Showing posts with label bleedingpanda. Show all posts
Showing posts with label bleedingpanda. Show all posts

Friday, 25 April 2014

Obray Ramsey - Blue Ridge Banjo (1957)


Another Bleeding Panda discovery, reposted here due to the mediafire account on that blog being cancelled. Interesting album in it's own right.

Obray Ramsey is the banjo-picking cousin of old-time music instrumentalist Byard Ray, and the two worked regularly as a duo until they were "discovered" playing at an Asheville folk festival during the folk music revival of the '60s. From that point on, the two men's musical career took a strangely twisted path. Late-night television mongers who may have made it all the way through the strange psychedelic rock western Zachariah, may wonder who the two old-time musicians are that show up in one of this epic's many strange musical wonders, and the answer would be Ray and Ramsey.

Read the rest of the biography...

From the back cover of Obray Ramsey’s 1957 LP Blue Ridge Banjo, notes by Kenneth S. Goldstein:

In recent years, we have heard all to often about the ‘dying’ of folkculture in the Southern mountains. Many of the collectors who ventured into this area to record the songlore of the region in the 1930s and ’40s, shed sorry tears for the passing of a beautiful and rich tradition, each proclaiming his own collection to be the “last leaves” of this once-proud heritage. So, fewer and fewer adventuresome souls have involved themselves in recording the still-living tradition of the area. Those who have, however, have been amply rewarded by finding that, even though mountain life has been completely revolutionized in the past few decades, tradition dies hard, and numerous singers may still be heard and recorded.

To be sure, there are new sounds and new songs, but this material is, in many ways, as vibrant and vital as it was in the days of Cecil Sharp’s pioneering collecting forays.Obray Ramsey, whose sprightly banjo songs and instrumentals make up this LP, is living proof that this tradition still exists. And there are many more young, middle-aged and old folksingers like him, who have retained the best songs of their hardy mountain ancestors, perhaps changing some of them to suit their own artistic and performing abilities, but still retaining the best elements of old-style singing and playing. Ramsey was born on the banks of the three Laurels at the edge of the Smokey Mountains in western North Carolina. His father’s people came from the highlands of Scotland, and his mother’s ancestors were Cherokee Indians. Most of his songs were learned from his mother and grandmother, both fine singers with extensive repertoires.

For most of his life he has sung his songs unaccompanied, though he had learned to play the guitar when still a young boy. After he married and settled down as a successful farmer near Marshall, North Carolina, he met Bascom Lamar Lunsford, folksinger, collector, and organizer of the Mountain Dance and Folk Festival held annually in Asheville, North Carolina. Lunsford recognized his fine singing talents and encouraged him to take up the 5-string banjo, which he believed would be perfectly suited to Obray’s style of singing. To show his faith in this belief, Lunsford gave Ramsey his first banjo in 1953. Now, Obray Ramsey is one of the finest banjo-pickers in the Southern Mountains. His style is a perfect compromise between old picking styles and currently popular modern styles.

Download Link - Mediafire

Sunday, 13 April 2014

Various Artists - On The Other End Of The Fog (2011)

Another reupload of a Bleeding Panda compilation. This mix is really something else it's reuploaded here since the links on Bleeding Panda blog have all stopped working. Enjoy.


ALBUM`````On The Other End Of The Fog
GENRE`````Pop, Indie, Oldies, Folk,
YEAR````````2011


A Bleeding Panda Compilation!

Finally a new Bleeding Panda Compilation. This one is for my one and only <3
Perfect for this shady November weather.


Tracklist:

01 Quartetto Cetra - Brivido Blu (1958)
02 Amen Dunes - Swim Up Behind Me (2011)
03 Little Anthony & The Imperials - Tears On My Pillow (1958)
04 Emilio Pericoli - Ultime Foglie (1962)
05 The Fred Berlipp Orchestra - Love Without Shadow (1972)
06 Yellow Magic Orchestra - Shadows On The Ground (1983)
07 Thomas Dolby - Airwaves (1982)
08 Reneé Claude - La Bagumane (2010)
09 Mikis Theodorakis - Asma Asmaton - Song Of Songs (1981)
10 The Moody Blues - Nights In White Satin Cover
11 Electrelane - The Invisible Dog (2001)
12 Kollaa Kestaa - Tahtien Rauha (1978)
13 Lee Hazlewood - Your Sweet Love (1966)
14 Tindersticks - Rumba (2011)
15 Art Of Noise - Love (1986)

Various Artists - Ultimate 50's And 60's Rockin' Horror Disc (2003)

Another reupload of a Bleeding Panda compilation. It's re-uploaded here since the links on Bleeding Panda blog have all stopped working. Enjoy.



ARTIST`````````````VARIOUS
ALBUM`````````````ROCKIN' HORROR DISC
GENRE`````````````EARLY ROCK n' ROLL
YEAR```````````````2003

This is definitely not the "Ultimate" compilation on this subject but it still carries a lot of fun, romance and most importantly - underground sounds from forgotten artists of that age. Werevolves, zombies, vampires and all sorts of dangerous places and situations are here to scare and entertain your bored ass.

Is Ultimate 50's and 60's Rockin' Horror Disc really the ultimate '50s and '60s rockin' horror disc? No, considering it's missing well-known classics of the genre, like Bobby "Boris" Pickett's "Monster Mash," Screamin' Jay Hawkins' "I Put a Spell on You," and Jumpin' Gene Simmons' "Haunted House." But for a compilation of obscure mid-'50s-to-mid-'60s songs that mixed rock & roll with horror novelty lyrics and sounds, it does a pretty good job. And these 20 items are indeed obscure -- LaVern Baker (with "Voodoo Voodoo") is the only famous artist, though avid rock & roll fans will recognize a few of the others, like Bunker Hill and Kip Tyler. As tunes go, they're usually nothing to shout about, often confining themselves to stock basic early rock & roll progressions and arrangements, though sometimes with the ominous minor-key patterns common to monster-movie soundtracks.

Most of the time, though, it's rather wholesomely giddy romps through the lands of monsters, cemeteries, and ghosts, about as scary as a Halloween costume, but about as fun to put on.

Various Artists - Drug Songs - High And Low (1917 - 1944)







Listeners under the impression that drug music began with "White Rabbit" and ended with "White Lines" would be wise to pick up the first and best volume in the German Trikont label's excellent Flashbacks series -- compiling 25 jazz, blues, and vocal cuts from the first-half of the 20th century, the set documents World War II-era vice and sin at its finest, deftly mixing radio hits with utter obscurities. The songs range from the benign (Gene Krupa's "Feeling High and Happy") to the explicit (the Memphis Jug Band's "Cocaine Habit Blues"), and while some of the selections are clearly reaching to justify their thematic inclusion -- Bukka White's immortal "Fixin' to Die Blues" almost certainly has nothing to do with "fixing" in the junkie lexicon sense of the term -- the pacing and sequencing are dead-on, and even novelty throwaways like Harry "The Hipster" Gibson's "Who Put the Benzedrine in Mrs. Murphy's Ovaltine?" stand up to repeated listening in this context. Excellent remastering and liner notes (in both English and German) round out the package

Tracklist:

01 The Cat Is High - The Ink Spots
02 Junker's Blues - Champion Jack Dupree
03 Who Put The Benzedrine In Mrs. Murphys Ovaltine - Harry 'The Hipster' Gibson
04 Don't You Make Me High - Blue Lu Barker
05 I'm Wild About My Stuff - Kansas Joe and Memphis Minnie
06 You're A Viper - Stuff Smith & His Onyx Club Boys
07 Selling That Stuff - McKinney Cotton Pickers
09 Moonshine Man Blues - Peter Cleighton with Blind John Davis
10 Cigarettes, Cigars - Florence Desmond
11 Minnie The Moochers Wedding Day - Mills Blue Rhythm Band
12 The Ghost Of Smokey Joe - Cab Calloway
13 Let's Have Another Cup Of Coffee - Waring's Pennsylvanians
14 Dope Head Blues - Victoria Spivey & Lonnie Johnson
15 Wacky Dust - Ella Fitzgerald with Chick Webb & His Orchestra
16 Fixin' To Die Blues - Bukka White
17 Cocaine Habit Blues - Memphis Jug Band
18 Reefer Man - Baron Lee & The Blue Rhythm Band
19 Cocaine - Dick Justice
20 Jake Walk Papa - Asa Martin
21 Kickin' The Gong Around - Louis Armstrong
22 The Candy Man - Rosetta Howard & The Harlem Hamfats
23 Repeal The Blues - Ray Noble & The New Mayfair Orchestra
24 Feeling High And Happy - Gene Krupa & His Orchestra
25 Knockin' Myself Out - Jean Brady & Big Bill Broonzy
26 Smoke Clouds - Herbert Payne


Download Link - Mediafire

Wednesday, 9 April 2014

Howlin Wolf - Howlin Wolf (or the The Rockin' Chair Album) (1962)


This was originally discovered through Bleeding Panda however unfortunately most of the links on that blog are deactivated or dead so it's been reposted here for purposes of making it available again!




How the hell didn't I hear this guy's records before is beyond me. He is a formidable cult figure in blues history and one of it's most original and powerful singers. When I heard just a first few screams from his huge mouth I immediately though - shit: Tom Waits had lots of fun listening to this... I am really not blues-oriented or informed so this is quit a find for me especially because I was into Tom Waits for 10 long years (!?). I heard a few Howlin' Wolf later hit songs but I never listened to a full album. It took me just a few clicks to find out that Tom Waits was directly influenced by this passionate loud-mouth killer.

This record was released 10 years before 1973 Tom Waits debut light-hearted but beautiful album "Closing Time" and 20 years before his revolutionary Swordfishtrombones (1983) where he fully released his gravelly voice. Wolf has been singing since the 1930's and played on one of the first electric guitars anyone had ever seen (that's how old his music is). Even the themes and some phrases are identical. The thing that struck me the most was that while listening Wolf's mostly 2,50 mins long songs I constantly had a feeling of purity, power and strength that Waits lost over time in his often over-done cabaret aesthetic. If you listen to the sharp guitar stabs and vocal beat of Spoonful, or the backing instrumentation and the shuffled beat of Who's Been Talkin'? you will simply hear Tom Waits cooking the same soup all over again.
I found a comment here that even as a dedicated Waits listener I have to agree with:

J. P. Spencer
I happen to love Tom Waits' music, "The Black Rider" in particular, but I have one big beef about him. Why is he always suing people for sounding like him when he himself sounds like Howlin' Wolf? I think it's safe to say that Waits has made more money suing people for musical plagiarism than he has from his truly impressive catalog of songs. You would think that The Continuum of Universal Fairness would dictate that this should be the other way around.
One of my favorite tracks from this album is The Red Rooster - a moronically simple song about a measly farm problem with a missing lazy rooster. This brilliant line - "If you see my little red rooster, please drag him home (like he's a wasted drunkard)" is something we could easily hear in Tom's live or recorded ramblings. People can easily get lost in the huge universe of Tom Waits discography (I did) and never look beyond it (or before it). This reminds me of a documentary on rock music of 1970's (can't remember the name) where Keith Richards said that pretty much every cult rock song or guitar solo was either a direct remake or was heavily based on a 50 year old blues song hahaha.

Anyways, this album is really a must-listen. Repost the damn thing.



WHO IS HE?

In the history of the blues, there has never been anyone quite like the Howlin' Wolf. Six foot three and close to 300 pounds in his salad days, the Wolf was the primal force of the music spun out to its ultimate conclusion. A Robert Johnson may have possessed more lyrical insight, a Muddy Waters more dignity, and a B.B. King certainly more technical expertise, but no one could match him for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.