Friday, October 30, 2009

V.A. – Folk Pirate

V.A. – Folk Pirate – 1975



01-La two step à Phléo Fontaine
Phléo Fontaine : violon
Pierre Bensusan : guitare


02-Big Ben's tune
Pierre Bensusan : guitare

03-All hid-Don't let your deal go down
Cindy Musgrove : autoharp, chant
Alain Beaussant : guitare
François Vercambre : banjo


04-Rusty harp
Yan Samson : guimbarde

05-Mama Rosine
Philippe Rambaud : violon, chant
Daniel Chapy : cuillières, chant

06-Devil's dream-Sailor's hornpipe
Michel Legoubé : dulcimer
Daniel Olivier : guitare


07-Sixième droite
Jean-Jacques Milteau : harmonica

08-Madame Bosso
Allie J. Young : accordéon
Bessyl Duhon : violon
Rodney Balfa : guitare
Gérard Dôle : chant


09-Hot burrito breakdown
Bluesgrass long Distance :
Mick Larie : mandoline
Jean-Marie Redon : banjo
Claire Liret : violon
Christian Poidevin : guitare
Hervé de Sainte Foy : contrebasse


10-Plus tu tournes, plus moi j't'aime
Michel Hindenoch : violon, chant
Etienne Sommer : guitare


11-Chew croot special
François Vercambre : banjo
Laurent Vercambre : guitare
Dominique Dumont : contrebasse

12-Hello baby blues
Alain Giroux : guitare

13-Happiest day's to all/Ella's grave/Rag for Betty
Jean-Paul Gripon : autoharp

14-Tit monde
Allie J. Young : accordéon, chant
Bessyl Duhon : violon
Rodney Balfa : guitare



"Peut-être vivons nous actuellement sans trop nous en rendre compte, l'âge d’or du Folk, période charnière où notre musique est définitivement sortie de l’ombre, et n’est pas encore (trop) récupérée par les marchands de soupe à musique.
Si l’on n’y prend garde, le folk est condamné, dans des temps tout proches, à un débouché tristement commercial, et je vois déjà d’un œil féroce, les mutilations que devrait subir le Cajun, par exemple, pour s’intégrer comme ersatz supplémentaire dans les supermarchés.
La réaction doit être prompte, venir de l’intérieur, des musiciens eux-mêmes, et conduire à une autogestion.Ce n’est pas une utopie, nous sommes très nombreux, présents partout : ainsi cette année, le Krazy Kajun, partout où il a tourné, a rencontré des folkeux qui se livraient avec acharnement à l’agitation musicale, secouant de leur torpeur, des gens que la musique « d’ameublement » avait conformisés, sécurisés, abrutis.
Les galères musicales ont eu raison de bien des musiciens, de bien des groupes, mais le Folk est l'hydre de la légende, coupez lui la tête, elle repousse sur l’instant.
Les show-buisemesseux pointent aujourd'hui leur vilain nez dans les Folk-Clubs et font en ricanant de rapides calculs de probabilité fructueux. Nul doute qu’ils veuillent aussi nous imposer leurs vieilles recettes à succès, leurs vieilles ficelles débiles mais lucratives.
Refusons net et réagissons vite, très vite. Il est plus que temps !
Maintenant, j’aimerais vous dire que cet album a été réalisé avec amour, sans aucun but commercial. Y ont participé des musiciens dont je sais avoir l’amitié, qui sont venus, libres de choix et de la durée de leurs morceaux, le seul fil conducteur était d’offrir un reflet des musiques traditionnelles du continent Américain. Tous ne sont pas là, tant s’en faut, mais c’est un si petit bout de temps un disque… Espérons-en une suite qui en réunira bien d’autres.
Vous n’entendrez malheureusement pas ici le piétinement des danseurs ou les rires et les cris d’une foule, mais vous ne trouverez pas non plus l’ambiance glaciale des morgues d’enregistrement, où seul un certain « professionnalisme » sauve la qualité du « produit ».
La prise de son s’est faite à la coule, là-haut dans ma piaule du quartier latin, avec les toits gris bleus et le ciel tout pareil pour décor. Le vin et la bière ont réchauffé les murs blanchis, et le montage – une montagne de petits bouts de ruban magnétique – a longtemps obscurci les carreaux rouges et blancs de ma table de cuisine.
Enfin, je voudrais dédier ce disque à mon cher et vieux papa René, qui m’a construit de ses mains quand j’étais petiot, mon premier instrument de musique, et m’a emmené à cheval sur ses épaules partout où l’on pouvait en entendre.

Faites l’amour et la belle musique
Et laissez le bon temps rouler
Paris ce dimanche 8 juin 1975
Gérard Dôle"


DL

Labels:

Arborea



This self titled collection is the second release for Arborea. Hailing from Maine, the duo of Buck and Shanti Curran (on vocals, guitars, banjos, percussion) are joined on two numbers by Helena Espvall of Espers on cello. Here they conjure up a musical offering that is equal parts Appalachian music, traditional English folk music, and contemporary psychedelic folk with experimental touches creating a sound that stands out as unique while touching upon something that feels as ancient as the urge to create music.

Rare is the record that takes the listener to fields both verdant and desolate in the same journey as this release does, and it does so in a way that makes both equally powerful and inviting. The duo possess an alchemy that makes their collaboration feel as natural as the trees from which their names comes from.

Following upon the success of their debut effort Wayfaring Summer, Arborea have outdone themselves with this release, a recording that establishes them as masters of their craft. This is a group you will be hearing from for years to come.

“Arborea creates timeless music, haunted by deep shadows. Their songs are bathed in shimmering harmonics, spectral slide, and positively spooky banjo. The songs also evoke a kind of mysterious quality, they seem to touch a place in your soul that instinctively understands.”

Dirty Linen Magazine (from a review of Wayfaring Summer)

Official videos:
River and Rapids
Seadrift
Black Mountain Road
Arms & Horses

2 songs from selftitled album "Arborea":
Black Mountain Road.mp3
Red Bird.mp3
Buy:
CDBaby
Amazon.com


and 1 song from 2009 album "House of Sticks":
Beirut.mp3
Buy:
CDBaby
Amazon.com


Informations from Buck Curran (Arborea).
Keep up good work...

Thursday, October 29, 2009

Joe Ryan & Eddie Clarke

Joe Ryan & Eddie Clarke - Crossroads - 1981




1. The College Grove/The Beauty Spot
2. John Joe Gannon's/The Fisherman's Lilt
3. Kit O'Mahony's
4. Dinny O'Brien's/Farewell To Connacht
5. Old Time
6. The Two-and-Sixpenny Girl/The Boys Of The Town
7. The Hunt
8. The Stone In The Field/Thady Casey's Fancy
9. Callaghan's
10. The Wheels Of The World/Rakish Paddy
11. Johnny Leary's Polkas
12. The Old Torn Petticoat/Toss The Feathers/The Maids Of Mitchelstown
13. The Dear Irish Boy

Joe Ryan : fiddle
Eddie Clarke : harmonica


DL

Labels:

Friday, October 23, 2009

Roger Mason & Steve Waring

Roger Mason & Steve Waring – Guitare Américaine – 1971
Spécial instrumental



01-Eat what you kill
02-Thing in G
03-Roger's marriage rag
04-Angie
05-Françoise
06-Carolina R+R
07-Old country rock
08-Annegramme
09-Judy
10-La Marsa
11-La Sainte Vierge
12-Thanks Mr Joplin

Roger Mason : guitare
Seve Waring : guitare

DL

Saturday, October 17, 2009

from Kathy Lowe

Kathy Lowe said...
Kathy Lowe here, from the 1973 album from Paris, "Kathy." So great to find myself here on this site. Many tunes have gone down since those on this album. Paris days were rich in creative spirit and the height of the folk movement in Europe. I hope to find all my old freinds on this site. I'm in New Hampshire now.

Thursday, October 15, 2009

Kathy Lowe

Kathy Lowe – Kathy – 1973



01-On est deux américains
02-Cloud
03-Barbara Allen
04-Tiny little swallow
05-Henry
06-Seine again
07-Coffe till two
08-Complainte de la belle aux champs
09-Billy
10-Last thing on my mind
11-In spirit

Kathy Lowe : chant, dulcimer
Pat Woods : guitare
Sophie Brisseau, flûte

Chœur : Ben, Hughes, Deirdra et Sophie

avec la pochette
DL

Wednesday, October 14, 2009

by ericbkk

Tom Paxton/Annie Hills - Chicago, 13/5/05

Folkstage
June 25, 2005

Tom Paxton & Annie Hills
Recorded at the Old Town School of Folk Music, Chicago
Friday, May 13, 2005 (second set)


01. Bottle of Wine (Paxton)
02. Whose Garden Was This? (Paxton)
03. Plain Song (Hills)
04. My Pony Knows the Way (Paxton)
05. Getting Up Early (Paxton)
06. My Son John (Paxton)
07. Home Is Anywhere You Are (Paxton)
08. Raggedy Man (Hills/James Whitcomb Riley)
09. Jennifer's Rabbit / Katy (Paxton)
10. Marry Me Again (Paxton-Debi Smith)
11. Your Shoes, My Shoes (Paxton)
12. Last Thing on My Mind (Paxton)
13. Internet version of one verse of Last Thing on My Mind (Paxton/anon)
14. Ramblin' Boy (Paxton)
15. Peace Will Come (Paxton)

Composer(s) in parentheses.

Engineer-producer-host: Rich Warren


DL

MP3 @ 192 kbps


Tom Paxton proved to be one of the most durable of the singer/songwriters to emerge from the Greenwich Village folk revival scene of the early '60s. In some ways, he had more in common with the late-'50s generation of folksingers such as Dave Van Ronk (who was 16 months his senior) and even older performers than with the new crop of singer/songwriters with whom he tended to be associated, such as Bob Dylan and Phil Ochs (both of whom were several years his junior). But like Dylan and Ochs, and unlike Van Ronk, Paxton was a songwriter caught up in the left-wing political movements of the time and inspired to compose topical and protest songs. In general, his tended to be more lighthearted than theirs (the musical satirist Tom Lehrer was at least as much of an influence on him as Woody Guthrie), though he could be just as witty and just as harshly critical of his opponents. Like such mentors as Pete Seeger, and unlike Dylan, he never cared to make much of a transition to the mainstream, never picked up an electric guitar and tried to play rock & roll. (None of his many albums ever reached the Top 100, and he never scored a chart single as a recording artist.) Nor did he burn out in the '70s like Ochs. Instead, he kept on, year in and year out, writing and singing songs that commented, often humorously, on the state of the body politic. He also contributed more than a few love songs, some songs of joyous celebration, and especially later in his career, many children's songs. In fact, his biggest successes as a songwriter, the songs that became hits for others and were covered over and over, proving to be his most valuable copyrights, fit into these respective categories: "The Last Thing on My Mind" (by far his most popular work), "Bottle of Wine," and "The Marvelous Toy." But other artists were also attracted to such socially conscious compositions as "What Did You Learn in School Today?" and "Whose Garden Was This?," as well as reflective, melancholy songs like "Ramblin' Boy" and "I Can't Help But Wonder Where I'm Bound." : ~ William Ruhlmann


A stunning soprano tone has made Anne Hills one of contemporary folk music's premier vocalists. But her affinity for choosing unforgettable material and her knack for writing heartfelt original songs have brought her to the upper echelon of her craft. In addition to recording three memorable solo albums, Hills has recorded two duo albums with Cindy Mangsen and three trio albums with Mangsen and Priscilla Herdman. A veteran of the Chicago folk scene of the 1980s, she performed in a legendary trio with folk singers Tom Paxton and Bob Gibson. Her vocals have also been featured on albums by Jim Post, Michael Smith, Livingston Taylor, Artie Traum and Si Kahn. : ~ Craig Harris.


Cheers.

Tuesday, October 13, 2009

Release info

Gary Higgins - Seconds (2009)


By Michael Cramer:
Like Gary Wilson and Vashti Bunyan before him, Gary Higgins has parlayed the “re-discovery” and success of a decades-old album (1973’s Red Hash, rereleased by Drag City in 2005) into the opportunity to record a belated follow up, the appropriately-titled Seconds. Given the 35-year hiatus, it should come as no surprise that Seconds is hardly Red Hash part two. The stoned blissfulness and warm psychedelia of that album is here replaced by a more grounded, if world-weary, brand of folk-rock, while the rich sounds of the 1970s analog studio are replaced by the rather tinny tones of DIY digital.

Upon first listen, the magic of Red Hash seems to have dissipated on Seconds as a result of the rather low-budget production, of which the album bears all of the hallmarks: the acoustic guitars (plugged-in rather than mic’d) are brittle and shrill, percussion is provided by drum machine, and strings by synthesizer. The music, meanwhile, seems rather anonymous. The primary style employed here is that of a tepid acoustic rock, with occasional forays into a more aggressive but all-too-mechanical blues rock (“Mister Blew,” “Don’t Wanna Lose”). Higgins’s quirkiness remains largely in the background, only fully surfacing on the synth-orchestral “Squirrel,” an ode to a dead rodent that displays far too much enthusiasm for lo-tech studio tricks (witness the vocal pitch-shifting employed throughout and the bizarre animal sounds at its conclusion).

Even with so many strikes against it, however, Seconds manages to be a surprisingly compelling listen. Despite the unpleasant production, Higgins succeeds in creating a consistent emotional tone: “Demons,” “Ten-Speed,” and “5 AM Trilogy” all convey a romantic melancholy that recalls Red Hash while introducing a wistful nostalgia befitting an older artist. There’s something in the unaffected, almost deadpan way that Higgins delivers his lyrics, particularly on the opener “Demons,” that signals an uncommon sincerity and emotional depth, an effortlessness that makes the unassumingness and understatedness of his music a strength rather than a weakness. The potentially cringe-inducing moments, such as the harpsichord break in “Demons” or the spoken-word intro to “Mister Blue,” come off not as the bloodless clichés they might be, but rather retain the force they still clearly possess for someone who doesn’t recognize them as clichés. In this sense, the album’s amateurishness (and it should be noted that as a guitarist, Higgins is hardly an amateur) proves its saving grace: whereas polished big-budget production might have reduced Seconds to bland and impersonal classic rock, its intimate and slightly awkward execution gives it a convincing emotional depth.

Monday, October 12, 2009

Nick Drake Introduction....in memory of Robert Kirby



Robert Kirby died in a West London hospital following emergency heart surgery after a short illness on 3 October 2009. He was 61 years old.

Friday, October 09, 2009

New blog

Hello Lizardson, I've got a new blog of my own at vinyldustbin.blogspot.com that has some rare records you might be interested in, if you would like to post some to your blog. I just posted Paul McNeill's last album from Switzerland which is really awesome. I've also got a coupla rare records from Ferron and Bill Staines' first album "A Bag of Rainbows" that is basically impossible to find anywhere.

Johnny Desolation's Vinyl Dustbin

Thursday, October 08, 2009

New blog


CEOL ÁLAINN

RARE RECORDINGS OF TRADITIONAL IRISH MUSIC

Monday, October 05, 2009

Pat Woods and Kathy Lowe

Pat Woods and Kathy Lowe – Country-Show - 1973



01-I am so excited
02-Back porch blues
03-French song
04-Billy and Mary
05-Confirmation sunday
06-Rustlings of the coals
07-When I came back
08-Jimmy
09-I understand
10-Spoon God
11-Carry me

Musiciens
Pat Woods : chant, guitare
Kathy Lowe : chant, guitare, dulcimer, guitare hawaïenne

Mémé : banjo, guitare électrique
Claude Lefebvre : guitare, chœur
René Werneer : violon, orgue, piano
Mick Larie : mandoline
Patrice Tavernier : basse
Clément : batterie, basse


DL

Saturday, October 03, 2009

by Brian Andrew Marek

For those of you who enjoyed the Rocket Park albums posted last year, here's a couple more...


Rocket Park - Up Against Goodbye (2002-2003)


After 1999's "Teenage Folklore" and 2000's "The Effects of Eating Too Much Television", a third album was surely right around the corner for Rocket Park, right? Well, after cranking out two full length albums in two years at our expense while still working day jobs, we needed a breather. So we spent 2001 gigging, recording demos and tracks for various artists compilations, and responding to some indie label overtures. When 2002 rolled around and we were no closer to being signed, we thought about all we'd learned from Mike Martin (engineer and co-producer of the previous albums), bought our own recording gear and decided we would paint our own masterpiece. Little did we know the final brushstrokes wouldn't be in place for another seven years.

The actual recording of the album wasn't that problematic, aside from the occasional arguments that always emerge from a shared artistic endeavor. It's everything that followed that got sticky - a ridiculously protracted mixing process taking place in another city, personnel changes, a lack of effective leadership resulting from a debilitating divorce (mine), indecision, self-destructive perfectionism and, eventually, the demise of the band itself. Our friend Lauren warned us that putting the word "goodbye" in the title of our album would curse us. I can only counter that we were probably already doomed and were just reflecting that!

It's all a damn shame, really, because it really would've been (and, I guess, is, now that it's floating around) our best album. The material is stronger, the arrangements are more sophisticated, the performances are more assured. It's more of a band effort (and less naive) than "Folklore", more consistent (and less openly derivative) than "Television", and I think the engineering compares favorably to both albums. Eric Moore pounds the drums better than ever (the fill at the end of "Tell It to Samantha" may be one of his finest moments) and Dave Harris' bass lines always find that happy medium between rhythmic simplicity and melodic adventure. And, uh, I like the stuff I did, too.

Steve Minnis handled all of the guitar solos during the original sessions, and while there's no questioning the brilliance of the work that made it to the finished product, we were less convinced by a few of his efforts and used his departure from the band as an excuse to have Brian Henneman of the Bottle Rockets replace them. Thus we have his solos on "Fade to Grey" and "Tell It to Samantha" and a credible imitation of a meowing cat on, uh, "Stray Cat". And speaking of "Fade to Grey", Steve's short-lived replacement Scott Swartz played pedal steel and our old friend Mark Stephens of The Highway Matrons sang the lead vocal.

In closing, all I can say is - sorry it took so long! I would also like to dedicate "Tell It to Samantha" to the memory of Scott Edwards, who I learned had passed away a few years ago. He was an excellent bassist and harmony vocalist who provided the riff that ended up becoming central to that song. Our collaboration in Not Actual Size (1991-1992) was short and turbulent and it's a shame we never got to try it again without the impediment of youth. Rock on, brother.

DL


Rocket Park - Ghosts, Villains, Sirens and Superstars:
The Alternate Teenage Folklore (1995-2003)


September 17th, 2009 is the tenth anniversary of the release of my old band Rocket Park's first album "Teenage Folklore", and I'm commemorating that milestone with this collection of live recordings and solo demos, presented in the same running order as the original album. Just to sweeten the deal, track thirteen is a previously unreleased song from the "Teenage Folklore" sessions, "Running Through the Night" - for the life of me, I'm not sure why we left if off. The fidelity of many tracks is questionable, as is usual for something like this - think of it as an official bootleg for Rocket Park and/or Brian Andrew Marek freaks only. Plain ol' freaks might dig it to.

DL

Friday, October 02, 2009

MacMurrough

Merry & Fine (1978)



MacMurrough, now comprised of Mary Kavanagh (nee ONeill) and Paul Kavanagh recorded their third album Merry & Fine in Dublin and Wexford in Autumn 1977. Released early in 1978 on Polydor Ireland pressing was limited to 500 copies. Their sublime male/female vocal harmonies reign with Paul and Mary accompanying themselves on guitars, dulcimer, whistle, concertina and bodhran. Merry & Fine features a mix of traditional and contemporary material from the Irish, English, Scottish and Breton folk repertoires. Local songs from their native Wexford include The Wexford Fishing Song, Buncloudy, Lowlands Low, The Croppy Boy and Boulavogue the latter two from the 1798 rebellion. Breton Dance/Musical Priest highlighted links between Irish and Breton traditional music while Ian Campbells The Old Mans Tale is bitingly contemporary. MacMurroughs performances on Merry & Fine blended the enthusiasm of Carrick River with the sophistication of MacMurrough, A powerfully vibrant consistent album, Merry & Fine seals MacMurroughs fate as one of the lesser known legends of the Irish Acid folk canon.

Tracks:
01. Rosemary Fair
02. Bunclody
03. Oh That The Wars Were Over
04. Boulavogue
05. The Croppy Boy
06. Little Drummer Boy
07. Lizzie Jefferies' Jig
08. The Lowlands Low
09. The Verdant Braes Of Screen
10. Breton Dance & Musical Priest
11. The Wexford Fishing Song
12. The Old Man's Tale
13. Follow Me Up To Carlow
14. Duan Deorai


Buy

Nuova compagnia di canto popolare ::: Tarantella ca nun và bbona


Released the year before La gatta Cenerentola achieved a great success.
It seems it's still waiting for a CD reissue

Roberto de Simone: vocals, tammorra
Fausta Vetere: vocals, guitar, cello
Eugenio Bennato: vocals, battente guitar, stringed instruments, accordion, violin
Patrizio Trampetti: vocals, guitar, mandola, cittern
Nunzio Areni: winds
Peppe Barra: vocals, castnets
Giovanni Mauriello: vocals, putipù

01 Alla Montemaranese
02 Si te credisse
03 La santa allegrezza
04 Moresca d'Orlando
05 Tu sai che la cornacchia
06 Trapenarella
07 Rancio e mosca
08 Uè femmene femmene (fronne/tammurriata/tarantella)

1975 • EMI 3C064-18133

Tarantella ca nun và bbona
password: highqualitymp3

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