Mittwoch, 19. Oktober 2016

Peter Rohland - Jiddische Lieder (1965)

75 years ago, the Nazis began deporting Jews to death camps. The infamous Track 17 at Berlin's Grunewald station was the departure point. In official Nazi documents the deportation is euphemistically referred to as a "resettlement" or "evacuation" or people being "deposited." In reality, people were taken with the German state railway to their deaths in ghettos, labor camps or concentration camps.
The first deportation left Track 17 of Berlin's Grunewald station on the 18th October 1941. 1089 children, women and men were taken by force to Lodz. By the end, some 50,000 Jews from Berlin were deported; victims of the Nazi "Reign of Terror."

Peter Rohland (* 22. February 1933, † 5. April 1966) was a German singer, singer-songwriter and a folk music researcher. Together with Hein and Oss Kröher he initiated the "Burg Waldeck Festivals".

Peter Rohland investigated, considerably affected by the work of Wolfgang Steinitz, the song property of the vagrants and the revolution of 1848, as well as jewish songs. He was the first chansonnier to sing jewish songs in West Germany after the Holocaust.

Tracks:
01. Un as der Rebbe Alimelech
02. Fohr ijch mir arois
03. Hot majne homntash
04. Wolt ijch sejn a rov
05. Mai komashma lon
06. Jich nehm dos peckel
07. Frateg far nacht
08. Baj dem shtetl
09. Bin ijch mir a schnajderl
10. Jomme, jomme, shpil mir a lidele
11. Un as der Rebbe singt
12. Hot der tate fun jaridl
13. Tzen Bridder
14. Amol is gewen a majsse
15. Tumbalalalaika
16. Unter a klajn bajmele
17. Du majdele, du shajns
18. Lo mir ale singen
19. Baj majn Rebben is gewen
20. Un as de jontefdige tejg
21. Shlof, majn sun
22. Unter de chirwes von Pojln
23. Shtil, die nacht ist ojsgeshternt
24. S' brent, bridderlech, s' brent

Peter Rohland - Jiddische Lieder
(192 kbps, cover art included)

Montag, 17. Oktober 2016

The Ex - Singles. Period. The Vinyl Years 1980–1990

"Singles. Period. The Vinyl Years 1980–1990" is a compilation album by Dutch punk rock band The Ex, containing most of their singles released between 1980 and 1990. The collection does not include the band's double-single 1936, The Spanish Revolution, nor their "6" series or their collaborations with artists such as Chumbawumba and Dog Faced Hermans.
 
Singles. Period. was released in 2005 by Touch and Go Records during a time when The Ex's material was only being issued physically on compact disc. The band later returned to releasing albums on vinyl, and even began to issue new 7" singles in 2010.

The Ex has explored many musical directions through the years, including avant-garde jazz and experimental music. But on this decade's-worth of singles and B-sides released as part of its 25th anniversary celebrations the Dutch anarcho-socialist outfit hews close to its early-'80s punk ideals. The primitive punk polka of "Stupid Americans" is a raucous vehicle for the band's anti-imperialist, anti-capitalist worldview, while the angular "Human Car" wears its affinity with late-'70s punk groups like Gang Of Four and the Mekons on its ripped sleeve. Unapologetically political yet never dull, lyrics are screamed or chanted, scrambling for attention through a tumultuous mix of primal drums, clanking bass, and searing guitar.     

 Tracklist:
  1. "Human car" - 2:14
  2. "Rock'n'roll-stoel" - 2:07
  3. "Cells" - 1:52
  4. "Apathy disease" - 3:29
  5. "Stupid Americans" - 2:16
  6. "Money" - 1:36
  7. "Curtains" - 2:17
  8. "Weapons for El Salvador" 2:48
  9. "Dust" - 2:15
  10. "New wars 2" - 1:38
  11. "Constitutional state" - 1:55
  12. "Gonna rob the spermbank" - 3:46
  13. "When nothing else is helpful anymore" - 3:32
  14. "Memberships" - 5:34
  15. "Trash" - 4:56
  16. "Crap-rap" - 2:51
  17. "Long live the aged" - 3:54
  18. "Enough is enough" - 4:42
  19. "Rara rap" - 4:33
  20. "Contempt" - 2:25
  21. "Stonestampers song" - 2:58
  22. "Lied der Steinklopfer" - 3:35
  23. "Keep on hoppin'" - 3:04

The Ex - Singles. Period. The Vinyl Years 1980–1990
(224 kbps, cover art included)
     

Sun Ra And His Astro Infinity Arkestra – Strange Strings

"Strange Strings" is a somewhat legendary album from the mid-'60s. "I'm painting pictures of things I know about, and things I've felt, that the world hasn't had the chance to feel..." -Sun Ra, interviewed by Henry Dumas in 1966.
Recorded in 1966, and first published in 1967, this is the peak of Sun Ra's studies on possibilities of strings' sound.
The Arkestra uses here a huge range of strings instruments, from the usual (like double bass and viola), to the exotic ones (ukelin, bandura, zither,dutar and others), identified in the original liner notes as "electronic strings", but that were acoustic instruments amplified with microphones placed very close to the sound hole, and then treated with reverb and distortion.

"Marshall Allen said that when they began to record the musicians asked Sun Ra what they should play, and he answered only that he would point to them when he wanted them to start. The result is an astonishing achievement, a musical event which seems independent of all other musical traditions and histories.... The piece is all texture, with no sense of tonality except where Art Jenkins sings through a metal megaphone with a tunnel voice. But to say that the instruments seem out of tune misses the point, since there is no "tune", and in any case the Arkestra did not know how to tune most of the instruments..." - John F Szwed
"Worlds Approaching" is a great tune, anchored by a bass ostinato and timpani and featuring several fantastic solos, including Marshall Allen on oboe, Robert Cummings on bass clarinet, John Gilmore on tenor, and Sun Ra on electric piano. Off and on throughout the tune, Bugs Hunter applies near-lethal doses of reverb, giving the piece a very odd but interesting sound. "Strange Strings" is one of those songs that is likely to inspire some sort of "you call that music?" comment from your grandmother, or even from open-minded friends. It sounds like they raided the local pawnshop for anything with strings on it, then passed them out to the bandmembers. It's difficult to tell if some of these instruments have been prepared in some way, or if they're simply being played by untutored hands. There are also lots of drums and some viola playing from Ronnie Boykins that is also treated heavily with reverb. Despite the cacophony, there is a definite ebb and flow to the piece and what seem like different movements or themes. Whatever you think of the music contained, there's no denying that it produced some of the most remarkable sounds of the mid-'60s. If you don't like "far out," stay clear of this one.    

 Tracklist:
A1Worlds Approaching
A2Strings Strange
B1Strange Strange
 
(ca. 224 kbps, cover art included)

Samstag, 8. Oktober 2016

VA - The Kings Of High Life

A collection of early-style highlife straight out of Nigeria, with only one artist from outside the country represented, and all tracks coming from a license agreement with Premier Music in Lagos.

The album opens up with Victor Uwaifo, the first Nigerian to make gold record status in 1969. After a piece from Chief Stephen Osita Osadebe, trumpeter Victor Abimbola Olaiya (the "Evil Genius" of highlife) makes an appearance with "Omo Pupa." After another Osadebe work, master trumpeter Rex Lawson returns the focus to the horns. Vocalist Paulson Kalu and oldies troupe Wura Fadaka lead the way for Polygram's Nigerian A&R man, Chief Inyang Nta Henshaw, with his hit "Esonta." Mike "Gentle Man" Ejeagha provides a piece somewhat closer to the Ghanaian highlife forms, and Celestine Ukwu gives a more pop-oriented piece to the picture. Another piece by Rex Lawson follows, as well as another piece from Ukwu, and the album finishes again on the "Evil Genius" Olaiya and his trumpet.

This is a collection of guitar-based grooves, in large part, paving the way for soukous and the like later on. This isn't the highlife of Fela, but it's what Fela was listening to originally. It's the early, basic music based only partially on the traditional forms that would eventually become Afro-Pop.

VA - The Kings Of High Life
(192 kbps, small front cover included)          

Sonntag, 2. Oktober 2016

Josh White - Sings Easy (1944)

Langston Hughes' liner notes:

"You could call Josh White the Minstrel of the Blues, except that he is more than a Minstrel of the Blues. The Blues are Negro music, but. although he is a Negro, Josh is a fine folk-singer of anybody's songs - southern Negro or southern white, plantation work-songs or modern union songs, English or Irish ballads - any songs that come from the heart of the people.

When Josh was a little boy, he used to lead the famous Blind Lemmon Jefferson around, and he probably passed the tin cup. Blind Lemmon was a singer of Blues and Moans and Shouts. Blind Lemmon was great at those lonely songs that one man or one woman sings alone. Perhaps it was from Blind Lemmon that Josh absorbed the common loneliness of the folk song that binds one heart to all others-and all others to the one who sings the song. For Josh has a way of taking a song like Hard Times Blues and making folks who have never even had a hard time feel as though they had experienced poverty.

The guitar that Josh White plays is as eloquent, as simple and direct as are his songs themselves. His guitar keeps a heart-beat rhythm that makes you feel his songs in your heart. His guitar has in it at one and the same time, sadness and gaiety, despair and faith. Sometimes his guitar laughs behind a sad song. Sometimes it cries behind a happy song. Sometimes it makes a Chaplinesque comment on One Meat Ball. Josh White and His Guitar used to be billed together. They are one and inseparable.
Josh White sings with such ease that you never feel like he is trying. That is the secret of true folk-singing-for the folk-song never tries to get itself sung. If it just doesn't ease itself into your soul and then out of your mouth spontaneously, to stay singing around your head forever, then it isn't a folk-song. If it doesn't sing easy and wear like an o
ld shoe, it isn't a folk-song. And if the singer tries too hard and gets nowhere with such a song, that singer isn't a folk-singer.

The popular song hits sort of go in one ear, ring around in your head for a bit, then out the other ear. But folk songs like Water Boy, or Lord Randall, or any good old Blues, sort of soak into your being and remain there with no effort. The great folk-singers give them off again-with no effort, either. From Blind Lemmon to Burl Ives, from Bessie Smith to Aunt Molly Jackson there runs a wave of singing easy. Josh White also sings easy."

"Sings Easy" was a set of three singles released in 1944 by Asch Records with the following tracks:

Tracks:
- I Got A Head Like A Rock
- Fare Thee Well

- Outskirts Of Town
- One Meat Ball

- When I Lay Down And Die Do Die
- The House I Live In

Josh White - Sings Easy (1944)
(192 kbps, front cover included)

Samstag, 24. September 2016

The Golden Gate Quartet - The Essential - Historical Recordings From The Forties And The Fifties

Pioneer Virginia gospel/pop quartet of the '30s and '40s. Calling their innovative approach to sacred hymns "jubilee" singing, the Golden Gate Quartet, propelled by Willie Johnson and William Langford, enjoyed massive acceptance far outside the church.

Their smooth Mills Brothers-influenced harmonies made the Gates naturals for pop crossover success, and they began recording for Victor in 1937. National radio broadcasts and an appearance on John Hammond's 1938 "Spirituals to Swing" concert at Carnegie Hall made them coast-to-coast favorites.

By 1941 the Gates were recording for Columbia minus Langford, and movie appearances were frequent: Star Spangled Rhythm, Hollywood Canteen, and Hit Parade of 1943, to name a few. Some experiments with R&B material didn't pan out during the late '40s, and Johnson defected to the Jubilaires in 1948.

The group emigrated to France in 1959; led by veteran bass singer Orlando Wilson, the Golden Gate Quartet's vocal blend is as powerful as ever. 

The Golden Gate Quartet - The Essential - Historical Recordings From The Forties And The Fifties
(256 kbps, front cover included)

   

Mills Blue Rhythm Band - 1933 - 1936

This fine big band was originally formed by drummer Willie Lynch as the Blue Rhythm Band in 1930 and as the Coconut Grove Orchestra, provided backup to Louis Armstrong on some records. In 1931, Irving Mills became their manager and the group was renamed the Mills Blue Rhythm Band.

Lynch's departure later that year resulted in Baron Lee fronting the band until Lucky Millinder took over in 1934. The big band recorded frequently during 1931-1937 (all of the recordings have been reissued on five Classics CDs) and, although the orchestra never really caught on or developed its own personality, its recordings did document many fine performances.

Among the sidemen were pianist Edgar Hayes, altoist Charlie Holmes, Joe Garland on tenor, drummer O'Neil Spencer, and by 1934, trumpeter Red Allen, trombonist J.C. Higginbotham, and clarinetist Benny Bailey. Later editions included altoist Tab Smith, pianist Billy Kyle, and trumpeters Charlie Shavers and Harry "Sweets" Edison. When the group broke up in 1938, Lucky Millinder formed his own big band.    

Many of the Mills Blue Rhythm Band's recordings are now considered jazz classics by collectors. Original records regularly appear on auction lists (which indicates that they did sell records over their lifespan), and recent reissue and remastering projects have made their recordings more widely available.

Mills Blue Rhythm Band - 1933 - 1936 pt. 1
Mills Blue Rhythm Band - 1933 - 1936 pt. 2
(256 kbps, front cover included)
       

Mittwoch, 21. September 2016

Country Joe McDonald - Thinking Of Woody Guthrie (1969)

During the reigning years of San Francisco headband Country Joe and the Fish, singer and songwriter Joe McDonald took some time out to head to Nashville and record a pair of solo albums with the city’s top session men.

Released on the iconic Vanguard Records, these two albums saw McDonald take a broad left turn, away from psychedelia and deep into the traditional folk and country music that had helped inform his earlier years as a radical-political folksinger.

Indeed, the first of these two albums, Thinking of Woody Guthrie, was a heartfelt, play-it-straight tribute to the daddy of them all (the radical-political folksingers, that is). It is an album that does justice to the man who wrote all of the songs on it. Joe McDonald conveys all of the ranges of Woody's line of sight, from the migrant's resigned take on life ("Pastures Of Plenty"), to the dust-storm-beset people of Gray, Oklahoma ("So Long, It's Been Good To Know Yuh")to a guarded endorsement of the (then) major strides in technology for the greater good ("Roll On Columbia"). McDonald sings all of them with conviction and is backed by Nashville pros with talent to burn. Even "This Land Is Your Land" gets a vitality to it that's totally unexpected but great to hear.

 
(256 kbps, front cover included)

Montag, 12. September 2016

Woody Guthrie - The Early Years (feat. Cisco Houston & Sonny Terry)


Woody Guthrie was the most important American folk music artist of the first half of the 20th century, in part because he turned out to be such a major influence on the popular music of the second half of the 20th century, a period when he himself was largely inactive. His greatest significance lies in his songwriting, beginning with the standard "This Land Is Your Land" and including such much-covered works as "Deportee," "Do Re Mi," "Grand Coulee Dam," "Hard, Ain't It Hard," "Hard Travelin'," "I Ain't Got No Home," "1913 Massacre," "Oklahoma Hills," "Pastures of Plenty," "Philadelphia Lawyer," "Pretty Boy Floyd," "Ramblin' Round," "So Long It's Been Good to Know Yuh," "Talking Dust Bowl," and "Vigilante Man." These and other songs have been performed and recorded by a wide range of artists, including a who's who of folksingers.

The tracks found on this collection (which also features Cisco Houston and Sonny Terry) were recorded in the mid-'40s for Folkways Records and have been available in countless configurations over the years under varying titles, including editions for the Tradition, Legacy, Prism, and Collectables record labels. The best way to get this material is through the four-volume "Asch Recordings" from Smithsonian Folkways, which has the most thorough annotation. But anyway, this is a nice introduction into the inspiring music of Woody Guthrie.

Tracklist:

1 Hey Lolly Lolly 2:45
2 Buffalo Skinners 3:24
3 John Henry 2:42
4 Gypsy Davy 2:51
5 Worried Man Blues 3:03
6 More Pretty Girls Than One 2:18
7 Ain't Gonna Be Treated That Way 3:29
8 Rangers Command 2:55
9 Poor Boy 2:51
10 Lonesome Day 2:53
11 Pretty Boy Floyd 3:05
12 Hard, Ain't It Hard 2:43
13 Stackolee 2:43
14 Cumberland Gap 2:18
15 Old Time Religion 2:32
16 Sourwood Mountain 2:57
17 Long John 2:35
18 Lost John 4:06
19 Columbus Stockade 2:25
20 Bury Me Beneath The Willow 2:45

Woody Guthrie - The Early Years (feat. Cisco Houston & Sonny Terry)
(192 kbps, cover art included)

The Clancy Brothers - The Rising Of The Moon - Irish Songs Of Rebellion (Tradition, 1956)


"The Rising of the Moon" was the Clancy Brothers and Tommy Makem's first appearance on wax as a group. Recorded in 1959, in the kitchen of Kenneth S. Goldstein (co-creator of the Tradition label with Paddy Clancy), the album is a largely austere collection of fight songs and ballads that trace the fighting history of Ireland.

It features the singing of Paddy, Liam, and Tom Clancy; Makem sings as well, adds his tin whistle, and even plays rousing, military-style percussion on tracks like "Men of the West." While Makem and the Clancys' vocals are rich and melodic throughout the set, "Rising of the Moon" might be most striking for its instrumentation. Besides the input of Makem, the album features expressive guitar and harp, courtesy of Jack Keenan and Jack Malady, respectively. Both musicians help to lend "Rising of the Moon" its intimate, fireside feel; it's a sound that the Clancys and Makem would move away from on later, more crowd-pleasing releases, but here it helps imbue these songs with a respectful air.

 "Eamonn an Chniuic" is supported by the plucked harp like raindrops on a stubbornly wavering flower petal, while the instrument adds color to the guitar's urgent rhythm during "Foggy Dew." "Whack fol the Diddle" introduces one of the group's most famous singing techniques, while Makem's whistle livens up the title track's melody. But it's "Wind That Shakes the Barley" that could best combine aesthetic instrumentation with heartfelt emotion.             

Tracklist:

Side One:
O'Donnell Aboo
The Croppy Boy
The Rising of the Moon
The Foggy Dew
The Minstrel Boy
The Wind that Shakes the Barley
Tipperary Far Away

Side Two
Kelly the Boy from Killanne
Kevin Barry
Whack Fol the Diddle
The Men of the West
Eamonn An Chnuic
Nell Flaherty's Drake
Boulavogue

The Clancy Brothers - The Rising Of The Moon (1956)
(256 kbps, front cover included)

Sleeve notes in the comment section...

Samstag, 10. September 2016

John B. Sebastian - Same (1970)


"John B. Sebastian" is the debut album by American singer/songwriter John Sebastian, previously best known as the co-founder and primary singer/songwriter of the 1960s folk-rock band the Lovin' Spoonful. The album, released in January 1970, includes several songs that would become staples of Sebastian's live performances during the early and mid-1970s. Most notably, the album included "She's a Lady", Sebastian's first solo single (released in December 1968), and an alternate version of "I Had a Dream" which was used to open the soundtrack album of the 1970 documentary film "Woodstock". "John B. Sebastian" also featured support performances by David Crosby, Stephen Stills and Graham Nash several months before that trio agreed to work together as a performing unit.

When he led the Lovin' Spoonful from 1965 to 1967, John Sebastian experimented with a variety of styles, expanding from the folk, jug band, and rock & roll that were the band's basic mixture to include everything from country ("Nashville Cats") to orchestrated movie scoring ("Darling, Be Home Soon").

Freed from the confines of a four-piece band, he stretched further on his debut solo album, including the samba-flavored "Magical Connection" and the R&B-styled "Baby, Don't Ya Get Crazy" (complete with the Ikettes on backup vocals) in addition to traditional country on "Rainbows All Over Your Blues," which spotlighted Buddy Emmons on pedal steel guitar. But there were also delicate ballads like the string-filled "She's a Lady," a stripped-down remake of "You're a Big Boy Now," and "The Room Nobody Lives In," the last performed with only a harmonium and bass guitar. And there were pop/rock songs like "Red-Eye Express," "What She Thinks About," and the utopian "I Had a Dream" that you could imagine having fitted easily into the Spoonful's repertoire.

The songs continued Sebastian's trend toward a more personal writing style, many of them containing images of travel that corresponded to his peripatetic lifestyle. Like Paul McCartney's McCartney, which followed it into the marketplace by a few months, the album was an eclectic but low-key introduction to the solo career of a former group member whose band was known for more elaborate productions, and all the more effective for that.
"John B. Sebastian" was the subject of a legal dispute between MGM records and Reprise records, with Reprise winning out, although MGM briefly issued its own version of the LP, apparently taken from a second-generation master. The MGM version is sonically inferior to the Reprise one and has different artwork, but the contents of the two LPs are identical.     

John B. Sebastian - John B. Sebastian (1970)
(256 kbps, cover art included)

Donnerstag, 8. September 2016

VA - American Banjo: Three-Finger And Scruggs Style







Samstag, 3. September 2016

The Jazz Butcher - In Bath Of Bacon (1982)

Here´s another favourite from the 80s...: The Jazz Butcher´s 1982 debut "In Bath Of Bacon".

A true style chameleon, the Jazz Butcher is a hard act to categorize — and nowhere more so than on this album, which is primarily a one-man effort with help from assorted sidemen. The songs here are embryonic forays into styles he would explore more confidently on subsequent albums.

The title track is a punky blues number complete with squealing Elvis Costello-style organ. "Poisoned by Food" and "Sex Engine Thing" are thin, raw, folk-pop influenced numbers with an irresistibly nervous beat; the former paraphrases Steppenwolf's "Born to Be Wild," while the latter snitches Jonathan Richman's "Bye-bye" line from "Roadrunner." The musical feel of that Modern Lovers song is also evoked in a jazzy way on "Jazz Butcher Theme."

"Partytime" is best described as cocktail folk. "La Mer" is a faux French folk song with surreal lyrics about elephants. Clever, unusual accompaniments are put forth in "Chinatown" (flutes, glockenspiel, click track) and "Grey Flanellette" [sic] (glockenspiels, bass, organ, sandpaper blocks, click track). The songs have unusual, improvisatory nonsense lyrics that veer from the obscure to the semi-clever. The sound and playing have a homemade quality that sometimes crosses the line into sloppiness. This is still a strange yet intriguing record.

From the liner notes:
"Here it is at last! The hep young sound of todays beat élite, direct from the soul kitchen and served, still blazing, to your table! The release of this, the Jazz Butchers first long play recording, comes after months of rumour and report of a hot new act with a cool new sound that leaves the others way way behind. Now you too can hear for yourself the new groove that has set the bohemian set alight - in your own home! Words alone cannot do justice to the cordon-bleu treats of the Butcher Beat - so roll back the carpet and swoop and dive with the fab Butcher Man!"

The Jazz Butcher - In Bath Of Bacon (1982)
(192 kbps, front cover included)

Montag, 29. August 2016

Remembering the Spanish Civil War on its 80-year anniversary


"Europe’s current refugee crisis has been at the center of global attention and political negotiations for over a year now—with fears stoked in the United States about whether to join the EU bloc in taking in Syrian refugees, and the swell cited as one major reason Great Britain voted to leave the European Union late last month. But this is not the first time swaths of displaced, war-weary people have caused nations to fumble.

It has been eighty years since conditions leading up to World War II set the stage for a calamity of dislocation. It has been eighty years since General Francisco Franco and his foot soldiers launched a military uprising against the newly elected Spanish Republican government of Santiago Casares Quiroga. It was a revolt that would spark a three-year civil war and decades of fascist rule, backed by Adolf Hitler and Benito Mussolini—but not before displacing hundreds of thousands of Spaniards.
On July 17, 1936, Franco and his Nacionales-aligned Army of Africa—comprised of fighters from Spanish Morocco—rose against the Second Spanish Republic and swarmed the south of Spain, taking Seville with relative ease. By July 18, Franco had assumed command of the legion and begun dealing with opposition fiercely.

Civilians, in response, organized militias and mobilized to defend the Republic against the Nationalist threat. Anarchist workers emerged in Barcelona; factories were collectivized and money abolished in parts of Catalonia. For a time, there was hope that the revolt could be the impetus for a socialist revolution, as the Republican government in Madrid scrambled to build a popular front. The war that was later immortalized by George Orwell and Ernest Hemingway in literary works influenced by their experiences on the frontlines, the destruction of which was embodied by Pablo Picasso’s Guernica, would go on until 1939.

In that time, countless Spaniards were displaced by bombing raids and gunfights. Entire cities were leveled and opposition fighters executed or exiled. When Franco’s forces started their push through Catalonia, a persistent stream of refugees poured over the border into France. It is estimated that 450,000 refugees crossed that border by winter of 1939, just before Franco and his troops advanced on Madrid and took the city, previously the site of Republican infighting, in just two days. Thousands were executed, thousands more fled, and Europe came to face a compounded refugee crisis.
In 1937, the aerial bombardment of Spain’s northwestern Basques brought about a deal to save approximately 200,000 Basque children, aged 2-14, from war and starvation, by relocating them among six of seven countries that responded to the autonomous Basque government’s appeal: Belgium, Britain, Denmark, Mexico, Switzerland, the Soviet Union and the United States. All but the U.S. went on to accept children, despite the efforts of Eleanor Roosevelt, which were blocked by opposition from the Catholic Church and Congressional inaction.

By the time the great surge of Spanish refugees arrived to French borders in 1939, growing totalitarianism on the European continent had created the conditions for refugees fleeing Nazi Germany and, with more difficulty, the Soviet Union. The Spanish refugees hoped to be welcomed by the French and viewed as honorable, if failed, fighters in the name of liberty, but the democratic republic of France feared a turn toward communism—considering communist and anarchist factions in the civil war—and the refugees were instead met with suspicion and hostility. The French decided to allow the refugees to enter, but not freely.

The Spaniards—by this point often referred to as “criminals” and “radicals”—were herded into concentration camps on the beaches of Argeles-sur-Mer, St, Cyprien, and Barcares, where temperatures in the winter were freezing and where food and medical supplies scarce. The French tried everything to get the Spanish refugees to return to their country and by the end of the year about half did, in time for World War II to become visible on the horizon.

In Spain, Franco continued to hold power until his death in 1975.

Today, the United Nations Refugee Agency (UNHCR) estimates that 1,015,078 refugees arrived by sea to Europe from Africa and the Middle East in 2015. There have been 218,382 documented arrivals by sea so far in 2016, with another 2,868 refugees dead or missing just in the first six months of the year—and these numbers account only for those journeying across oceans.

Meanwhile, the continued struggle around how to manage the influx, including documenting, processing and relocating refugees, has thrown the continent into social and political upheaval, feeding into right-wing, nationalist political factions and threatening the European Union.
Here, we look back on the photographic works of Robert Capa, David Seymour and Gerda Taro, who documented the Spanish Civil War and the plight of its refugees 80 years ago—highlighting iconic images, like Capa’s Falling Soldier, which has since been reexamined and marked by controversy."  

-  By

 

Los Anarquistas - Marchas Y Canciónes De Lucha De Los Obreros Anarquistas Argentinos (1904 - 1936)


"Los Anarquistas 1904 - 1936" is an album with marches and songs of the struggles of the anarchist workers in Argentinia (1904-1936). It was ripped from an LP, so the file has only two tracks, side A and B.


Tracklist:
1-Hijo Del Pueblo (anarchist anthem)
2-Recitado (letter to the anarchists when starting their actions in the early twentieth century)
3-Milonga Social Del Payador Libertario (anonymous1902)
4-Milonga Anarquista (anonymous 1906)
5-La Verbena Anarquista (anonymous 1905)
6-Este Y Aquel. (lyrics by F. Gualtieri 1923)
7-Guajiras Rojas (anonymous 1918)
8-Marsellesa (anonymous 1907)
9-Semana Trágica (lyrics by F.Gualtieri 1919)
10-Maldita Burguesía (Habanera) (anonymous 1907)
11-Maldición De Un Maldito  (F. Gualtieri 1926)
12-Guitarra Roja (Martín Castro 1928)
13-Guerra A La Burguesía (Tango, anonymous 1901)
14-El Deportado (anonymous 1920)
15-El Héroe
16-Sacco Y Venzetti (Martín Castro 1928)
17-A Las Barricadas (Hymn of the anarchists in the spanish civil war)

Los Anarquistas - 1004 - 1936
(192 kbps, cover art included)

You will find the lyrics on this website: http://pacoweb.net/Cantatas/Anarco.htm
 

Freitag, 12. August 2016

Ramblin' Jack Elliott - Ramblin' Jack Elliott Sings Woody Guthrie And Jimmie Rodgers & Cowboy Songs

This 24-song CD is spellbinding for the different styles and approaches that Elliott takes to the three distinct bodies of work (drawn from two separate LPs) contained within.
His covers of a half-dozen Woody Guthrie songs emphasize his vocals and their expressiveness, with the accompaniment subordinate to the singing.
 
The Jimmie Rodgers stuff, by contrast, shows off some very attractive playing by all concerned, with wonderfully smooth guitar and fiddle work, and a very fine produced sound. The two sets of six songs sound very dissimilar to each other -- Elliott has more of a drawl on the Guthrie material and a fine yodel on the Rodgers songs. And then the Western songs show off another, more rudimentary sound -- Elliott's voice has more of a twang here, and the playing is, once again, usually somewhat subordinate to the singing. Elliott and his producers were careful to juxtapose contrasting songs, so that the bracing Western swing-style number "Sadie Brown," with its jaunty fiddle, is followed by the haunting, unaccompanied "Night Herding Song," highlighted by Elliott's glorious near-falsetto yodel.
 
Also in contrast to the Rodgers and Guthrie songs, the cowboy songs show almost no use of stereo separation. These versions have a beguiling air of authenticity despite their being recorded long after the point they were written -- on "Jack O' Diamonds," in particular, Elliott compares favorably with Tex Ritter (who turned the song into a hit as "Rye Whiskey"), complete with the alcoholic whooping and hollering that helped make Ritter's version so beguiling and endearing. Elliott covers at least three styles here, with little overlap; it's more than one hour of excellent material that's the equal of any of his various best-of compilations from different labels.     

Ramblin' Jack Elliott - Ramblin' Jack Elliott Sings Woody Guthrie And Jimmie Rodgers & Cowboy Songs
(160 kbps, front cover & booklet included)  

Dienstag, 9. August 2016

Harry Belafonte - Belafonte At Carnegie Hall (1959)

An actor, humanitarian, and the acknowledged "King of Calypso," Harry Belafonte ranked among the most seminal performers of the postwar era. One of the most successful African-American pop stars in history, Belafonte's staggering talent, good looks, and masterful assimilation of folk, jazz, and worldbeat rhythms allowed him to achieve a level of mainstream eminence and crossover popularity virtually unparalleled in the days before the advent of the civil rights movement - a cultural uprising which he himself helped spearhead.

"Belafonte at Carnegie Hall" is a live double album by Harry Belafonte. It is the first of two Belafonte Carnegie Hall albums, and was recorded on April 19 and April 20, 1959. The stereo version of the album was released on the RCA Victor label, in the "Living Stereo" series. The concerts were benefits for The New Lincoln School and Wiltwyck School, respectively.


Tracklist:

"ACT I - MOODS OF THE AMERICAN NEGRO"

 Side one:"Introduction/Darlin' Cora"
"Sylvie"
"Cotton Fields"
"John Henry"
"Take My Mother Home"

 Side two:"The Marching Saints"

"ACT II - IN THE CARIBBEAN"

"The Banana Boat Song (Day-O)"
"Jamaica Farewell"
"Man Piaba"
"All My Trials"

Side three:"Mama Look a Boo Boo"
"Come Back Liza"
"Man Smart (Woman Smarter)"

"ACT III - ROUND THE WORLD"


"Hava Nagila"
"Danny Boy"
"Merci Bon Dieu"

 Side four:"Cucurrucucu Paloma"
"Shenandoah"
"Matilda"

Harry Belafonte - Belafonte At Carnegie Hall (1959)
(192 kbps, cover art included)

Donnerstag, 4. August 2016

The Brothers Four - Same (1960)

As folk revival albums go, this one is tame but very upbeat and well sung, treading a fine line midway between the Kingston Trio and Mitch Miller & the Gang.

Side one shows a strong calypso and Carribean influence, and also offers a pair of novelty-style tunes, while side two is weighted more toward traditional American folk material. That material is more beguiling and playful, and serves as a beautiful showcase for the quartet's harmony singing - rousing, straightforward vocalizing on "Hard Travelin'" (which seems like the template for the New Christy Minstrels' sound) and the melodic sea shanty "Eddystone Light," the gorgeous multi-layered arrangement of "Darlin', Won't You Wait," and the moody chart hit "Greenfields."

It's all nicely sung and produced in a restrained style that makes inventive but unobtrusive use of stereo separation. The album seems tame and predictable today but, in 1960, this was what folk music was in the minds of most listeners, and this isn't a bad example of the form.                


Tracklist:

A1 The Zulu Warrior
A2 Sama Kama Wacky Brown
A3 The Damsel's Lament (I Never Will Marry)
A4 Yellow Bird
A5 Angelique-O
A6 Superman

B1 East Virginia
B2 Greenfields
B3 Darlin' Won't You Wait
B4 Eddystone Light
B5 Banua
B6 Hard Travelin'


The Brothers Four - Same (1960)
(256 kbps, cover art included)

Mittwoch, 3. August 2016

Merle Haggard & The Strangers - Hag (1971)

Arriving after the superb Bob Wills salute "Tribute to the Best Damn Fiddle Player in the World", 1971's "Hag" was Merle Haggard's first collection of largely original songs in two years, since 1969's "Portrait". Since that album, Haggard experienced great success with "Okie from Muskogee," which launched two quick live albums (one bearing the name of the song, the other being "The Fightin' Side of Me"), plus an instrumental album by the Strangers, before the labor of love of the Wills album.

Perhaps Haggard had a great stock of songs saved up during those two years, because "Hag" is one of his absolute best albums - which means a lot, because he recorded no shortage of great records. In contrast to the rowdy live albums and the raucous Western swing that preceded it, "Hag" is quite quiet and reflective, sometimes referencing the turmoil within America at the end of the '60s, but more often finding Haggard turning inward.

This album turned out no less than four hits, with three of them addressing larger issues: the revival of Ernest Tubb's WWII hit "Soldier's Last Letter" is now cast in the shadow of Vietnam, Haggard's original "Jesus, Take a Hold" ponders the state of the world, while Dave Kirby's "Sidewalks of Chicago" is about homelessness. The other hit was "I Can't Be Myself," a haunting admission that the singer "can't be myself when I'm with you," and it's only one of many great originals on "Hag". The tempo picks up twice, each time at the end of the side, when he kicks out the self-deprecating "I'm a Good Loser" and the nostalgic rave-up "I've Done It All," but the heart of this is in the gentler material, such as the melancholic elegy of "Shelly's Winter Love," the sighing heartbreak ballad "If You've Got Time," and "The Farmer's Daughter," an affecting tale of a father giving away his daughter in marriage. Each is an expertly observed, richly textured gem, and taken together they add up to one of Haggard's best albums, and one of his most moving.     

Tracklist:

A1Soldier's Last Letter2:11
A2Shelly's Winter Love3:18
A3Jesus, Take A Hold2:15
A4I Can't Be Myself2:49
A5I'm A Good Loser2:39
B1Sidewalks Of Chicago2:30
B2No Reason To Quit2:31
B3If You've Got Time (To Say Goodbye)2:49
B4The Farmer's Daughter2:54
B5I've Done It All2:09

Merle Haggard & The Strangrs - Hag (1971)
(256 kbps, cover art included)         

Mittwoch, 27. Juli 2016

"We Weren´t Given Anything For Free" - A Film About Women In The Italian Resistance - Crowd-Funding Campaign

The german film-maker Eric Esser started a crowd-funding campaign for the DVD release of his award-winning documentary "We Weren't Given Anything for Free" with bonus film material and a comprehensive booklet about women in the Italian resistance.

Eric Esser writes about the film and the campain:

“We Weren’t Given Anything for Free” follows the dramatic events in the lives of former Italian partisan, Annita Malavasi, and her two comrades, Pierina Bonilauri and Gina Moncigoli.
This film is about the Italian resistance during the Second World War, from the perspective of these women. The 58-minute documentary premiered in Germany at the end of 2014. It had a successful run in a total of 30 film festivals in Germany and abroad. The film was honored or awarded a prize on 13 occasions.
Piera Bonilauri with her medals.
Piera Bonilauri with her medals.

I want to create a DVD box for my documentary, “We Weren’t Given Anything for Free.” The comprehensive booklet will tell the story of the women in the Italian resistance; it will contain biographies of each of the three partisan fighters portrayed in the film, as well as historical information on Reggio Emilia during the Second World War.
The DVD menus will be available in Italian, English and Spanish. Printed materials such as the booklet and the DVD box itself will be available initially only in German and Italian.
Partisans in Reggio Emilia after the liberation
Partisans in Reggio Emilia after the liberation

What Is Being Funded

With this campaign, I would like to finance the following endeavors:
  • Production of bonus material not included in the original film, including color correction, audio processing, as well as translation, editing of translated texts, and subtitles in three languages.
  • Concept and production of a 12-page booklet, including layout, translation, and editing of translated texts.
  • Creation of further printed media such as the DVD box and DVD label, and corresponding translation and editing of the translated texts.
  • Design and production of the DVD menu, as well as its translation and editing of the translated texts.
  • Conceptualization and authoring of the DVD, as well as production of a glass master for DVD pressing.
Because I financed the original film project for the most part by myself, and because the debts which I incurred for the production of that film have not yet been paid off, I am no longer able financially to contribute to the production of a DVD. I have decided to try to mobilize the necessary funds to realize this project through a crowd-funding campaign. I would therefore like to ask you, would you care to support my endeavor with a financial contribution?"

If you are interested, you´ll find detailed information about the crowd-funding campaign via https://www.kickstarter.com/projects/712197499/dvd-release-geschenkt-wurde-uns-nichts/