", is a sentiment which critics could make careers at, by mocking the song title as naive and tired, but Havens makes it a near-desperate plea for understanding and unity. Different voices weave in and out of the kaleidoscope, and it may be considered a modified rapp.
Havens, along with Mitchell, and Safa, represents the very best of that Monterey-to-Woodstock era. Although this '70 work follows that period, there is no sense of resignation in any track. In any note.


"Open Our Eyes" (Leon Lumpkins) – 2:56
"Minstrel from Gault" (Havens, Mark Roth) – 3:35
"It Could Be the First Day" - 2:22
"Ring Around the Moon" (Greg Brown, Havens) - 2:08
"It's All Over Now, Baby Blue" (Bob Dylan) - 5:01
"There's a Hole in the Future" - 2:07
"I Started a Joke" (Barry Gibb) - 2:58
"Prayer" - 2:56
"Tiny Little Blues" - 2:08
"Shouldn't All the World Be Dancing?" - 8:04

(320 kbps, cover art included)

Arlo Guthrie - Arlo Guthrie (1974)

Arlo Guthrie's seventh record follows a formula that he'd been developing over the past several years - a handful of interesting originals mixed with a song or two by a legend, something traditional, a couple of jokes, and one of Dad's tunes.
Guthrie's fondness for nostalgia mixed with his '60s idealism could turn such predictability into folky mush, but things are kept fresh by his strong sense of tradition, commitment, and taste, along with his growth as an artist in general. As far back as "Alice's Restaurant", Guthrie proved himself to be an affable performer, but the 1970s showed an added depth and maturity with each new release.
The Nixon diatribe "Presidential Rag" and the Mideast peace plea "Children of Abraham" bookend Woody Guthrie's "Deportees" nicely, while Jimmie Rodgers' "When the Cactus Is in Bloom" is a good fit with Arlo's bucolic tales "Me and My Goose" and "Bling Blang." Elsewhere, "Nostalgia Rag" hints at Randy Newman, "Go Down Moses" has the backing of a full gospel choir, "Won't Be Long" sports a country feel, and "Hard Times" is mountain music.
Along with producers John Pilla and Lenny Waronker, Arlo chooses from a cream-of-the-crop collection of musicians to pull off this eclectic mix. And it's to his credit that he's successful more often than not. Though there's nothing drastically different here for Guthrie, the album continued a steady growth through the '70s, which placed him firmly at the doorstep of what would be the pinnacle of his career.


1 Won't Be Long 2:38
2 Presidential Rag 4:27
3 Deportees (Plane Wreck At Los Gatos) 3:48
4 Children Of Abraham 2:24
5 Nostalgia Rag 2:51
6 When The Cactus Is In Bloom 2:19
7 Me And My Goose 2:00
8 Bling Blang 2:45
9 Go Down Moses 2:41
10 Hard Times 2:43
11 Last To Leave 2:34

Arlo Guthrie - Arlo Guthrie (1974)
(192 kbps, cover art included)

Samstag, 20. Februar 2021

Miriam Makeba – The Queen Of African Music (1987, Pläne)

Following a three-decade-long exile, Miriam Makeba's return to South Africa was celebrated as though a queen was restoring her monarchy. The response was fitting as Makeba remains the most important female vocalist to emerge out of South Africa. Hailed as the Empress of African Song and Mama Africa, Makeba helped bring African music to a global audience in the '60s. Nearly five decades after her debut with the Manhattan Brothers, she continues to play an important role in the growth of African music.

"The Queen Of African Music" is a 17-track compilation album by Miriam Makeba, released by Theo König, Verlag Pläne in 1987.


1 African Convention
2 I Shall Sing
3 Goodbye Poverty
4 Mas Que Nade
5 Murtala
6 Chicken (Kikirikiki)
7 The Lion Cries
8 Samba
9 Quit It
10 We Got To Make It
11 Jolinkomo
12 Ndibanga Hamba
13 Iyaguduza
14 Click Song
15 Malaisha
16 Mama Ndiyalila
17 Pata Pata

Miriam Makeba – The Queen Of African Music (1987, Pläne)
(320 kbps, cover art included)

Freitag, 19. Februar 2021

The Fugs - The Real Woodstock Festival (Live 1994)

Given the American social and political climate during the mid '80s, the semi-permanent reunion of founding Fugs Tuli Kupferberg and Ed Saunders could not have been more culturally apropos. "The Real Woodstock Festival" is a live two-disc set featuring Kupferberg and Saunders accompanied by Steve Taylor on guitar and backing vocals, Coby Batty on percussion and backing vocals, and Scott Petito on bass.
Also joining the festivities are two counter-cultural icons: beat poet Allen Ginsberg and "Country" Joe McDonald -- the only artist to have performed at the original event in 1969 and the Fugs "Real Woodstock Festival" in 1994.
Ironically, unlike any of the other events bearing the 'Woodstock' albatross, "The Real Woodstock Festival" was actually held in the town of Woodstock, New York -- where Ed Saunders has maintained a permanent residency since the early '70s. Likewise the two performances were held on the true anniversary of the original event -- August 13 & 14.

The loose camaraderie and rag tag frenetic madness that defined the Fugs 'high art' of blending music with socially conscious poetry is certainly alive and well on this collection. In addition to performing a handful of new compositions, Kupferberg and Saunders revived some of their most treasured works from every phase of their career. From their days on the uncompromising ESP label, "Frenzy," "CIA Man," "Morning, Morning," "How Sweet I Roamed From Field To Field" and "The Post-modern Nothing" have been modernized with new arrangements, yet remain as poetic and arguably even more relevant in this context. Likewise, there are a few rarities from the Fugs tenure on Reprise Records in the late '60s: "Crystal Liaison," "I Want To Know" and the rarely performed "When The Mode Of The Music Changes." The latter undoubtedly contains further portents as less than an hour away from this celebration, Woodstock '94 was co-opting an entire generation.

The Fugs - The Real Woodstock Fesitival 1
The Fugs - The Real Woodstock Festival 2

(192 kbps, front cover included)

Nico - Do Or Die!

Nico, the punk princess of the mid '60's Warhol entourage, joined the Velvet Underground as a singer in 1965 after a brilliant European career as a top model and actress.
This began a new career for one of the truly unique vocalists and rock personalities of our times. Noted for her Teutonic inflections, amazing beauty and heartbreaking baritone, she exuded a deep-seated sense of European worldliness and angst. She in many ways set the stage for the "gloom and doom" English romanticism and the Goth movement so popular today.

Truly an individualist, in style, presentation and her approach to material, Nico created a unique vision that in time became her own personal reality.

Nico´s "Do or Die" was originally released by ROIR as a cassette-only in November 1982. It is a collection of live performances, both solo and with her band, from her 1982 European tour that garnered considerable interest from collectors, press, her fans and also the followers of The Velvet Underground. It has now been 24-bit digitally remastered and re-edited for CD release by Doug Pomeroy.

"Drawn from five European gigs and featuring the best of Nico's many bands, The Blue Orchids, 'Do or Die' is the greatest hits package Nico never got. The power she unleashes dismisses any doubts regarding her role in rock and roll. Skillful beauty - spine-chilling isolation" - Alternative Press

Nico - Do Or Die!
(192 kbps, front cover included, ca. 83 MB)

Donnerstag, 18. Februar 2021

The Fugs - Refused To Be Burnt Out (Live In The 80s)

PhotobucketThis release chronicles the return of the Fugs to the performance stage, which ironically began in 1984 at the height of Ronald Reganmania.
However, if "Refuse To Be Burnt-Out" proves anything, the lesson is that it might be possible to take a freak out of the ‘60s … but you can never take the ‘60s out of a freak.
The ‘80s Fugs features original members Tuli Kupferberg and Ed Saunders -- who have updated their sound without ever compromising their message. Compiled from several performances, "Refuse To Be Burnt-Out" is fairly evenly split between classics - such as "CIA Man", "How Sweet I Roamed" and the sing-a-long favourite "Wide, Wide River" - as well as material penned especially for this reunion.
Of particular note is a sublime "Fingers Of The Sun" -- a no nukes anthem originally located on the 1968 "Tenderness Junction" release. The newer compositions remain ever loyal to the ‘idealistic realities' that became running motifs throughout the Fugs history.
Primary among these is the Kupferberg title "If You Want To Be President" which takes a poke at Regan's popular success with particular emphasis on the '82 fiasco in the Falkland Islands.

The albums title track is a new composition which author Ed Saunders dedicates to the memory of Fugs who are no longer with us. As only he can, the words manifest indelible images effortlessly telling the tale on multiple levels.

The Fugs - Refused To Be Burnt Out (Live In The 80s)
(192 kbps, ca. 92 MB)

Mittwoch, 17. Februar 2021

Pete Seeger - Studio Recording At The National Czech Radio (1964)

This is the second part of the Pete Seeger recordings from Czechoslowaki in 1964. Gene Deitch recorded these tracks on March 28, 1964, in an empty studio at Radio Karlin, Prague.

Many thanks to Ruth Ellen Gruber for sharing this information on

"I just spent the weekend in Czech Republic, participating in the launch of the new bluegrass fusion CD by the Malina Brothers band. It can be said that the great Pete Seeger, who died Monday, launched the entire Czech bluegrass scene with his performances in the then communist Czechoslovakia in 1964. For the first time, people saw a five-string banjo being played, after hearing it on American Forces radio broadcasts. The first Czech five-strings were made from photos of Pete's. The concert was arranged in Prague by Pete's longtime friend Gene Deitch, who recorded the concert and issued it as an album, which has now been posted online."


Coal Creek march
Darlin' Cory
Oh had I a golden thread
I can see a new day
What did you learn in school today?
Little boxes
Living in the country
We shall overcome
Little Molly
I want to go to Andorra!
Ida Red ; Old Joe Clark (played on home-made banjo)
Pretty Saro (wooden flute-recorder)
Woody's rag (mandolin)
900 miles (mandolin)
Oleana (with variations)
Careless love

Pete Seeger - Studio Recording At The National Czech Radio
(320 kbps)

Nico & The Blue Orchids - Berlin Audimax - Live 07.05.1982

One of the most fascinating figures of rock's fringes, Nico hobnobbed, worked, and was romantically linked with an incredible assortment of the most legendary entertainers of the '60s. The paradox of her career was that she herself never attained the fame of her peers, pursuing a distinctly individualistic and uncompromising musical career that was uncommercial, but wholly admirable and influential.

It was a very demanding show for Nico and the audience and neither Nico or the audience were satisfied. The expectations were too far apart and Nico provoked at the end with a successful version of: "Das Lied der Deutschen"

01. Heroes
02. Sãeta
03. Vegas
04. 60/40
05. Janitor of Lunacy
06. The End
07. All Tomorrow's Parties
08. Femme Fatale
09. I'm Waiting for the Man
10. No One Is There
11. Das Lied der Deutschen
12. Shouting for encore & is Reinhard Frahm out there ?

Nico: vocal, harmonium
with The Blue Orchids:
Martin Bramah: guitar, backing vocals
Rick Goldstraw [Eric McGann]: guitar
Una Baines: Yamaha Synthesizer
Steve Garvey [Steven Patrick Garvey]: bass, backing vocals
Toby Toman [Phillip Tomanov]: drums

Nico & The Blue Orchids - Berlin Audimax - Live 07.05.1982
(320 kbps, cover art included)

Dienstag, 16. Februar 2021

Pete Seeger - At The ABC Theatre, Prague, 1964

Here´s the first part of Pete Seeger live recordings from Czechoslovakia. The songs were recorded by Gene Deitch on March 27, 1964, at a theatre performance at the ABC Divadlo, Prague.

The ABC Theatre is located near Wenceslas Square in Prague. Together with Rokoko Theatre and Ábíčko it belongs to the groupe of Municipal Theatres of Prague.

Gene Deitch remembers on

"By 1964, Pete, with Toshi and three kids, hade embarked on a world tour, which included communist Czechoslovakia, where I’d already been working four years. As he’d been sidelined as a political pariah in mainstream America, he expected he’d get a bigtime welcome here, right? Wrong! Here’s the irony: even though Pete may have felt himself to be a “communist,” the “Marxist-Leninist” Czechoslovak government was more suspicious of free-thinking “communists” who were not strict followers of the ever-shifting Soviet line, than they were of “capitalists,” who were their more clearly defined antagonists. “Diversionist” left-wingers were considered the greatest actual danger to their rule.

A local Seeger fan, Zbyněk Macha, who worked for the Czechoslovak Ministry of Culture had managed to get permission from the authorities to allow Pete a series of concerts in the country, but cautiously limited him to low-key venues, and there was no radio or TV coverage of his visit. The officials were afraid he’d be a loose-cannon, with his songs about freedom! So I was the only person with professional stereo equipment, able to privately record him. I sneaked my gear into Pete’s Prague theater concert, and Zbyněk Macha even got me into an unused radio studio with decent acoustics! Years later, my historic recordings were issued on a British FlyRight CD, “Pete Seeger in Prague 1964”, now a collectors’ item."


T-for Texas
Kai-yo-wa-ji-neh (Native American)
Amazing grace
The Devil and the farmer
Banjo breakdown: Ida Red ; Old Joe Clark
Mr. Tom Hughes' town
Irene, goodnight
Bourgeois blues
So long
Talking Columbia
Lord God, Pittsburgh!
Why, Oh why?
Michael row the boat ashore
Cumberland Mountain bear chase (Holka modrou oka)
Tzena tzena
Down by the riverside
Where have all the flowers gone?
Living in the country
Pete Seeger's comments, February 2001
(the songs "Rock Island Line" and "Dark As A Dungeon" are missing, sorry!)

Pete Seeger - At The ABC Theatre, Prague, 1964
(320 kbps, front cover included)

The Holy Modal Rounders - Indian War Whoop

"...there is an unmistakable ingredient to the Holy Modal Rounder's music that seems appealing to folk lovers and trippers alike" - Andrew Kotick, Sputnick Reviews

The year 1967 proved to be a strong point of the 60’s generation culture and the ever growing New York underground music scene with the likes of David Peel & the Lower East Side, The Velvet Underground, The Godz, The Fugs, and the Holy Modal Rounders. The music is reflective of the time, and would prove to be the setting of a musical foundation for the group.

Peter Stampfel and Steve Weber obviously loved American folk music as much as any of the kids who had their head turned around by Harry Smith's Anthology of American Folk Music in the 1950s, but unlike the many musicians who paid tribute to America's musical past by trying to re-create it as closely as possible, as The Holy Modal Rounders Stampfel and Weber opted to drag the music into the present, shrieking and giggling all the way.

Even by the standards of The Holy Modal Rounders' first two albums, 1967's "Indian War Whoop" is a thoroughly bizarre listening experience; loosely structured around the between-song adventures of two seedy vagabonds named Jimmy and Crash, side one veers back and forth between neo-psychedelic fiddle-and-guitar freakouts and free-form (and often radically altered) interpretations of traditional folk tunes such as "Soldier's Joy" and "Sweet Apple Cider," while side two is devoted to like minded originals (including a couple songs from their friend Michael Hurley, who would later join the group). Most certainly a product of its time, "Indian War Whoop" sounds rather dated today, but its buoyant good humor and chemically-altered enthusiasm remains effective, even when the Rounders' reckless pursuit of inner space sounds like it was more fun to create than to observe on record.

The Holy Modal Rounders - Indan War Whoop (1967)
(256 kbps, cover art included)

The Fugs - It Crawled into My Hand, Honest (1968, vinyl rip)

Having attained a professional rock-band sound on "Tenderness Junction", the Fugs seemed determined to further expand their arrangements (aided, perhaps, by a major-label budget) on "It Crawled into My Hand, Honest".

Indeed, the album is ridiculously eclectic. There's stoned psychedelic folk-rock ("Crystal Liaison"); cry-in-your-beer country music with vehemently satirical or surrealistic lyrics ("Ramses II Is Dead My Love," "Johnny Pissoff Meets the Red Angel"); grand, sweeping classical orchestration ("Burial Waltz"); a Gregorian chant about "Marijuana"; down-home gospel with lyrics that no preacher would dare enunciate ("Wide Wide River," with the line: "I've been swimming in this river of shit/More than 20 years and I'm getting tired of it"); and, almost buried along the way, the kind of tuneful, countercultural folk-rock Tuli Kupferberg contributed to earlier albums ("Life Is Strange"). Choral backup vocals abound, and the mere presence of a half-dozen outside arrangers testifies to how much the group's attitude toward exploiting the studio had developed since the bare-bones ESP albums.

Generally, the songs (most written by the core trio of Sanders, Kupferberg, and Weaver) are more concerned with deft poetry and humor than political statements, although the customary social satire and calls for sexual freedom and drug use are present in diminishing degrees.

Although side one is five discrete tracks, side two is a side-long cut-and-paste of tracks varying in length from three seconds to four minutes, the stylistic jump-cuts similar to those employed by the Mothers of Invention in the same era. It's an impressive and, usually, fun record, but it's also less-lyrically cogent and powerful than their early albums. One senses that the Fugs' personality and individuality were ultimately somewhat muted by the more ambitious production values and frequent use of external musicians and arrangers.

The Fugs - It Crawled into My Hand, Honest (1968, vinyl rip)
192 kbps, cover art included

Samstag, 13. Februar 2021

Nina Simone - At Carnegie Hall (1963)

Nina Simone was one of the most gifted vocalists of her generation, and also one of the most eclectic. Simone was a singer, pianist, and songwriter who bent genres to her will rather than allowing herself to be confined by their boundaries; her work swung back and forth between jazz, blues, soul, classical, R&B, pop, gospel, and world music, with passion, emotional honesty, and a strong grasp of technique as the constants of her musical career.                

"At Carnegie Hall" is a live album recorded at Simone's first solo appearance at Carnegie Hall in New York, on April 12, 1963, and was released on Colpix Records. Miss Simone works her particular brand of magic in a mysterious and awe-inspiring way. The album has a broad choice of material all delivered in dramatic fashion. "Black Swan," "Twelfth of Never" are two highly playable tracks.

This was Nina Simone's third Carnegie Hall appearance. Her debut appearance was on May 21, 1961, when she shared the stage with her great friend and fellow civil rights activist Miriam Makeba.
Having performed here twice previously, April 12, 1963, marked Nina Simone's headlining debut. It was not to be an easy transition from sharing to topping the bill. Writing in Nina Simone "Black Is The Color ..." Andrew Stroud - Simone's one-time husband and manager - recalls, "In 1963, Nina was adamant about making a solo appearance at Carnegie Hall in fulfillment of her childhood dream as the first black female classical pianist. None of the concert promoters would undertake such a presentation because they did not believe she could carry off a solo concert. Therefore, when I resigned from the NYPD, I took my pension rebate and, on the advice of experts in the music industry, hired Felix Gerstman, New York City's premier concertmaster, to manage the presentation."
Joining Nina Simone that evening were guitarists Alvin Schackman and Phil Orlando, Lisle Atkinson on bass, and drummer Montego Joe. Simone demonstrated the unclassifiable nature of her artistry that evening with performances of jazz, soul, spiritual-tinged tunes, and - displaying her background in classical music - a theme on Saint-Saëns's Samson and Delilah.
While her final headlining concert here took place in June 2001, Nina Simone's final Carnegie Hall appearance was on April 13, 2002, as part of Sting's Rainforest Foundation benefit. She died almost exactly a year later.

A1Black Swan6:13
A2Theme From Samson And Delilah5:50
A3If You Knew3:35
A4Theme From Sayonara2:35
B1The Twelfth Of Never3:20
B2Will I Find My Love Today6:55
B3The Other Women / Cotton Eyed Joe7:25

Nina Simone - At Carnegie Hall (1963)
(320 kbps, cover art included)

Mercedes Sosa - La voz de la zafra (1959)

Mercedes Sosa was the most renowned Latin-American singer of her generation; she was known as "La Negra" for her long, jet-black hair, and as "the voice of the voiceless ones", for her performances of songs which championed the rights of the poor.

In early 1979, Sosa was performing in the Argentinian university city of La Plata when the military stopped the concert. Humiliating Sosa by searching her on stage, they then arrested her and 350 members of the audience. Sosa was detained for 18 hours until international pressure forced her release (she had to pay a large fine) but this event – alongside increasing numbers of death threats – forced her to flee to Europe, where she lived in Madrid and Paris.

If you hear this young Mercedes Sosa, you will notice that her voice is not as strong than later. But from the moment she began to recording, she was always true to herself. This is the very beginnig and a great collector's item.


1. Los Hombres Del Rio [Canción Litoraleña]
2. Recuerdos Del Paraguay [Guarania]
3. Jangadero [Galopa]
4. La Zafrera [Zamba]
5. El Rio Y Tu [Canción Guarania]
6. Tropero Padre [Zamba]
7. Nocturna [Guarania]
8. El Indio Muerto [Zamba Salteña]
9. La De Los Humildes [Zamba]
10. Zamba De La Distancia
11. Selva Sola [Galopa]
12. Sin Saber Por Que [Guarania]

Mercedes Sosa - La Voz De La Zafra (1959)
(192 kbps, cover art included)

Miriam Makeba - Country Girl (Pläne, 1981)

Miriam Makeba was born in Johannesburg in 1932 and was the first African singer to make African music popular in the US and Europe. She campaigned against apartheid in South Africa and the government revoked her citizenship and right to return home. Her mother, a Swazi sangoma (traditional healer-herbalist) was arrested for selling umqombothi, an African homemade beer brewed from malt and cornmeal when Miriam was an infant so she spent the first six months of her life in jail. Her mother died during her exile. Her father died when she was six years old. She finally returned home after the end of apartheid and she died on tour in Italy in 2008 after a concert organized to support a writer-dissident.

Miriam became known as "Mama Africa" and was probably best known as a singer for her song, "Pata Pata." She has toured with singers such as Paul Simon, Nina Simone, Hugh Masekela and Dizzy Gillepsie. The ban on her records was lifted in South Africa in 1988 and she returned to her homeland in December 1990. Four years later she started a charity project to raise funds to protect women in South Africa. Her first concert in South Africa (1991) was a huge success and this was a prelude for a world-wide tour which included the USA and Europe.

She has released over fifty albums over the years, and her powerful and distinctive voice retains the clarity and range that enable it to be both forceful as a protest march and as poignant as an African lullaby. She keeps on singing, with her granddaughter Zenzi Lee in her background choir and a great-grandson in her entourage. She released a critically acclaimed comeback album, “Homeland,” released in 2000, which was nominated for a Grammy Award in 2001. She appeared in the movie of 2002 by Lee Hirsch, the opulent and exciting documentary “Amandla!” about the powerful part of music in the struggle against Apartheid. In 2004, at the South African Music Awards 10, her album “Reflections,” won two awards: Best Jazz Vocal Album and Best Adult Contemporary Album. She is on an international tour in 2007 with her eight member band, and performed for a free concert in May in London’s Trafalgar Square.  Miriam is Mama Africa, a lady with a special touch. She has weathered many storms in her life, including several car accidents, a plane crash and even cancer. She remains as active in her latter years as she did as a young girl with stars in her eyes.Her exceptional personal and artistic profile is part of the history of this century, all adding to the dramatic elements of an extraordinary life, making Miriam Makeba a living legend.

"Country Girl" was originally released in France on the "Disques Espérance" label and re-released in Germany on "Pläne" in 1981.


A1 Country Girl 5:20
A2 Tailor Man 4:30
A3 Xica Da Silva 5:30
A4 Witch Doctor (Isangoma) 4:00
B1 The Lion Cries (Mbube) 5:00
B2 Meet Me At The River 5:40
B3 Goodbye Poverty 5:30
B4 Click Song 3:35

Miriam Makeba - Country Girl (Pläne, 1981)
(256 kbps, cover art included)

Nina Simone - Let It All Out (1965)

"Let It All Out" is one of Nina Simone's more adult pop-oriented mid-'60s albums, with renditions of tunes by Duke Ellington ("Mood Indigo"), Billie Holiday ("Don't Explain"), Irving Berlin ("This Year's Kisses"), and Rodgers & Hart ("Little Girl Blue").

As ever, Simone ranges wide in her selection: Bob Dylan's "The Ballad of Hollis Brown," a swaggering adaptation of "Chauffeur Blues" (credited to her husband of the time, Andy Stroud), the gospel hymn "Nearer Blessed Lord," and Van McCoy's "For Myself." "Images" is an a cappella adaptation of a poem about the beauty of blackness by Waring Cuney. All of Simone's Philips albums are solid, and this is no exception, while it isn't the best of them.

"Love Me or Leave Me" and "Mood Indigo" were also featured on Simone's debut album "Little Girl Blue" (1958); these are new performances and different arrangements.

Mood Indigo2:25
The Other Woman3:02
Love Me Or Leave Me4:05
Don't Explain4:18
Little Girl Blue2:32
For Myself2:05
The Ballad Of Hollis Brown4:55
This Year's Kisses2:58
Nearer Blessed Lord4:30

Nina Simone - Let It All Out (1965)
(320 kbps, cover art included)

Mercedes Sosa - Homenaje a Violeta Parra (1971)

Mercedes Sosa was born in poverty, her father a day laborer, her mother a washer woman, in Tucumán, a province in northwest Argentina, on July 9, 1935.
At 15, she won an amateur-hour contest sponsored by a local radio with a two month contract for appearances as its grand prize. It turned out to be the start of her career.

By the late 50s she had moved on from traditional folk and embraced the Movimiento del Nuevo Cancionero, a fledging movement with a new approach to folk music that updated the standard folk lyrics to sing about the plight of the poor and disenfranchised. This, naturally, led her in time to champion the Nueva Canción (New Song), a movement in Latin America in the 60s that blended traditional rhythms and lyrics addressing social and political concerns. This became a deadly serious business in Latin America in the 70s, as ruthless military dictatorships took power. Sosa was detained and body searched on stage at a concert in 1979. Many in the audience were detained. In the following weeks, her concerts were cancelled after anonymous bomb threats were called in. And while there was no cause open against Sosa, her songs were banned on the radio and she was prohibited from performing.

Understandably feeling persecuted and unable to make a living, Sosa left in self imposed exile to France and Spain.
She returned to Argentina in 1982, just as the military dictatorship was beginning to disintegrate. (In fact, in retrospect, Sosa´s epochal 13-night comeback stand at the Opera Theatre in Buenos Aires, captured on the disc Mercedes Sosa en Argentina, was in itself a measure of the increasing weakness of the regime.)

Sosa had been an international artist, performing in the United States and Europe, since the 1960s, but in her condition as an exile she transcended her role as a folk singer and became a symbol of resistance and the struggle for human rights. It was a heavy mantle that she carried effectively – while also making clear to whoever wanted to listen that she was an artist first.

“Sometimes, one is made to be a big mouth or some sort of Robin Hood and it’s not like that,” she once told me, in the 90s, with an edge of frustration in her voice. “I am a woman who sings, who tries to sing as well as possible with the best songs available. I was bestowed this role as big protester and it’s not like that at all. I’m just a thinking artist.”
And being a “thinking artist” for Sosa not only meant singing questioning lyrics, but also opening up her musical world.

Since her return to Argentina and for the past 20 years, rather than basking on the warm glow of her status and playing it safe musically, Sosa increasingly crossed over stylistic boundaries, taking a Pan-Ibero-American approach. She would still sing Argentine folk music and remain true to her Nuevo Cancionero roots, but also integrate music by Brazilian artists such as Milton Nascimento, Caetano Veloso and Chico Buarque; Spanish singer songwriter Joan Manuel Serrat and rocker Joaquin Sabina. And in Argentina, where the music communities long lived in parallel worlds that rarely acknowledged, much less addressed, each other, Sosa seemed to make a point of ignoring stylistic boundaries. She worked with neo-folk singers such as Leon Gieco (a Bob Dylan-like figure) but also recalcitrant rockers such as Charly Garcia, pop rockers such as Fito Páez and new tango stalwarts such as bandoneonist Rodolfo Mederos. And it wasn’t just big names but also up-and-coming songwriters, playing sort of fairy godmother by calling attention to their work, giving them, in a word, her blessing.

Here´s her hommage to Violeta Parra, the famous Chilean composer, songwriter, folklorist, ethnomusicologist and visual artist, who set the basis for "Chilean' New Song", the Nueva canción chilena, a renewal and a reinvention of Chilean folk music which would absorb and extend its influence far beyond Chile.


Defensa De Violeta
Graicas A La Vida
Segun El Favor Del Viento
Arriba Quemando El Sol
Me Gustan Los Estudiantes
Volver A Los 17
La Carta
Que He Sacado Con Quererte
La Lavandera
Rin Del Angelito
Los Pueblos Americanos 

Mercedes Sosa - Homenaje a Violeta Parra (1971)
(256 kbps, cover art included)

Freitag, 12. Februar 2021

Kurt Weill - The Seven Deadly Sins & Little Threepenny Music (Julia Migenes & London Symphony Orchestra)

"The Seven Deadly Sins" ("Die sieben Todsünden"), a ballet with songs, is surely one of Brecht and Weill's most (unfortunately) neglected masterpieces, and definately one of their most unorthodox pieces.


Kurt Weill fled Germany in 1933 after the Nazis banned his music. Almost immediately upon his arrival in Paris as a refugee, he was commissioned to compose a ballet for a newly formed company, Les Ballets 1933, headed by Boris Kochno and George Balanchine. What resulted was a ballet-with-songs, a story acted, danced and sung. The work brought together again - for the last time as a unit - some of Weill´s most familiar collaborators: Bertolt Brecht for the text, Caspar Neher for the decor, and Lotte Lenya, the composter´s actress-wife. Balanchine took on the duties of choreographer and chose as his principal dancer Tilly Losch. The result was "The Seven Deadly Sins", which received its first public performance in June 1933 at the Théatre des Champs-Elysées.

Julia Migenes (born March 13, 1949) is an American soprano opera singer. She was born on the Lower East Side of New York to a family of Greek and Irish-Puerto Rican descent.

Julia Migenes, of course, sings this masterpieces all divinely, and her dramatic flair and tension is all there, too. Her acting genuinely comes through...

Brechtian "scholars" pointing fingers at Migenes, saying that she would make a pretentious operatic sound while singing this piece, would do better to point their fingers elsewhere. Migenes was a sublime interpreter of Weill's music, and she doesn't just sing it 'prettily' (i.e., 'blandly') like some pretentious Brechtians would accuse. The male quartet that makes up the Annas' family (two tenors-brothers, baritone-dad, bass-mom), are all of very good voice (among them vetrans Alan Opie and Robert Tear).

Of course, the level of comparison is high: The Lotte Lenya recording of this music sets the standard. Her biting, rough-textured voice and dramatic abilities are outstanding....but Ute Lemper comes close, Gisela May comes closer and Marianne Faithfull comes closest. The Faithfull performance has the added benefit of being done in a fine English translation.

But even if Julia Migenes is not one of the top three interpreters of this music, these recordings are definitly worth listening. Sitting in the dark and listening to it is a great experience: the bittersweet ending of the piece is a heart-stopping, brilliant moment.

The orchestra's work is really wonderful, full and rich. Tilson Thomas has gone for a grand performance and it works up to a point.

(192 kbps, front cover included)

Pete Seeger - Waist Deep In The Big Muddy And Other Love Songs (1967)

One of Pete Seeger's most well-known protest albums - he provoked a storm of controversy when CBS censors would not allow the singer/songwriter to perform "Waist Deep in the Big Muddy," a Vietnam parable based on an actual incident that occurred during World War II when a soldier who couldn't swim drowned when his commanding officer forced him to ford a river without knowing how deep it was, on The Smothers Brothers Comedy Hour - "Waist Deep in the Big Muddy and Other Love Songs" is intriguing for other reasons as well.

Just two years after Seeger supposedly threatened to take an axe to the power supply during Bob Dylan's electric set at the 1965 Newport Folk Festival, side one of this album features Seeger and his acoustic guitar backed by electric guitarist Danny Kalb (of the Blues Project) and a rockish rhythm section. (The opening "Oh Yes I'd Climb" adds a middle-of-the-road string section for good measure!) The electric instruments are actually most tasteful in their integration, if not downright wimpy. You'll be hard-pressed to actually hear the bass player most of the time.

Side two is more traditional for Seeger, strictly acoustic material including a couple of traditional songs interspersed among some less-than-subtle protest material, including "My Name Is Liza Kalvelage," its lyrics taken almost verbatim from a television news story about San Jose housewives picketing a nearby napalm storage yard, and "Those Three Are on My Mind," about the murders of civil rights workers in Mississippi in 1963. Overall, this is probably a better album than the similar "Dangerous Songs!" from 1966, with a higher number of trenchant observations and a little less finger-pointing.  - Stewart Mason, allmusic  


1Oh Yes I'd Climb (The Highest Mountain Just For You)4:06
2Seek And You Shall Find7:50
3The Sinking Of The Reuben James2:42
4Waist Deep In THe Big Muddy2:54
5Last Night I Had The Strangest Dream2:51
6Down By The Riverside3:13
7Nameless Lick0:56
8Over The Hills1:38
9East Virginia2:34
10My Name Is Lisa Kalvelage3:57
11My Father's Mansion's Many Rooms2:24
12Melodie D'Amour1:51
13Those Three Are On My Mind3:02
Unreleased Bonus Tracks:
14Come All Ye Fair And Tender Ladies3:59
15Los Quatros Generales2:57

Pete Seeger - Waist Deep In The Big Muddy And Other Love Songs (1967)
(256 kbps, cover art included)     

Malvina Reynolds - Sings The Truth (1967)

Born Malvina Milder of Jewish socialist immigrant parents in San Francisco, Malvina was refused her diploma by Lowell High School because her parents were opposed to US participation in World War I. She entered UC Berkeley anyway, and received her BA and MA in English. She married William Reynolds, a carpenter and organizer, in 1934 and had one child, Nancy, in 1935. She completed her dissertation and was awarded her Doctorate in 1936. It was the middle of the Depression, she was Jewish, socialist, and a woman. She could not find a job teaching at the college level. She became a social worker and a columnist for the People's World and, when World War II started, an assembly-line worker at a bomb factory. When her father died, she and her husband took over her parents' naval tailor shop in Long Beach, California. There in the late forties she met Earl Robinson, Pete Seeger and other folk singers and songwriters and began writing songs. She returned to Berkeley, and to the University, where she took music theory classes in the early fifties. She gained recognition as a songwriter when Harry Belafonte sang her “Turn Around.” Her songs were recorded by Joan Baez, Judy Collins, The Seekers, Pete Seeger, and the Limeliters, among others. She wrote songs for Women for Peace, the Nestle Boycott, the sit-ins in San Francisco on auto row and at the Sheraton-Palace, the fight against putting a freeway through Golden Gate Park and other causes. She toured Scandinavia, England and Japan. A film biography, Love It Like a Fool, was made a few years before she died in 1978. Ellen Stekert is writing a biography and would like information about Malvina's pre-1945 activities.

How many other musicians made their major-label recording debuts as grandmothers in their mid-sixties, as Malvina Reynolds did on this circa late-1966/early-1967 LP, produced by John Hammond? But those were different times, which saw ridiculously uncommercial, avowedly antiestablishment albums released by the labels of large corporations. And this is certainly an uncommercial record, Reynolds' wavering voice - even the liner notes disclose how "she admitted to one critic that she had a semi-permanent frog in her throat" - backed by plain acoustic guitar-dominated instrumentation, though it sounds like a bass is in the mix at points. As froggy as it is here, though, her voice was in better shape than it would be on her 1970s recordings for the small Cassandra label. And this does give you the chance to hear Reynolds' own versions of her two most famous songs, which were primarily associated with other performers on record - "Little Boxes" (which was a small hit for Pete Seeger) and "What Have They Done to the Rain?" (a hit for the Searchers, and also recorded by Joan Baez, Marianne Faithfull, and the Seekers). Those two compositions, particularly "What Have They Done to the Rain?," are the best songs on the LP, which otherwise ranges from moving and inspirational '60s folk ("I Don't Mind Failing," the melancholy closer "Bitter Rain") to unappealingly didactic folk protest. In part because of that streak of blunt righteousness, and in part because the melodies and singing often aren't that strong, much of this hasn't dated well, even if the spirit of Reynolds' anger and satire - targeting bigotry, suburban conformity, religious fundamentalism, and overdevelopment - remains right-on and commendable in many ways.


The New Restaurant
What's Goin' On Down There
Little Boxes
Battle of Maxton Field
God Bless the Grass
I Don't Mind Failing
What Have They Done to the Rain?
The Devil's Baptizin
Singing Jesus
The Bloody Neat
Love Is Something (Magic Penny)
Bitter Rain

Malvina Reynolds - Sings the Truth (1967)
(320 kbps, front cover included)

Boulat Okoudjava - Le Soldat en Papier

If Vladimir Vissotski was the Léo Ferré of the Soviet Union, Boulat Okoudjava was, perhaps, its Georges Brassens.

Boulat Okoudjava (also transliterated as Boulat Okudjava, Okoudjava, Okoudzhava or Bulat Okudzhava) was born in Moscow on 9 May 1924 of Georgian parents (hence, no doubt, his nature of the "Meridional of the North"). His father, a high-ranking Communist Party member from Georgia, was arrested in 1937 during the Great Purge and executed as a German spy on the basis of a false accusation. His mother was also arrested and spent 18 years in the prison camps of the Gulag (1937–1955).

In 1942, he left high-school and enlisted as a volunteer for the Red Army infantry, and from 1942 he participated in the war with Nazi Germany.
In 1956, three years after the death of Joseph Stalin, Okudzhava returned to Moscow, where he worked first as an editor in the publishing house "Young Guard," and later as the head of the poetry division at the most prominent national literary weekly in the former USSR, Literaturnaya Gazeta ("Literary Newspaper"). It was then, in the middle of the 1950s, that he began to compose songs and to perform them, accompanying himself on a Russian guitar.

Soon he was giving concerts. He only employed a few chords and had no formal training in music, but he possessed an exceptional melodic gift, and the intelligent lyrics of his songs blended perfectly with his music and his voice. His songs were praised by his friends, and amateur recordings were made. These unofficial recordings were widely copied as magnitizdat, and spread across the USSR and Poland, where other young people picked up guitars and started singing the songs for themselves. In 1969, his lyrics appeared in the classic Soviet film "White Sun of the Desert".

Though Okoudjava's songs were not published by any official media organization until the late 1970s, they quickly achieved enormous popularity, especially among the intelligentsia - mainly in the USSR at first, but soon among Russian-speakers in other countries as well. Vladimir Nabokov, for example, cited his "Sentimental March" in the novel "Ada or Ardor".

Okoudjava, however, regarded himself primarily as a poet and claimed that his musical recordings were insignificant. During the 1980s, he also published a great deal of prose (his novel The Show is Over won him the Russian Booker Prize in 1994). By the 1980s, recordings of Okudzhava performing his songs finally began to be officially released in the Soviet Union, and many volumes of his poetry were also published. In 1991, he was awarded the USSR State Prize. He supported the reform movement in the USSR and in October 1993, signed the Letter of Forty-Two.
He was one of the founders of the Russian genre called "author song" (авторская песня, avtorskaya pesnya). Though his songs were never overtly political (in contrast to those of some of his fellow bards), the freshness and independence of his artistic voice presented a subtle challenge to Soviet cultural authorities, who were thus hesitant for many years to give official recognition to Okoudjava.

Boulat Okoudjava remains emblematic of the renewal of Soviet poetry under the Kruschev regime, where he was one of the most prestigious poets and one of those held in great esteem by the intelligentisa as well as an idol for young people, who recognised their own dreams and aspirations in the scarcely veiled and totally unambiguous word of his forbidden songs.

He died near Paris on June 12 1997, during a stay in France.

This album presents a summary of all his themes: the rank and file, the streets of Moscow, the pangs and heartbreak of love, the horror of war, the small joys and immense sadnesses of life.


1 Chanson Des Pirates
2 Anton Tchekhov
A Dans Mon Coeur Est Gravé
4 Sur Volodia Vissotski
5 La Petite Pluie Du Succès
6 Que Mon Amour Soit Vieux
7 François Villon
8 Le Soldat De Papier
9 Le Roi
10 Chanson De Ma Vie
11 Chanson Du Chat Noir
12 Chanson De La Piétaille
13 Chanson Du Ballon Bleu
14 Chanson Des Bottes De Soldat
15 Chanson Du Moucheron Moscovite
16 Vous Les Peintres
17 Le Dernier Trolley
18 Moscou La Nuit
19 Dommage Quand Même
20 Chanson De L'Arbat
21 Chanson Du Métro De Moscou
22 Nadia, Petite Nadia
23 La Route De Smolensk
24 Chanson Du Vieux Joueur D'Orgue
25 Les Trois Soeurs

Boulat Okoudjava - Le Soldat en Papier
(256 kbps, cover art included)

Pete Seeger - Hootenanny With Pete Seeger

"Hootenanny with Pete Seeger" was released on Folkways Records and on Le Chant Du Monde in France. It features live recordings by Pete Seeger, accompanied by Big Bill Broonzy, Lightnin´ Hopkins, Memphis Slim and Willie Dixon.


1. Pete Seeger with Big Bill Broonzy - Down By The Riverside (5:14)
2. Pete Seeger with Lightnin' Hopkins - Oh, Mary, Don't You Weep (3:15)
3. Pete Seeger - Michael, Row The Boat Ashore (2:28)
4. Pete Seeger - Mrs McGrath (4:16)
5. Pete Seeger - Risselty Rosselty (2:41)
6. Pete Seeger - Wimoweh (2:40)
7. Pete Seeger - Deep Blue Sea (2:39)
8. Pete Seeger - The Hammer song (2:15)
9. Pete Seeger - Streets Of Laredo - Brandy Leave Me Alone - Didn't Old John (4:08)
10. Pete Seeger with Memphis Slim and Willie Dixon - Hold On (3:44)
11. Pete Seeger - I'm On My Way (4:14)
 Pete Seeger - Hootenanny With Pete Seeger
(320 kbps, cover art included)

Elizabeth Cotten - Live

Elizabeth Cotten was among the most influential guitarists to surface during the roots music revival era, her wonderfully expressive and dexterous finger-picking style a major inspiration to the generations of players who followed in her wake.
Cotten was born in Chapel Hill, North Carolina in the early weeks of 1893; after first picking up the banjo at the age of eight, she soon moved on to her brother's guitar, laying it flat on her lap and over time developing her picking pattern and eventually her chording. By the age of 12 she was working as a domestic, and three years later gave birth to her first child; upon joining the church, she gave up the guitar, playing it only on the rarest of occasions over the course of the next quarter century. By the early 1940s, Cotten had relocated to Washington, D.C., where she eventually began working for the legendary Charles Seeger family and caring for children Pete, Peggy and Mike.

When the Seegers learned of Cotten's guitar skills a decade later, they recorded her for Folkways, and in 1957 she issued her debut LP, "Folksongs and Instrumentals". The track "Freight Train," written when she was 12, became a Top Five hit in the U.K., and its success ensured her a handful of concert performances. The great interest in her music spurred her to write new material, which appeared on her second album, "Shake Sugaree". As Cotten became increasingly comfortable performing live, her presentation evolved, and in addition to playing guitar she told stories about her life and even led her audiences in singing her songs; over the years, she recalled more and more tunes from her childhood, and in the course of tours also learned new material. Cotten did not retire from domestic work until 1970, and did not tour actively until the end of the decade; the winner of a National Endowment for the Arts National Heritage Fellowship Award as well as a Grammy — both earned during the final years of her life — she died on June 29, 1987.

No dates are given for this live disc, although according to the liners, "this album is a sampler of performances during her ninth decade" (which would be roughly the early 1970s to the early 1980s). She does some of the most popular items from her repertoire over the course of this 50-minute recording, including "Freight Train," "Shake Sugaree," and "Oh Babe, It Ain't No Lie" (which was covered by the Grateful Dead). There's plenty of storytelling between the numbers, and audience participation on some of the choruses during the songs.