Samstag, 25. Februar 2017

Country Joe & The Fish - Electric Music for the Mind and Body

Their full-length debut is their most joyous and cohesive statement and one of the most important and enduring documents of the psychedelic era, the band's swirl of distorted guitar and organ at its most inventive.
In contrast to Jefferson Airplane, who were at their best working within conventional song structures, and the Grateful Dead, who hadn't quite yet figured out how to transpose their music to the recording studio, Country Joe & the Fish delivered a fully formed, uncompromising, and yet utterly accessible -- in fact, often delightfully witty -- body of psychedelic music the first time out. Ranging in mood from good-timey to downright apocalyptic, it embraced all of the facets of the band's music, which were startling in their diversity: soaring guitar and keyboard excursions ("Flying High," "Section 43," "Bass Strings," "The Masked Marauder"), the group's folk roots ("Sad and Lonely Times"), McDonald's personal ode to Grace Slick ("Grace"), and their in-your-face politics ("Superbird").
 
Hardly any band since the Beatles had ever come up with such a perfect and perfectly bold introduction to who and what they were, and the results -- given the prodigious talents and wide-ranging orientation of this group -- might've scared off most major record labels. Additionally, this is one of the best-performed records of its period, most of it so bracing and exciting that one gets some of the intensity of a live performance.
 
 
Tracklist:
Flying High2:37
Not So Sweet Martha Lorraine4:18
Death Sound4:21
Porpoise Mouth2:47
Section 437:23
Super Bird2:01
Sad And Lonely Times2:21
Love2:20
Bass Strings4:58
The Masked Marauder3:07
Grace


Country Joe & The Fish - Electric Music for the Mind and Body        
(192 kbps, cover art included)

Freitag, 24. Februar 2017

VA - Vorwärts und nicht vergessen - Musik der Arbeiterbewegung in Dokumentaraufnahme - To remember Inge Lammel!

Originally posted on July, 30 2015:
Today was the funeral ceremony for Inge Lammel. We lost an engaged and politically conscious friend, always active against racism and fasicsm. Fortunatelly I had the chance to meet Inge Lammel in the last years at several occassions. Once, we talked about this blog and finally she gave me a book about Woody Guthrie as a present. Thanks a lot for all your great work, Inge, and may you rest in peace!
Inge Lammel (born May 8, 1924 in Berlin as Inge Rackwitz ; died July 2,  2015 in Berlin) was a German musicologist, focused on the history and tradition of political music, especially on working-class songs, songs of the resistance movments against the nazis and songs in the concentration camps.

Inge Lammel came to England in 1939 on a "Kindertransport". Contrary to most ‘transports’, associated with Jews and World War II, these children ‘transports’ started before the war broke. They were mainly from Nazi-occupied Germany, Austria and Czechoslovakia in the direction of free Britain. They included only kids, without their parents, but with their parents’ consent for their one-way voyage on their own. Many of those 10,000 Jewish children (‘kinder’ in German) were the only survivors of their family.

She settled to the DDR in the fall of 1947, wishing to help rebuild a democratic Germany. She has since lived in Berlin-Pankow. A massive bibliography of German working-class songs was assembled by a collective under the leadership of Inge Lammel at the "Akademie der Künste". Inge Lammel founded the "Arbeiterlied-Archiv" at the "Akademie" and headed it from 1954 to 1985. During this time there were several compilations with working-class songs published in the GDR. She also co-founded the "Bund der Antifaschisten" in Berlin-Pankow.

At the fourth Burg Waldeck Festival in 1967, the GDR was "officially" represented in the form of the Brecht singer Hermann Hähnel and by Ingel Lammel and Erna Berger from the "Arbeiterlieder-Archiv". They presented a workshop on Wolfgang Steinitz´s research on the German democratic folk song.



In 2012 Inge Lammel was honoured for the stalwart work she has carried out for many years researching and writing about the local pre-war Jewish community – she has published several books – and for launching some 12 years ago the "Verein der Freunde und Förderer des ehemaligen Jüdisches Waisenhaus, Pankow". This association, which is run by a committee of Jews and non-Jews, has traced and remained in touch with men who lived in the orphanage before the war. Since 2001 the association, with the help of the Cajewitz Stiftung, has organised many reunions of former pupils and their partners. These reunions have done much to enable the former pupils to come to terms with their past, to reconnect with the new Germany and, in some cases, to regain their mother tongue.

One of the very instructive collections with working-class music published with the help of Ingel Lammel is "Vorwärts und nicht vergessen - Musik der Arbeiterbewegung in Dokumentaraufnahme", released in 1971 on ETERNA. Comes in gatefold cover with booklet, containing texts and photographs, the linernotes are by Inge Lammel.

Tracklist:
1.Hanns EislerDie Fabriken
2.Berliner Schubert ChorRotgardistenmarsch
3.Erwin PiscatorTrotz alledem
4.Arbeiter Schalmei KapelleBüxensteinlied
5.Rote RaketenRote Raketenmarsch
6.Erich WeinertGesang der Latscher
7.Rote RaketenGaslied
8.Gesangverein Typographia          Wann wir schreiten
9.Rote RaketenNiggersong
10.Hanns EislerSolidaritätslied
11.Erich WeinertDer rote Feuerwehrmann
12.Das Rote SprachrohrDas rote Fahne Lied
13.Die StürmerRote Matrosen
14.Hanns EislerDer rote Wedding
15.Hanns EislerGustav Kulkes seliges Ende
16.Das Rote SprachrohrDas Komsomolzenlied
17.Erich WeinertDer heimliche Aufmarsch gegen die Sowjetunion


VA - Vorwärts und nicht vergessen - Musik der Arbeiterbewegung in Dokumentaraufnahme
(192 kbps, cover art & booklet included)

Nico - Chelsea Girl (1967)

PhotobucketAlthough "Chelsea Girl" (1967) was the first long-player from the German-born Christa Päffgen, it was not her debut solo effort. Prior to becoming involved with the Velvet Underground and while under the direction of Andrew Loog Oldham, Nico issued an obscure 7" on the mod pop Immediate label. The song selection on that 1965 single — which featured a cover of Gordon Lightfoot's "I'm Not Sayin'" and an Oldham co-composition with Jimmy Page called "Last Mile" - foreshadowed the eclectic nature of this LP.

Although the dissolution between the vocalist and core instrumental quartet was not without its share of acrimony, the non-percussive contingent of the Velvet Underground is heavily featured on "Chelsea Girl": along with then-unknown singer/songwriter Jackson Browne (guitar) — the vocalist's concurrent love interest — there is Lou Reed (guitar), Sterling Morrison (guitar/bass), and John Cale (piano/bass/viola), who contrast what they had been doing with the larger combo.
These sides are decidedly "unplugged," providing a folky and Baroque setting for Nico's dark and brooding vocal inflections. There is an introspective foresight in Browne's "Fairest of the Seasons," "These Days," and "Somewhere There's a Feather." The minimalist string section features a quaint, yet effective arrangement giving the material a distinctly European feel. These orchestrated folk leanings are similar to the sound emanating from other burgeoning groups such as the Incredible String Band, Pentangle, and the Fairport Convention spin-off Fotheringay.The same can be said of her almost unrecognizable reworking of Bob Dylan's "I'll Keep It With Mine." The noir black-widow charm ultimately saves the performance, as does Cale's remarkable classical intonations. With Reed's "Wrap Your Troubles in Dreams" - a track which actually predates the Velvet Underground - there is a sense of history that Nico brings to her interpretation, as if the melody were, in fact, a traditional German folk tune.

There is a palpable distinction between those lighter cuts and the menacing Velvet Underground-conceived material. At the center of the project are the extended "It Was a Pleasure Then" and the stunning semi-autobiographical Reed/Morrison title track. The juxtaposition of such honest and at times harrowing imagery to Nico's inherently bleak delivery is nothing short of an inspired artistic statement which has since long outlasted its initial socially relevant context — similar to the more modern contributions of Laurie Anderson, Ann Magnuson, and Patti Smith. An unqualified masterpiece.

Nico - Chelsea Girl (1967)
(320 kbps, front cover included)

Donnerstag, 23. Februar 2017

VA - Festival des politischen Liedes - Die Achtziger


Tomorrow will be the first day of this years Festival Musik und Politik.

This compilations features 19 songs from the 1980s, most of them recorded live at the "Festival des politischen Liedes" in East Berlin.

The album has a lot of internationally known stars with a stronger focus on Anglo-American and Celtic acts with two unusual collaborations: The Sands Family, Dick Gaughan and Eastern German band Wacholder sing together "Es ist an der Zeit/Green Fields of France"; and Dick Gaughan joining forces with Eric Bogle to sing "Which side are you on". And on this album there are also Pete Seeger's "Turn! Turn! Turn" and Billy Bragg's "Between the Wars". Then there are Western Germany´s Hannes Wader and Zupfgeigenhansl, Eastern Germany´s Gerhard Gundermann and Hans-Eckart Wenzel, Mercedes Sosa with Léon Gieco from Argentinia, Carlos Mejía Godoy from Nicaragua etc.
The recording quality is always reasonably good, catching the live atmosphere and the audience joining in the choruses without disturbing the music. An important document not only of an important festival and of political songwriting, but also of an era of German history that left not only a political but also a musical legacy.

Tracks:

01. MARIA FARANTOURI - Vegetaciones (5.18)
02. HANNES WADER - Leben einzeln und frei (4:08)
03. SHANNA BITSCHEWSKAJA - Die Erde ist unser Haus (2:28)
04. PERRY FRIEDMAN - O Freedom (5:41)
05. SANDS FAMILY, DICK GAUGHAN, WACHOLDER - Es ist an der Zeit (6:19)
06. ZUPFGEIGENHANSEL - Andre, die das Land so sehr nicht liebten (3:14)
07. HANS ECKHARDT WENZEL - Liebste lass die Lampe an (2:22)
08. CARLOS MEJIA GODOY - Nicaragua, Nicaragüita (3:42)
09. SILVIO RODRIGUEZ - Pequena serenata diurna (2:47)
10. ATAHUALPA YUPANQUI - jBasta ya! (5:37)
11. BRUCE COCKBURN - Nicaragua (5:01)
12. DICK GAUGHAN, ERIC BOGLE - Which side Are You On (2:50)
13. BILLY BRAGG - Between the Wars (2:29)
14. PETE SEEGER - Turn! Turn! Turn! (3:39)
15. ABDULLAH IBRAHIM - Tula Dubula (6:46)
16. GERHARD SCHÖNE - Mit dem Gesicht zum Volke (3.30)
17. MERCEDS SOSA, LEON GIECO - Solo le pido a Dios (4:04)
18. SWEET HONEY TN THE ROCK - Through Soweto (2:33)
19. GERHARD GUNDERMANN - Old Dixie Down (4:12)

VA - Festival des politischen Liedes - Die Achtziger
(320 kbps, cover art included)

Mittwoch, 22. Februar 2017

Lin Jaldati / Jalda Rebling / Eberhard Rebling - Für Anne Frank (LITERA 1981)

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"The Diary of Anne Frank" is one of the most widely read books in the world but her time in hiding was just one part of this remarkable girl's short life.

Anne Frank is famous for the diary that she kept from 12 June 1942 until 4 August 1944.
She was born on 12 June 1929 in Frankfurt, Germany, and was the second daughter of Otto Frank and Edith Frank-Hollander. Her sister Margot was three years older. She enjoyed four happy years growing up in Frankfurt until the Nazi's came to power.

Of German Jewish descent, she and her family moved to Holland in 1933, where her father set up a business. By 1934, Edith and the two girls were living in Amsterdam, where they both attended school. From a young age, Anne showed an aptitude for reading and writing, while her outspoken and energetic personality shone through. When Holland was occupied by the Nazis in 1940, their heritage put the family under threat.

The family were subjected to the same rules as German Jews, namely Jewish children could only attend Jewish schools, they faced curfews, were not allowed to own a business and were forced to wear a yellow star. Otto transferred his shares in his company to a friend and resigned as director leaving the family with enough income to survive.

On her 13th birthday, Otto gave Anne an autograph book bound with white and red checked cloth and closed with a small lock. She proceeded to use this as her diary, with the first entries detailing how her family were segregated and discriminated against. In July 1942, her sister Margot received a call up notice from the Central Office of Jewish Emigration ordering her to report for a relocation to a work camp. This made the family move into hiding earlier than planned.

On 6 July 1942, Anne, her sister Margot and her parents went into hiding, along with four other families. Their hiding place, the annexe, was in a specially prepared space above the offices of their business.

Whilst in hiding, they were supported by a group of friends, who brought them food as well as anything else they needed.

Anne started each diary entry 'Dear Kitty' and what followed was an incredibly candid and eloquent account of her life in confinement. It expresses her fear, boredom and confusion at the situation she found herself in.

As well as giving the reader an insight into of what it was like to live under such extreme circumstances, it also shows Anne struggling with the universal problem of growing up.
Her diary ends in 1944 when the annexe was raided by the Nazi authorities. Anne and Margot were first sent to Auschwitz and then to Bergen-Belsen where they died of typhoid in 1945.

She was survived only by her father Otto. Anne's diary was kept safe by the family friend, Miep Gies, who gave it to Otto when he returned to Holland. When Anne was still alive she had expressed interest in having her diary published as a record of her experience. After her death, her father edited it, and it was first published in 1947.

'The Diary of Anne Frank' is an exceptionally popular and well known piece of writing. It has been translated into 67 languages and is especially popular with young people.

The album "Für Anne Frank" mixes songs, readings and documentary parts, performed by Lin Jaldati, Jalda Rebling and Eberhard Rebling and recorded live in 1980.

Lin Jaldati was a Dutch Jewish Communist Yiddish singer, who survived the Holocaust and was the last person to see Anne Frank alive. After the war, she and her husband, Eberhard Rebling, moved to East Berlin where she became the Yiddish diva of the Communist world, including a 1965 concert including Yiddish music in North Korea, and a 1983 concert in Yad Vashem, where she was a representative of her adopted home in East Germany. While primarily in Yiddish, the Yad Vashem concert included German-language anti-fascist songs by Hans Eisler, the first time German music was heard in the hallowed halls of Israel's Holocaust memorial.

Songs on the album:

Amol is gewen a jidele
Schejn bin ich, schejn
Motele
Schtiller, schtiller
's ls nischto kejn nechtn
's Dremlen fejgl ojf di zwajgn
Sog nischt kejnmal
Her nor, du schejn mejdele
Dos lid fun scholem
Ich bezeuge (Worte Pablo Neruda, Musik: Paul Dessau)

Lin Jaldati / Jalda Rebling / Eberhard Rebling - Für Anne Frank (LITERA 1981)
(320 kbps, cover art included)


Völker hört die Signale - Internationale Arbeiterkampflieder (ETERNA)


This compilation of classic worker songs was released on the ETERNA label in the German Democratic Republic (GDR). It features choral versions of classic worker songs like "Die Internationale" or "Brüder, zur Sonne, zur Freiheit" and songs related to the anti-fascist fight in the Spanish civil war - like "Bandiera Rossa" and "Spaniens Himmel" -  sometimes with a solo voice, sometimes without.

Tracklist:

01 Rundfunkchor Berlin - Die Internationale 03:40
02 Rundfunkchor Berlin - Brüder, zur Sonne, zur Freiheit 01:47
03 Rundfunkchor Berlin - Dem Morgenrot entgegen 02:54
04 Rundfunkchor Berlin - Die Arbeitermarseillaise 01:53
05 Rundfunkchor Berlin - Matrosen von Kronstadt 02:07
06 Rundfunkchor Berlin - Unsterbliche Opfer 02:03
07 Rundfunkchor Berlin - Sozialistenmarsch 02:06
08 Rundfunkchor Berlin - Im Kerker zu Tode gemartert 02:35
09 Rundfunkchor Berlin - Brüder, seht, die rote Fahne 02:50
10 Rundfunkchor Berlin - Warschawjanka 02:40
----
11 Rundfunk-Jugenchor Wernigerode - Bandiera Rossa 01:46
12 Rundfunk-Jugenchor Wernigerode - Wann wir schreiten Seit an Seit 02:01
13 Jugendchor Berlin - Entgegen dem kühlenden Morgen 01:57
14 Rundfunk-Jugenchor Wernigerode - Solidaritätslied 02:22
15 Rundfunk-Jugenchor Wernigerode - Spaniens Himmel 01:49
16 Hermann Hähnel - Einheitsfrontlied 02:59
17 Hermann Hähnel - Die Moorsoldaten 02:24
18 Rundfunk-Jugenchor Wernigerode - Wir sind die erste Reihe 02:03
19 Rundfunk-Jugenchor Wernigerode - Sein rotes Banner 02:35
20 Rundfunkchor Berlin - Hammer

Völker hört die Signale - Internationale Arbeiterkampflieder
(224 kbps, cover art included)

Dienstag, 21. Februar 2017

Henry Cow - In Praise Of Learning (1975)

Henry Cow's third album, originally released in 1975, found them expanded to an eight-piece ensemble after a guest session on another group's record. Henry Cow absorbed Slapp Happy into their lineup after appearing on Slapp Happy's "Desperate Straights" album. It was a tenuous relationship (lasting only long enough for this release, and with Slapp Happy crumbling after Dagmar Krause decided to stay on with Henry Cow), but one that produced some stunning results. Anthony Moore and Peter Blegvad's "War" has enormous proportion and power that would have been beyond the scope of a relatively quiet trio. The sheer ambition of this work is bracing. Intricately composed and arranged pieces, rife with lyrics that meld poetry with politics, give way to extended improvisations. While that had always been the Henry Cow recipe, it was never given such dramatic sweep. No one has ever, before or since, sounded like this incarnation of Henry Cow.   

Henry Cow's politics were as radical as their music, and this was never more explicit than on this album. The trademark chainmail sock was deep red, and the cover was adorned with a quote from the left wing film maker John Grierson - 'Art is not a mirror, it is a hammer'. The titles of the two instrumentals also explicitly refer to the band's left wing politics; "Beginning: The Long March" is a reference to the Chinese Revolution, while "Morning Star" is the name of the daily paper published by the Communist Party of Great Britain.

Among their contemporaries, only Matching Mole ever released an album as explicitly political as this with 'Little Red Record'. Whether you agree with their politics or not, music as passionate and committed as this is all too rare, and in the prog field it is almost unprecedented. Listen and be amazed.

Tracklist:

War2:24
Living In The Heart Of The Beast15:18
Beginning: The Long March6:20
Beautiful As The Moon- Terrible As An Army With Banners6:55
Morning Star6:02



Henry Cow - In Praise Of Learning (1975)
(ca. 192 kbps, cover art included)

Hanns Eisler – Orchestral Pieces – Hans E. Zimmer

The orchestral works by Hanns Eisler included in this album are all examples of what he called "applied music". Eisler first used this term in the mid-1920s to describe the links between music and other arts such as poetry, theartre and dance and, at the same time, to underscore the new functionality of music when combined with such technological media as radio, film and the gramophone, all of which were envolving at dizzying speed and making it possible to reproduce music on a massive scale. In consequence, the concert hall had lost the leading position in musical culture. Although Eisler helped to pioneer the use of music in films, stage plays and the radio as early as 1926, he never claimed that this heralded the end of music in the concert hall, only that such music would have to change by adapting itself stylistically and taking over into the concert hall forms from the world of "applied music".
 
All the works on this album illustrate the different ways in which Eisler realised his concept of a synthesis between technical and musical progress. Although their titles all appear to suggest "pure" concert music, they all started life as film or theatre music. The same is true of Eisler´s six Suites for orchestra, which were written between 1930 and 1934 and which are all based on film scores adapted for the concert hall.

Incuded works:
Kleine Sinfonie, op.29
Fünf Orchesterstücke
Drei Stücke für Orchester
Sturm-Suite für Orchester
Kammer-Symphonie, op.69

Deutsches Symphonieorchester Berlin
Hans E. Zimmer - conductor

Hanns Eisler – Orchestral Pieces – Hans E. Zimmer
(256 kbps, front cover included)

Montag, 20. Februar 2017

Zehnkampf – Festival des politischen Liedes 1970–1980

Next weekend we will have this years "Festival Musik und Politik", so let´s go back in time...

The Festival of Political Song took place from 1970 to 1990 in East Berlin, held annually in February (except during the Tenth World Festival in the summer of 1973). It was one of the biggest music events in the DDR (GDR) and an "international institution" (Mikis Theodorakis, 1983).
"Zehnkampf – Festival Des Politischen Liedes 1970–1980" ("Decathlon - Festival Of Political Song 1970-1980") is a compilation of live tracks, recorded between 1970 and 1980.

The first page contains primarily Spanish-speaking artists -  Inti-Illimani and Quilapayún are playing two important hymns of the South American socialists (Venceremos and El Pueblo Unido) . Side two starts with an excerpt from Mikis Theodorakis ' "Canto General", based on Pablo Neruda's poems, following are tracks from Gruppe Schicht and Jahrgang ´49 from the GDR.

In contrast, side three and four are dedicated to (West) German, European, African and Vietnamese artists such as is Franz Josef Degenhart , Floh de Cologne, Sands Family, Bots, Miriam Makeba and Singegruppe Hanoi. Finally, the double album closes with the song "Wir sind überall" ("We Are Everywhere") by Oktoberklub - a hymn and a manifesto of the artists and the festival.

Tracklist:

Side One
Venceremos - Inti-illimani - 1973
A desalambrar - Daniel Viglietti - 1974
Marinero der Rückkehr - Isabel y Ángel Parra - 1980
Fusil contra fusil - Silvio Rodríguez - 1972
La consigna - Carlos Mejía Godoy - 1979
Canción de la unidad latinoamericana - Manguaré - 1977
Poder popular - Santocas - 1976
El pueblo unido - Quilapayún - 1978

Side Two
Algunas bestias - Rundfunkchor Berlin - 1980
L'apprendista - Macchina Macheronica - 1979
Regine - Gruppe Schicht - 1979
Baikal-Amur-Magistrale - Gruppe Lingua - 1975
Swiecie Nasz (unsere Welt) - Gruooe ANAWA - 1972
Fahnenlied - Jahrgang '49 - 1976

Side Three
Ich kenne ein Land - Floh de Cologne - 1979
Ballade von Hans Dickhoff - Dieter Süverkrüp - 1972
Kenen joukoissa seisot - Agit-Prop - 1972
Mexico '68 - Francesca Soleville - 1971
Der lange Weg - Bots - 1977
Kommt an den Tisch unter Pflaumenbäumen - Franz Jozef Degerhardt - 1977
The Winds are Singing Freedom The Sands Family - 1974

Side Four
Grândola, villa morena - José Afonso - 1975
Ich grüsse die Revolutionäre - Gruppe der PLO - 1977
Afrika - Miriam Makeba - 1977
Revolutionäres Heimatland oder Tod - Gruppe Rev. Lied - 1979
The strangest dream - Perry Friedman - 1980
Vietnam Ho Chi Minh - Singegruppe Hanoi - 1977
Mein Erde blühe - Larissa Kandalowa - 1980
Wir sind überall - Oktoberklub - 1973

Zehnkampf – Festival des politischen Liedes 1970–1980, LP 1
Zehnkampf – Festival des politischen Liedes 1970–1980, LP 2
(160 kbps, cover art included)

Sonntag, 19. Februar 2017

Daniel Kempin - Mordecai Gebirtig - Krakow Ghetto Notebook

Mordecai Gebirtig, born in Cracow in 1877, made his living as a carpenter but was celebrated throughout the Yiddish-speaking world as a folk poet and songwriter—the “troubadour of the Jewish people.” During World War II, he continued to write and perform, using the medium of song to chronicle his experiences under the German occupation. In June 1942, Gebirtig, age 65, was shot and killed by German soldiers when he refused to comply with a deportation order.

Gebirtig wrote Our Town is Burning in response to a 1936 pogrom in the Polish town of Przytyk. In retrospect, the song seems prophetic of the Holocaust, but Gebirtig had hoped its message (“Don't stand there, brothers, douse the fire!”) would be heard as an urgent call to action. He was reportedly gratified to learn, during the war, that Cracow's underground Jewish resistance had adopted Our Town is Burning as its anthem.

The song Our Town is Burning remains a popular recital piece that is performed at Holocaust commemoration ceremonies around the world.

"Arbetloze zenen mir, on a beged on a haym..." ("Unemployed are we, without clothes, without a home...") is the marching song of the poet Mordechai Gebirtig. Daniel Kempin devoted an entire album to this man: "Krakow Ghetto Notebook", recorded by the Holocaust Memorial Museum in Washington DC.

Daniel Kempin was born in Wiesbaden, Germany. He´s a member of the Jewish Community in Frankfurt am Main and studied music in Darmstadt, with several semesters of Jewish Studies at the University of Frankfurt and a Yeshiva in Jerusalem. He played concerts and gave workshops with jewish music since 1983 in Germany, Switzerland, Luxembourg, Great Britain, Poland Russia, Lithuania, Latvia, Israel and the USA.

Tracklist:

1. Your Kitten Is Hungry
2. Avreml the Pickpocket
3. Make Merry, Children Rejoice
4. Our Town Is Burning!
5. The Eve of Yom Kippur
6. Shifrele's Portrait
7. It Hurts
8. Moments of Despair
9. Moments of Confidence
10. My Krakow Farewell
11. It's Been So Long
12. Once I Had a Home
13. A Ray of Sunshine
14. My Dream
15. Tolling Bells
16. A Day of Revenge !
17. Our Springtime
18. In the Ghetto
19. It's Good

Daniel Kempin - Mordecai Gebirtig - Krakow Ghetto Notebook
(320 kbps, cover art included)

Quilapayun - 20 Grandes Exitos

Born in Chile in 1965, QUILAPAYUN is today one of the best known latin-american music groups in the world. On an artistic level, the group´s fundamental value is based on its decisive contribution to the modernization of the popular music of the continent.

Initially identified with the popular government of Salvador Allende (who would later name them cultural ambassadors of the government of Chile) and later with the democratic fight against the dictatorship, QUILAPAYUN have managed to preserve the tone and meaning that this name has meant to each one of them, in spite of their age and experiences.

Based in France since 1973, the group has continued its renovation of traditional latin-american music, expressing the creative tensions between nation and universe, identity and diversity, tradition and innovation.

Their compositions mix folk music with popular music, the academic and the experimental, invoking an original reaction to the rich cultural diversity which is latin-america today. To demonstrate this we have their recreation of indigenous music (¨Yaravi and huayno¨), their vast production of up to date popular music (´La muralla¨, ¨Plegaria a un labrador¨, “Allende”, “La batea”), their work with academic musicians which resulted in a series of “cantatas populares” (popular songs), the best known of which would be “La cantata Santa Maria de Iquique”, and last but not least their embracing of contemporary music evident in their latest compositions “Fuerzas naturals”, “El hombre de hoy”, “Temporia”.

It is not then surprising that during a QUILAPAYUN concert we find the charango, the quena (indigenous flute) the zampoñas (pan flutes) and the different latin-american guitars, including the Spanish guitar. The piano is present as are synthesizers, semi-acoustic guitars, electric bass and carribean percussion pieces among many other instruments. All of the above are accompanied by the powerful, intensely harmonized voices which are and have always been the principal characteristic of the group. The lyrics continue to narrate the fundamental aspects of life and to express sensibility to the injustices faced by Man in today´s world.

QUILAPAYUN´s music has crossed the five continents of the world and received the same warm welcome in the United States, Europe, Japan, Australia etc….. and of course in its native Latin-America. So far QUILAPAYUN have recorded 29 albums which have been reproduced throughout many European and American countries. In each album the great musical versatility and creative capacity of the group is demonstrated.

Nowadays, the shows put on by this now legendary Chilean group are a concentration of passion and vocal emotion, colours and rhythms. The spectator is not only permitted to enjoy the pleasure of listening to these professional at work but to also participate in the revival of the popular Latin-American music.

(Thanks to http://www.eyefortalent.com),


Tracklist:

01. El canto del Cuculí
02. Yaraví y Huayno de la Quebrada de Humahuaca
03. Guaren
04. Huayno 1,2,3,4
05. Las Obreras
06. En que nos parecemos
07. El borrachito
08. Gringa
09. Duerme Negrito
10. A mi palomita
11. Plegaria a un labrador
12. El Carrero
13. Dos palomitas
14. Tres bailecitos
15. El buen Borincano
16. Bailecito
17. Gira, gira, girasol
18. Tan alta que está la luna
19. Tú
20. La paloma

Quilapayun- 20 Grandes Exitos
(256 kbps, front & back cover included)

Samstag, 18. Februar 2017

X-Ray Spex‎– Live At The Roxy Club

Say what you like about X Ray Spex, but they never let their audience off easily. Even at the peak of their shortlived success, London's Hammersmith Odeon just two years after scratching a living at the nearby Man In The Moon, the band blistered through a set of such intensity that its absolute brevity really didn't sink in until you tried to remember where the rest of the evening went. Track back to the band's infancy, and they made the Ramones sound like a tortoise race.

"Live At The Roxy" is as brutal as the band's reputation suggests. Recorded at the same show as the band's contribution to the 1977 Live At The Roxy various artists album, it opens and closes with hideously discordant versions of the intent-laden "Oh Bondage! Up Yours", a cacophonic saxophone defying the punk wisdom that the instrument had no place in the new discipline, while the remainder of the band alternately staggers and swaggers through a riff so monotonal that Poly Styrene herself sounds tuneful.

Not once does the energy level dip, with versions of "Identity" and "Let's Submerge" already hinting at the shrieking magnificence of their eventual studio incarnations. And hindsight, battered by two decades worth of noise bands that make X Ray Spex sound symphonic, readily adjusts to the crunchy caterwauling that was the infant group's stock in trade. But the audience response - bothered, bewildered and bemused - reminds you just how far off the beaten track X Ray Spex once marched, and 25 minutes seems to stretch out to an eternity. What a wonderful record this is!

Tracklist:
Oh Bondage! Up Yours!2:42
Identity2:25
Let's Submerge3:05
Plastic Bag4:10
I Live Off You2:18
I Am A Cliche1:48
I Can't Do Anything2:59
Oh Bondage! Up Yours!2:52

X-Ray Spex‎– Live At The Roxy Club                                   
(256 kbps, cover art included)

Berliner Ensemble - Die Mutter (Bertolt Brecht, Hanns Eisler, Ernst Busch, ETERNA, 1951)

This is an album collecting five 10 inch shellacs (played on 78 RPM) with songs from Bertolt Brecht´s stage play "Die Mutter" with music by Hanns Eisler.

These shellacs were released on Ernst Busch´s label "Lieder der Zeit" with the Eterna catalogue numbers 2340 to 2349.

These classic recordings are presenting the chorus and the orchestra of the Berliner Ensemble, conducted by Adolf Fritz Guhl. Lead vocals are mostly by Ernst Busch.

Hanns Eisler played an active part in rehearsing his music for the performance of Brecht´s stage play "Die Mutter" in 1951. Accordingly, there is every justification for describng the present recordigns as "authentic".

Tracklist Shellac 1:
A Wie Die Krähe (with Carola Braunbock)
B Der Zerrissene Rock



Tracklist Shellac 2:
A Lob Des Lernens
B1 Lied Von Der Suppe (vocals by Edith Weiss)
B2 Lob Des Kommunismus (vocals by Helene Weigel)

Tracklist Shellac 3:
A Bericht Vom 1.
Mai 1905 (vocals by Ernst Kahler and Kurt Sperling)
B Bericht Vom 1. Mai 1905 (vocals by Gerd Schäfer and Friedrich Gnass)

Tracklist Shellac 4:
A1 Lob Der Wlassowas (vocals by Ernst Kahler)
A2 Lob Eines Revolutionärs
B1 Lob Der Dritten Sache (vocals by Helene Weigel)
B2 Im Gefängnis Zu Singen



Tracklist Shellac 5:
A Grabrede Über Einen Genossen, Der An Die Wand Gestellt Wurde
B 1 Steh' Auf!
B 2 Lob Der Dialektik

Berliner Ensemble - Die Mutter (Brecht, Eisler, Busch, ETERNA, 1951)

(192 kbps, scans of all of the shellac labels are included)

Rolando Alarcon - Por Cuba y Vietnam (1969)


Rolando Alarcón was a Chilean singer/songwriter of the 60s and early 70s, being a part of La Nueva Canción Chilena. He became a national-known figure in his homecountry due to his work as a musician, and at his funeral, even the president, Salvador Allende, expressed his regrets.

Born on August 5, 1929, he grew up in Sewell, Chile, where he lived together with his parents, Atilio Alarcón de la Fuente and Zunilda Soto Riquelme, and his three brothers. At the age of ten he moved to Chillán in order to study, and it was also here he became a teacher. He moved to Santiago in 1950 where he became interested in folkloric music, and where he in 1951 started specializing, as a teacher, in music.

In Santiago he also became a founding member of first the folkloric choir "Coro Pablo Vidales", and later an integral part and director of the more successful Cuncumén, which also toured Europe two times in 1957 and 1961, until 1963 when he left the group. He then formed a duo together with Silvia Urbina for a short while, with whom he also recorded a couple of songs in Russian, but in 1965 he started his career as a soloist.

He died during an operation on February 4, 1973, only 43 years old.

"Por Cuba y Vietnam" was his ninth album, released in 1969. On the album he is accompanied by Carlos Valladares, Enrique San Martín and Los Emigrantes.

Tracklist:
  1. "Pregúntale a Cuba hermano"
  2. "Sin bandera"
  3. "Se llama Fidel"
  4. "Carta al Che" (with Carlos Puebla)
  5. "En el Valle del Yuro"
  6. "Las doradas colinas de Binh Thuan"
  7. "Hermano, hermano... llorarás" (with Ewan MacColl)
  8. "Su nombre puede ponerse en verso" (with Pablo Milanés)
  9. "Algún día, Viet-Nam"
  10. "Cueca por Viet-Nam" (with Fernando González)
Rolando Alarcon - Por Cuby y Vietnam (1969)
(192 kbps, front cover included)

Freitag, 17. Februar 2017

Ras Michael & The Sons Of Negus - Rastafari (1975)

Ras Michael, since the early ’60′s, has released over twenty records on Shananchie, VP, SST, Trojan and Live & Learn.

Negus is a title of Ethiopian Emperor Haile Selassie, the Almighty God of the Rastafarian movement, and none pays him more eloquent homage than Ras Michael and his group, the Sons of Negus. This is the beat of the heart, based on the original "instrument of ten strings," the hand-beaten drum. On Dadawah in 1975, Michael took a religious ceremonial gathering as the basis for an album of elegant poetry and raw, visceral power. Later, eschewing minimalism, such works as Promised Land Sounds added electronics and produced a primeval psychedelia without compare in Jamaican history. This is the sound of the Roots Church in the 21st century, highly charged hymns for humanity's future survival.                

"Rastafari" features more Rasta gospel music includes the essential "None a Jah Jah Children No Cry" and "Mr. Brown." Ras Michael's vocals sound like they are half-sung and half-chanted and go with the music perfectly. The backing vocals are excellent too, a mix between singing and chanting. This style of chanting would seem to me to be an obvious African influence and this can be heard in some of the instruments and arrangements on the album. The musicians used is also very interesting. The guitars on the album are played by Pete Tosh and another Wailer Earl "Chinna" Smith. Bass duties are mainly by Robbie Shaespeare. Pete Tosh also plays the clarinet on some tracks.           

Tracklist:
A1None A Jah Jah Children
A2Birds In The Treetop
A3Truth And Right
A4On Broadway
A5Glory Dawn
B1Mr Brown
B2Sufferation
B3It Is No Secret
B4Give Love

Ras Michael & The Sons Of Negus - Rastafari
(192 kbps, cover art included)

John Langstaff - Sings Folksongs And Ballads (1956)

As a teacher and singer alone, John Langstaff has had a rich and varied career. But as the founder of the Christmas Revels in the 1950s, he has also been responsible for one of the most invigorating modern day holiday celebrations. It seems appropriate, then, that Langstaff was born on Christmas Eve in 1920. He grew up in Brooklyn Heights, and at the age of eight joined the Grace Church Choir where he sang soprano. His parents, who often invited friends over for spontaneous performances of Bach chorales and Christmas carols, also influenced his musical education. As Langstaff grew older, he became a baritone, and he studied at Curtis Institute of Music in Philadelphia and at Julliard in New York. Following college, he completed a successful tour of the United States and Europe.

Langstaff also developed an appreciation of folk music while attending a concert by song collector Douglas Kennedy, leading to a series of recordings of folk material in England. Langstaff simultaneously embarked on a teaching career, serving at the head of the music department at the Potomac School in Virginia for 13 years and at the Shady Hill School in Cambridge, Massachusetts for six. He also hosted television programs, including "Making Music" for the BBC and "Children Explore Books" for NBC.

In the mid-1950s, Langstaff brought together his multiple talents to create the Christmas Revels, a theatrical event that combined dance, song, and drama. For inspiration, he drew from pre-Christian celebrations of the solstice, incorporating the death and re-birth themes, and adding a carnival-like atmosphere. But while Langstaff's Revels reminded audiences of the season's origins, he also added a unique twist. Christ, whose death and rebirth mirrored many pagan myths, would also be woven into the Revels as the Lord of the Dance. The first performance of the Christmas Revels took place at New York City's Town Hall on December 29, 1957. While the event lost money, Langstaff's second performance at the Lisner Auditorium in Washington, D.C. took place before a sold-out crowd. In 1971 Langstaff and his daughter revived the Christmas Revels at Sanders Theatre in Cambridge, Massachusetts, establishing the production as an annual affair. Over time, the Christmas Revels would incorporate new traditions and receive simultaneous productions throughout the United States.

"Sing Folksongs And Ballads" is a collection of British and American folk songs originally released on LP  by the fledgling Tradition label. Accompanied on the piano by his wife, Nancy Woodbridge, the young John Langstaff brings his rich and powerful voice to bear on a set of mostly rather familiar material. As he did on all the other recordings of this vintage, Langstaff found a perfect middle ground between decorous classicism and rustic authenticity in his delivery, never condescending to the songs but never pretending to be less of a singer than he is. Woodbridge is a skillful and sensitive accompanist, but some of the album's most affecting moments come when Langstaff is singing a cappella, as he does breathtakingly on "All 'Round My Hat I Will Wear a Green Willow". Very highly recommended!            
               
Sleeve Notes:
"These folksongs, the product of centuries of oral tradition, illustrate variety of kind — the dramatic street cry, the dance — like or lulling nursery song, the more personal love lyric, and the absolutely objective narrative, or ballad. They also show the remaking of the song in the hands of different generations, as traditional singers add, work over, improvise, or discard according to their interest, knowledge and taste. This continuous unconscious selection has produced a fine patina of diction, rhythm, and melody, interlocked for so long that one cannot exist without the others. Many of the tunes are cast in scales antedating modern harmony, taking their names from the ancient Greek modes (Dorian, or D to P on the white keyboard, Mixolydian, or G to G; Aeolian, or A to A). They employ certain melodic idioms, or groups of notes, unusual intervals (as in "I gave my love an apple"), and distinctive cadences (as in "All round my hat"). Some, like "The Cruel Mother," use the old pentatonic scale. Rhythms are fluid, often so irregular as almost to defy notation. For all these reasons many songs are unsuited to accompaniment on stringed instruments. As one traditional singer puts it, "The music (instrument) gets in the way of the song."
The concert singer of folksongs must avoid "folky" imitations, personal mannerisms, over-dramatization and sentimentalizing, if the song is to stand by itself. Its simplicity is deceptive: he must keep his presentation very clear, sympathetic, always sensitive to the rhythmic unity of words and melody. Yet he cannot be a purist if he is to keep the interest of an audience usually unaccustomed to modal tunes, the voice alone, and objective presentation.
This record pleasingly mingles unaccompanied song — which John Langstaff prefers — with sonic settings by composers like Vaughan Williams and Sharp who are steeped in their native idiom, letting us hear how they enhance without loss of its style the beauty of tile song. John Langstaff's long acquaintance with folksong and folk singers, his musical training, and his experience with recording songs of many kinds, all qualify him to give us increased pleasure in the songs we know, and to introduce us to the beauties of new ones." — EVELYN K. WELLS

Tracklist:
A1O, Waly, Waly
A2Carrion Crow
A3Sir Patrick Spens
A4All 'Round My Hat
A5The Cruel Mother
A6The Farmer's Curst Wife
A7The Riddle Song
A8The Crawfish Man
B1Lord Randal
B2Billy Boy
B3Croodin Doo
B4John Barleycorn
B5The Lover's Tasks
B6The Green Wedding
B7She's Like The Swallow
B8John Riley


John Langstaff - Sings Folksongs And Ballads
(224 kbps, cover art included)

The Chambers Brothers - Shout! (1968)

By the time "The Chambers Brothers - Shout!" hit the racks, in 1968, siblings George Chambers (bass/vocals), Willie Chambers (guitar/vocals), Lester Chambers (harmonica/vocals), and Joe Chambers (guitar/vocals) were on the verge of international success with the full-out psychedelic side "Time Has Come Today."

However, the material used on this - and the rest of the Chambers' Vault Records titles - dates back several years, circa 1965-1966. This inevitably left some consumers confused, if not somewhat nonplussed, as the styles weren't exactly analogous. What listeners are treated to on this long-player is primarily the transitioning of an old-school R&B and gospel combo into a hipper and decidedly more secular soul band. While no precise date is known, it is presumed that the live material comes from the same cache of nightclub performances that yielded 1967's "People Get Ready" and 1968's "Now!" - suggested for listening are the heavily Echoplexed remake of "Johnny B. Goode" and the ten-plus-minute medley connecting the sacred "I Got It" with a show-stopping cover of the Isley Brothers' party anthem "Shout." By contrast, the dark and brooding interpretation of Bobby Parker' s "Blues Get Off My Shoulder" reveals a rare intimacy that is missing from the significantly shorter version of the song that would be featured on 1969's "Feelin' the Blues", their subsequent (and final) stash from Vault Records. The second half of "The Chambers Brothers Shout!", recorded in the studio, is highlighted by Joe Chambers' own slow and ominous love song "Seventeen," which is punctuated by Lester Chambers' piercing mouth harp interjections. Another of Joe's compositions, "Rained the Day You Left," leans toward folk-rock with all the jingle-jangle guitars and tambourine tappin' that the genre became known for. The affective closing ballad, "Love Me Like the Rain," was an original penned by their drummer, Brian Keegan. Here, the Chambers transplant their rural Mississippi harmonies for a sun-drenched California blend that owes as much to the likes of the Beach Boys as to their typical influences.

Tracklist:
A1Johnny B.Good
A2Blues Get Off My Shoulder
A3I Got It
A4Shout
B1There She Goes
B2Seventeen
B3Pretty Girls
B4Rained The Day You Left
B5So Fine
B6Love Me Like The Rain

The Chambers Brothers - Shout! (1968)
(320 kbps, cover art included)           

Atahualpa Yupanqui - Voces de Oro

The guitar styles of nueva canción would be nothing without this man and his pioneering work.

Atahualpa Yupanqui, born Hector Roberto Chavero, adopted as a political statement the name of one of the last Incas. He spent much of his early life travelling around Argentina, collecting popular songs from intinerant payadores (improvising poets) and folk singers in rural ares.

He wrote his forst song, "Caminito del indio", in 1926, and during a long career introduced a new integrity - and a distinguished playing style - to Argentine folk music. He also introduced an assertive political outlook - his most famous song is "Basta ya!" ("Enough already! that the Yankee tells us what to do") - and was forced into exil in 1932 and 1949, and again in 1967, at which point he moved permanently to Paris.

Tracklist:

  • los ejes de mi carreta
  • chacarena del pantano
  • el arriero
  • indiecito dormido
  • a que le llaman distancia
  • el alazan
  • luna tucumana
  • tu que puedes , vuelvete
  • el arbol que tu olvidaste
  • el pocas pulgas
  • ranchito de colalao
  • caminito espanol
  • .
    .
    Atahualpa Yupanqui - Voces de Oro
    (256 kbps, cover art included)



    Donnerstag, 16. Februar 2017

    VA - Rote Lieder - Festival des polititschen Liedes 8

    "Singe-Bewegung" and "Oktoberklub" in East Germany, part 12.

    Festival des politischen Liedes (Political Song Festival)

    Music festivals played a key role in the dissemination of political folk songs in the 1960s. In den US it was the Newport Folk Festival; in West Germany the Chanson and Folklore Festival, held from 1964–69 at Burg Waldeck in Hunsrück, attracted a wide public with prominent artists like Franz-Josef Degenhardt, Reinhard Mey, Hannes Wader and Dieter Süverkrüp. In East Berlin a "Festival des politischen Liedes" (Political Song Festival) was held from 1970–90. Begun as an anniversary party of sorts for the Oktoberklub, it became one of the biggest music events in the German Democratic Republic. Artists from over 60 countries and every continent played here, including leading lights of the folk and singer-songwriter scenes like Miriam Makeba, Quilapayún and Pete Seeger. The West German contingent ranged from Degenhardt, Wader and Floh de Cologne to Zupfgeigenhansel, Heinz-Rudolf Kunze and Konstantin Wecker. The festival was instrumentalized for political PR purposes, but was above all a window on the world, a “political carnival”, as songwriter Hans-Eckardt Wenzel put it, that “briefly suspended the drab monotony of day-to-day life in East Germany”.

    Tracklist:
    1.Jahrgang '49Wer aber ist die Partei
    2.TrovanteNuvem Negra
    3.Alen MakMelnistscha Sa Ziment
    4.Singegruppe Aus Der Vdr LaosSainam Say
    5.KiesosReforma Agraria
    6.Frankie ArmstrongThe Lament Of The Working Class Hero's Wife
    7.OktoberklubDas Brot des Volkes
    8.Hannes WaderFreunde, Genossen
    9.MoncadaCuando Tenga La Tierra
    10.Skiffle SchwerinBrüder, seht, die rote Fahne
    11.Rosa LeónCancion De Cuna Para Victor G. Leon
    12.Dieter SüverkrüpDer Sozialismus, Genossen
    13.Maria Dimitriadi And Notis MawrudisDie Versammlung der Studenten
    14.Yaki KandruAus einer Kantate indianischer Musik
    15.QuilapayunSolidaritätslied

    VA - Rote Lieder - Festival des polititschen Liedes 8
    (320 kbps, cover art included)

    Jesse Fuller - Railroad Worksong

    Equipped with a band full of instruments operated by various parts of his anatomy, Bay Area legend Jesse Fuller was a folk music favorite in the '50s and '60s. His infectious rhythm and gentle charm graced old folk tunes, spirituals, and blues alike. One of his inventions was a homemade foot-operated instrument called the "footdella" or "fotdella." Naturally, Fuller never needed other accompanists to back his one-man show. His best-known songs include "San Francisco Bay Blues" and "Beat It on Down the Line" (the first one covered by Janis Joplin, the second by The Grateful Dead).

    Born and raised in Georgia, Jesse Fuller began playing guitar when he was a child, although he didn't pursue the instrument seriously. In his early twenties, Fuller wandered around the southern and western regions of the United States, eventually settling down in Los Angeles. While he was in Southern California he worked as a film extra, appearing in The Thief of Bagdad, East of Suez, Hearts in Dixie, and End of the World. After spending a few years in Los Angeles, Fuller moved to San Francisco. While he worked various odd jobs around the Bay Area, he played on street corners and parties.

    Fuller's musical career didn't properly begin until the early '50s, when he decided to become a professional musician - he was 55 years old at the time. Performing as a one-man band, he began to get spots on local television shows and nightclubs. However, Fuller's career didn't take off until 1954, when he wrote "San Francisco Bay Blues." The song helped him land a record contract with the independent Cavalier label, and in 1955 he recorded his first album, Folk Blues: Working on the Railroad with Jesse Fuller. The album was a success and soon he was making records for a variety of labels, including Good Time Jazz and Prestige. ´

    In the late '50s and early '60s Jesse Fuller became one of the key figures of the blues revival, helping bring the music to a new, younger audience. Throughout the '60s and '70s he toured America and Europe, appearing at numerous blues and folk festivals, as well as countless coffeehouse gigs across the U.S. Fuller continued performing and recording until his death in 1976.

    Tracklist:
    1Move On Down The Line
    2Stealing
    3Ninety-Nine Years And One Dark Day
    4Animal Fair
    5Sleeping In The Midnight Cold
    6Stagolee
    7Bill Bailey
    8San Francisco Bay Blues
    9Crazy Waltz
    10Railroad Worksong
    11Meet My Loving Mother
    12I Love My Baby
    13Tune (Creole Love Call)
    14Running Wild
    15Stranger Blues
    16Hanging Around A Skin Game
    17The Monkey & The Engineer
    18Buck Dancer's Jump

    Jesse Fuller - Railroad Worksong
    (320 kbps, cover art included)