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This is an necessary CD to own as it preserves a lot of of the songs from our folk heritage that have been almost forgotten, and a lot of of them are impossible to search recorded elsewhere. Yes, some of the lyrics are a small raw, but they reflect life as it was around the turn of the latest century when most of these songs were written.I like the Seegers' voices. They are not professional singers, but I think that their voices have an earthy, natural sound and suit the material. The children love the songs too and I have adapted some of them to use with my preschool melody ey also have a CD called "Animal Folk Songs for Children" which my children love.
There are sixteen songs on this CD. Seven of them are very familiar to me. (I lived for almost half of my life in the USSR, and Russian is my native language.) One or two other melodies were also familiar, the other songs I do not remember I heard before. I evaluated each of the songs on this CD by a number, from one to five, with five being the best. Then I calculated the average, and it was four. So I evaluated this CD by four stars. The voices of the soloists on this CD are pleasant. However, one or two times, listening to the songs, I doubted that the native language of the soloist was Russian. Am I wrong in that? Maybe ... Also, sometimes I thought that the choir "stretches" singing of a certain sentence in a song more than necessary, or that singing of a soloist is a small mincing, but all this is the matter of private preferences. The songs on this CD are a amazing introduction to Folk Songs of Old Russia.
I have more than 700 artists in my collection and always seem to gravitate back towards this one, which tells you a lot. It is basically modern acoustic blues with an edge and very dark lyrics that sink into your soul. I could go on and on, but listening to this entire album will be totally unique. Give it a try!
This recording must be a compilation of other very old recordings. I nevertheless enjoyed the very special arrangements and sounds. I want that the producer had included some sort of info as to when the recordings were made, where was the group based and the meaning of the songs, etc. There is very small info on the internet about the group. What a shame.
Forget about purple dinosaurs and inept adults dumbing down low quality melody to hyponotize kids with insincere emotion. This is the true stuff. This album is quality authentic melody that kids love! My children wear this album out and better yet I like it. Maybe a small to true for TV culture. Also check out woody guthries - "songs for mother and kid to grow on" and "the nursery years".
Even though this isn't really blues, it makes me think of the line in the film Ghost World, where Enid asks Seymour if he has any more albums like the scratchy old blues record she just bought from him, and he tells her "there are no other records like that". This is an original album that's accessible to the modern ear, but authentically old-time country at the same time. I could write pages and not adequately describe it. For ten bucks, just buy it and listen. You won't be sorry.
I love to listen to Russian music. This CD is epic! I listen to it again and again and I don't obtain tired of hearing it. A lot of years ago as a student at Oregon State, I found this treasure at the library as a vinyl 33rpm LP. I checked it out and upon listening to this epic music, I fell in love with it ever since then. I tried recording it on a cassette with a small portable tape recorder, but the background noise in the dorms and the not good quality of the recording created it impossible for me to have fun it as much as on the LP. For a lot of years, I wondered where I could search this LP and tried looking for it with no success. There was no Internet back then to search things with such ease as we can nowadays. After I had lost hope in finding it and not expecting to ever encounter it in CD, I stumbled on it here at Amazon and without hesitation ordered it. Now I am very satisfied to own this long awaited CD and am glad to have it amongst all my other collection of CDs and be able to call it my own.
I bought an album a lot of years ago on a cassette tape that contained most of these same tracks. This was around 1976 as I was entering the US Army. I didn't know Russian but I had studied some Russian history. Maybe that was what piqued my curiosity. What I found was a collection of melody that ranges from mournful to playful and joyous, and is sung with amazing feeling. I fell in love with it. I am delighted to have found it reproduced in digital form. My cassette tapes entered the land fill a long time ago. Now I can share this attractive melody with my mates and family.
My children really like this CD, partially because I have sung a lot of of these songs to them since they were very small. Some of the lyrics are a small various than the ones I learned, but that is often the case with anything. The melody and vocals are very "singable" and each song is several verses long. I was pleasantly surprised, as I have come across some beautiful disappointing karaoke CD's.
This is my first (but probably not my last) encounter with Brother Dege (aka Dege Legg) - the album popped up on Amazon's 'Recommended for You' list. After listening to the samples, I decided to buy it, and I've been listening to the album in all of its full glory for about a week e melody on 'Folk Songs of the American Longhair' is a rock musician's take on Louisiana Delta Blues (all of the songs are written by Dege). Whilst the album rocks beautiful hard occasionally, I think a lot of songs work well as blues also - thanks, in no little measure, to the accomplished dobro slide playing which dominates the album instrumentally. Featured prominently also, are much bass drum thumping and Dege's slightly strangulated Southern rasp - he has quite a distinctive voice which makes you wish to keep out for more. Other instruments played on selected tracks are : organ, fiddle, electric guitar, electric bass and djembe. The primary tracks were 'recorded by Dege Legg in a shed in Southern Louisiana'; also, there are some studio overdubs and a bit of electronic tweaking to give additional texture and depth to the melody (at times, sounding kind of spooky) - but nevertheless, much of the album's raw quality is still rically, you don't obtain a wide range of themes - with most of the songs concentrating on hardship, despair and the point of human existence (always assuming that there is one); but nonetheless, the lyrics do drive the notice home, and they also lend an air of blues/roots authenticity to the music. There's a amazing mix of tempos on the album. My favourite tracks are : `The Girl Who Wept Stones', 'Too Old To Die Young', 'House of the Dying Sun', `Dead & Gone' and 'Old Angel Midnight'.'Folk Songs of the American Longhair' is an album of Southern gothic blues/roots-rock featuring some terrific dobro playing, interesting vocals, a high groove quotient and a mood that never inadvertently strays into anything remotely cheerful or optimistic. There are some extra instruments (other than dobro) played, but they don't obtain much of a look in - it would have been nice to hear a bit more of these (including a few short solos) because there isn't a amazing deal of instrumental dozens from one song to the next (although the versatility of Dege's dobro playing compensates to some extent).The 30 second melody samples don't really do Dege's dobro playing full justice - if you wish to hear more, there are several clips on YouTube (decent sound quality). Test not to miss 'House of the Dying Sun' or 'Old Angel Midnight' - in my opinion, the album's best tracks.
Brother Dege brings us soulful truths. The melody is soul stirring and the lyrics profound. I still cry when I listen to the Girl Who Wept Stones and I am not that emo. Highly, highly recommended. This guy has it going on. Old Angel Midnight inspired me to read Jack Kerouac's work by the same name. Awesome. Thank you Brother Dege and hold it coming like this.
I bought this, like so a lot of albums back in the late 70s in college, and though I can only understand a few words here and there, the sounds of these two choir groups is intense and evocative of Old Russia. For those who know the language, it would be a amazing present--for those who love the rhythms and sounds of choral groups, this is a must have.
There never was another voice quite like Jo Stafford's. She possessed a special timbre that gave her own particular stamp to everything she ever did. And there never was an album of folk melody quite like this. For the most part this is not a "folk" album. That is, while it presents traditional materials, on most tracks it does so in a distinctly non-folk way. If you are looking for the likes of Joan Baez or Burl Ives, you certainly won't like this. But if you appreciate the special bonuses of Jo, you will be e arrangements are divided between lush strings at a slow reflective tempo and bouncy banjo things. I think they create a amazing contrast. The first time I listened through the album, I was somewhat place off by the slow pace and non-folk style of the slow numbers, but on repeated runs I came to appreciate what Jo and Paul Weston were up to here. Especially I appreciated the full treatment of Shenandoah--enough stanzas to obtain an idea of the story behind the song rather than just the mysterious evocation the song is usually presented with. And I've never heard a rendition of Sourwood Mountain quite as much fun as the one usual, Jo covers the spectrum without missing a beat.
I could not believe it when I saw that this CD had been released! It popped up on the screen as being something else that I might wish to purchase, when I bought Theodore Bikel "Songs of a Russian Gypsy". (see my review of the Bikel CD).Thank the Amazon computer for linking these together !!!The original Electra recording, which dates from 1957 was actually a combination of two earlier Electra 10 inch LP recordings (EKL 6 and EKL 8) which were very early releases from this revered dings deep, rich voice and superb guitar work come through very well in this transfer...It is hard to believe that the original recordings were created over 50 years ago. (see my other reviews for more early Elektra folk gems)
This CD is an interesting collection of field recordings done by Alan Lomax in Britain and Ireland. The singers are for the most part just regular, older people singing at their homes or pubs. If you are interested in traditional ballads, this is a amazing CD to check out. It has a lot of singers, singing traditional ballads in traditional styles, without that sense, I enjoyed the recordings, because I have read a lot of of the ballads on paper, but did not know how they were sung. But it's not something I'd place on for dinner music. The recording quality is patchy (these are, after all, field recordings), and some of the ballads are spliced together from several singers' renditions-- which is interesting for the subtle variations revealed in style and content from one singer to the next, but I really would have liked to hear just one person sing it all the method e liner notes are actually more like a little book, loaded with historical detail and info about the different singers. There are a couple of annoying transcription errors in the song texts (the sound of a cuckoo clock in the background is written in as part of the lyrics, a chorus is marked incorrectly), but the rest more than makes up for them. It's a fascinating collection, but only if you are interested in folk ballads.
I had this record years and years ago, and loved Schlamme's poignant and haunting voice and her heartfelt rendition of such special and traditional songs. But it is only this year as I began listening to the disk from the perspective of years that I noticed the amalgamation of moods - lullabies to orphans, deep sorrow and loss, and tragic fables mixed with light humor, day-to-day life, love, seduction, and toasts. Schlamme is showing through these songs the vast complex responsibility of the Holocaust survivor to revive a globe of feelings that disappeared all at once.
I first heard "Shenandoah" from this album on YouTube and instantly loved bsequently, I bought this album of American folk songs and sent it to my dad in Scotland, hoping he would love Shenandoah as much as I did. He later told me that Jo Stafford was one of his favorite singers back in the day.I also, later, bought it for myself. A lot of of the songs are melancholy, but Jo had such a attractive voice...
This is not your typical folk album, as the banjo is in limited use here, but that actually gives it quite a various feel. But it is well worth the listen, I particularly love her rendition of "Red Rosy Bush". Recommend this one to those looking for folk melody with a slightly more sophisticated spin.
I'm not sure that I can write an unbiased review of Cynthia Gooding. I waited for thirty years to hear this melody again! I grew up with Cynthia Gooding's voice -- my parents owned several LP's including ""Cynthia Gooding Sings Mexican, Spanish, and Turkish Folk Songs". To me, her deep voice exemplified folk music. Her passion for what was then unknown melody and her dedication to presenting it to a wider audience characterized every performance of every song.I'd love to obtain a CD of "Queen of Hearts", a collection of early English folksongs. Is anybody listening?
I love this CD. If you're looking for some fun melody to listen to, it's not for you. If you're looking to hear or learn some very traditional folk songs sung in a very traditional way, it's excellent for you. I love folk songs, but I like to hear them as they were originally sung (while doing housework, on front porches, unaccompanied, and by non-professional singers). The singers are definitely unconcerned with sounding "good"; they are merely sharing their songs with others. As an American, their accents can be hard to understand, but that's part of the appeal. There is small to no instrumentation, and it's wonderfully raw (one singer clears his throat loudly in the middle of a verse, another forgets the words but continues on, there is a song performed in a pub with the crowd adding a spirited background, etc.). You truly feel like you're there in their sitting rooms, having some tea, and spending the evening in y of the singers sound like your 80 year old grandmother who needs a nap, but a few have unbelievable voices. The young man who sings "The False Knight Upon the Road" and the man who sings "Broomfield Hill" are two examples.If you can't obtain enough of traditional ballads, buy this cd!!
Martha Schlamme survived the Holocaust with a honey-sweet soubrette soprano voice; in her zeal to hold an entire repertoire alive, she pushed her delicate instrument towards almost a dramatic mezzo range and beautiful much destroyed it before she was 50 years old (that's young for a fine voice). But she was the greatest, most expressive exponent of our lost culture. Her untimely death at age 62 (onstage, performing!) deprived us of the amazing legacy she would have left us had she been able to stay longer with her is album gives a amazing idea of how unbelievable Martha was as a young singer. Attractive Yiddish folk songs, beautifully sung by a amazing artist; like Schubert sung by Fischer-Dieskau. Yiddish songs are just not sung better than this; Martha is the ULTIMATE DIVA for this repertoire. If you love amazing singing, you should own this album.
The glossy CD cover with the motley onion cupolas of the St. Bazil's cathedral in Moscow and the title `Ivan S. sings Russian Folk Songs' evoke misdoubts that this Preiser CD might be as far from the best standards of the Russian vocal school as varnished wooden dolls, the matryoshkas sold on Moscow's tourist rutes, are from genuine examples of the Russian decorative folk art. Fortunately, this is not not mind the kitschy cover, this is a amazing CD! The bass-baritone Ivan Mikhailovich Skobtsov (1900-1983), a long-time soloist of the Bolshoi theater, was one of the finest Russian singers of his generation. I have no explanation, why he got less awards than, say, Alexei Ivanov or Andrei Ivanov. Skobtsov's huge voice did not wobble, his breath technique was enviable and his manner was free from the excesses of the Soviet `psychologism'. A partial respond is that the Bolshoi theater lacked Wagner roles that could suit Skobtsov's voice best - The Dutchman, Wotan or Hans Sachs. On the opera scene Skobtsov was mostly employed as a dramatic baritone, but his greatest achievements, as Skobtsov's noted colleague, tenor Sergei Lemeshev claimed, were Russian songs and ballads. In this field he has few peers, except for Feodor Chaliapin Feodor Chaliapin Song Book and more recently, Pavel Babakov Old Russian Romances ; cf. also legendary folk-lore singers Nadezhda Plevitskaya and Lidia obtsov was a master of intonation could highlight the slightest text nuances without howling and shouting. Try, for instance, track 16 on the reviewed CD - the song `Here daring troika's speeding fast' (Rus. Vot mchitsa troika poctovaja). The singer begins mf and tells the complaint of a coachman: he slightly abates on the word `heart' (1'14) and changes the timbre for the `doleful' entrance of the coachman. Only on the words `the coachman stopped and the whip howled' (Rus. jamstchik umolk I knut remjo-o-n-n-yj), ca. 2'36-2'50 he rises to a mighty ff, to die away in the ending. Another high point is track 13 - the ballad about a fireman's death `The sea has spread wide and afar' (Rus. raskinulos' more shiroko): when the dying fireman comes out to the deck to die, Skobtsov does not sing the line `he saw in a flash the dazzling sunlight' (uvidel na mig oslepitel'nyj svet) pathetically, as lesser artists would do, but opts for a cordial mezza-forte (ca. 3'15 -'3'20) sounding almost outworldly. In fact, only part of the reviewed CD classifies with real `folk songs'. The rest are conventionally called `romances' in the Russian tradition, a term loosely corresponding to the European `ballade'. Track 15 `Amid high river banks' (Rus. Mezh krutykh berezhkov) is a ballad on Matvej Ozhegov's text: it is a story about the brigand who dated an officer's wife and used to come to her rowing across the broad Volga-river amid its high river banks. If you want to hear folk songs in the proper sense, test track 5 (`Song of the barge haulers'), track 9, an even more popular barge haulers' song `Ej, ukhnem' and track 10 `Rise, attractive sun' (Rus. Ty vzojdi, vzojdi, solnce krasnoe). Attentive listeners will hear that Skobtsov finds an invidual mood for each song - from deep dejection and obedience in the `Song of the barge haulers' to the heroics of Ty vzojdi, vzojdi, solnce short, this CD features singing of the highest order. Nevertheless, I must subtract one star because of the middling Preiser transfers. The Preiser engineers overfiltered Skobtsov's voice: it sounds higher and more flat than it was, as testified by Skobtsov's recital on Vista Vera CD Russian Romances and folk songs - Ivan Skobtsov , Soviet LPs and broadcast tapes. Therefore the Vista Vera CD remains my first choice: it is recommended to start exploring Skobtsov's art with it. If you like Skobtsov and love Russian folk songs and ballads, you will wish to own this Preiser CD too. As far as I know, there are no commercially issued Skobtsov's solo CDs, except for these two. They share only one item - `A village lies on the way' (Rus. Vot na puti selo bol'shoe) - Preiser CD, track 2 = Vista Vera CD, track 7: according to the Vista Vera, it was recorded 1952. Apart from it, several songs on both CDs overlap, but the recordings are different.Unfortunately, the reviewed Preiser compilation does not specify, when the recordings were made. I assume that the songs were recorded ca. 1950-1965. It is difficult to establish the dates more precisely, since Skobtsov was in amazing shape until his seventies. He also recorded a lot of songs several times. A complete discography of this amazing singer is badly needed. I doubt whether all variants included here are the best ones, but I will hold my reservations until all existing variants with Skobtsov pop up on rformances: ****Transfers: ***
Absolutely BEAUTIFUL! I knew it would be when I ordered the CD. It's rare to search an entire album where every track is right on the money, but this glorious collection is consistently perfect from beginning to end. Your favorite track will be whatever is playing at the moment. They are all "keepers."Jo Stafford's voice was rich and pure, and her performances were always show-stoppers. Judy Collins supposedly chose folk melody as a career when she heard Jo Stafford's rendition of "Barbara Allen." The similarities are certainly there. Both favor the no frills approach -- clear, unadorned, and "straight up." The orchestral accompaniment is understated and appropriate. No one knew better how to accompany Miss Stafford than Paul Weston, but she could have sung in front of a brass band, and you'd never have heard anything but that attractive voice.I probably should have ordered a backup copy; this one's going to obtain a lot of use.
...there was Cynthia Gooding...an early folk singer with a deep, almost masculine voice and lyrical guitar playing...although not a native, she was able to search and interpret little-known folk songs from Mexico, Spain and Turkey. Anyone who loves folk/foreign/world melody or the haunting and lovely sounds of Turkish and Spanish--don't miss this record!!!For doubters who wonder how (or why) these songs weren't sung by Turks, Mexican and Spaniards, this was the 1950s and there wasn't a huge shop for that; U.S. folk melody itself was just becoming popular. Cynthia Gooding should be credited with helping begin the current popularity of globe music. (And kudos to Elektra for re-releasing this!! Let's hope they re-issue more of her music!!) And Cynthia Gooding wasn't any singer bowdlerizing other people's music...she went out and tracked down old music, found foreign musicians to teach her songs and was a meticulous researcher. (Check out her extensive notes on the back.) Her Spanish sounds near-perfect to me (it was said that she had a pure Castillian accent), and, although I'm just a beginning Turkish student, her Turkish sounds great. (I believe her husband was Turkish.) There's an elegant and restrained quality about her singing and playing, so that the listener hears the pure songs and not the singer overdoing the songs. I love the sadder pieces: Ankaranin Tasina Bak and Katip (Turkey); Donde Vas Rey Alfonsito (Spanish) and La Llorona and Roman Castillo (Mexico), but check out her ver of La Bamba--long before Richie Valens turned it into a hit. The quality of this recording is wonderful, too.
If you love folk songs, you will love this disc! It includes some of the very best traditional American folk songs, sung with amazing depth of feeling by a amazing singer. Jo Stafford's lyrical, lilting voice and purity of tone are perfectly suited to convey both the soulful melancholy of the slow songs and the catchy "playfulness" of the quick songs. She is accompanied in the slow songs by the lush, nostalgic string arrangements of Paul Weston and in the quick songs by the really fun, toe-tapping banjo playing of Joe Maphis, an extremely talented banjoist. This has become a treasured CD of mine; I can listen to it over and over without ever getting tired of it. It's simply amazing melody making.
If you are a person like me, you have fun melody from around the world. Cynthia Gooding I had never heard about, and preforming in three languages, especially Turkish, I had to give it a try. Not disapointed, she is terrific! The melody is amazing as well as the voice. Buy it, you'll like it. Like all the a lot of CD's I have purchased from Amazon, its a winner.
This CD is (unintentionally) the funniest thing I've heard in a long time! The recordings have almost no musical accompanyment and are very rough ... it is a bit like hearing your grandfather singing in the garage. The ballad singer aesthetic is almost diametrically opposed to the rock melody aesthetic - the older the singer, the more gravely and incoherent the recording, the better & more "authentic" the recording. The performers often do only snippets of ballads that create no sense at all unless you know the rest of the piece. For example in performing "The Douglas Tragedy" Henry McGregor sings only the part where Lord William is telling Lady Margaret that she has a choice to stay or ride off with him. Even this McGregor seems to have a hard time remembering. "Go saddle to me my ... (long pause) ... my amazing grey steed." The accents are so thick that it sounds like an entirely foreign language in locations (and in some places, like King Orfeo with its Ancient Norse chorus, it really isn't English). And the background sounds, like the cuckoo clock tolling mentioned by another reviewer, are great. I think I heard a cat at the beginning of one! Those familiar with Anglo-Irish ballads will search this collection fascinating. Others will simply obtain a amazing laugh out of it. Kids, play this, and your parents will REALLY begin to worry!
This collection of folk songs is a mix of ballads (recorded in Jo's usual style with lush orchestral backing) and uptempo songs (recorded in real folk style with a banjo-guitar-bass trio). As previous reviews have indicated, some people like everything while others only like the ballads - they don't expect or wish a banjo on a Jo Stafford album.What this album proves is that Jo really was America's most versatile singer of her generation. The album opens with Shenandoah, an old song given a then-new treatment by Jo, like so a lot of of the songs here. The uptempo banjo-led tracks are tracks 3, 6, 9 and 12, so those who wish to program out these tracks will search them simple to remember.Apart from Shenandoah, the most popular songs here are Wayfaring stranger (here titled Not good wayfaring stranger), Barbara Allen and I wonder as I wander. All the other songs, some better known than others, are is isn't really a folk album - only the four uptempo songs would sit comfortably on a folk collection - but it is nice to hear old folk ballads updated for the 1950's.If you don't like the sound of the banjo, you will have to consider whether it's worth the cash for just eight tracks. If you are a real Jo Stafford fan, you will buy it anyway, though perhaps you will leave it until you've got all her other albums.
This is an perfect collection of Israel's most famous folk songs performed by a dozens of artists. Even my husband couldn't support singing along. If you have kids, this is a amazing method to introduce them to Israeli folk songs. It's simple to learn the words and understand the primary meaning even if you don't speak Hebrew (and hearing these attractive songs is a amazing incentive to learn Hebrew). I highly recommend this CD.
A title like "Songs of Seduction" conjures a lot of possibilities for music. What I didn't expect when I first place this one on was a quavery, old voice stumbling through a few verses of "Blackbirds and Thrushes" before chortling hoarsely. But that's precisely how "Songs of Seduction," a fresh release from "The Alan Lomax Collection," begins. And there's more of the same -- 33 tracks in all, most featuring creaky, timeworn voices eroded by years of work and whiskey. What a treasure!Alan Lomax is a beloved name in folk revivalism, capturing a dying style of melody before it vanished and, as a result, helping to bring it back bigger than ever before. This album, and others in the re-issued series from Rounder Records, is the product of several years in the early 1950s which Lomax and a few others -- Peter Kennedy, Seamus Ennis, Hamish Henderson, Wyn Humphries and Sean O'Boyle -- spent traveling through the countrysides of England, Ireland, Scotland and Wales, toting their recording equipment down country streets to search melody where it still rtunately for us, Lomax created these recordings before it was too late. Fortunately, too, Rounder Records hasn't allowed the melody to disappear into the archives of old and scratchy vinyl -- this CD is an awesome piece of musical e singers for the most part aren't professional musicians. They're laborers and craftsmen -- common folk. For instance, "Blackbirds and Thrushes" is sung by ie Lashbrook, a wandering chimney sweep who slept rough in Cornwall hedgerows. "The Foggy Dew" came from Major Philip Hammond, a Norfolk soldier. Tinker Jimmy McBeath contributed an "erotic fragment" of Scots diddling called "Toorn-a Ma Goon." "The Jolly Tinker" was from Thomas Moran, a 79-year-old Irish farmer, while East Anglian farm laborer Harry Cox, whose "repertoire of erotic lyrics was extraordinary," shared "The Long Peggin' Awl," "Firelock Stile," "The Maid of Australia" and "The Knife in the Window."Charlie Wills was a "jovial country Englishman ... with a cider mug in one hand and a lusty ballad on his lips." His lively rendition of "Up to the Rigs of London Town" is particularly delicious, sung with schoolboy enthusiasm despite his 80-plus years -- and with ample assistance from the crowd around him. Johnny Doherty, an Irish Traveler and peddler, played "Bundle and Go" on a borrowed fiddle because he had none of his ere are women represented here, too, like Irish tinker Annie O'Neil on "The Thrashing Machine" and Perthshire's Belle Stewart on "The Overgate." Aberdeen balladeer Jeannie Robertson supplies a few: "The Bonny Wee Lassie Who Never Said No," "The Cuckoo's Nest," "Never Wed a' Auld Man" and "She is a Rum One." An all-night session in Belfast produced 17-year-old tinker Lal Smith's performance of "The Bold English Navvy."You can hear generations in these songs. The voices are rough, unpolished, in some cases trembling with age -- but these are the songs they grew up singing and the words are worn into their souls like wheel tracks on a muddy road. Sometimes they cough, hesitate or stumble in the words. But there's also pride in the sound, and undisguised glee as they sing the bawdy modern melody standards, there isn't much here to raise even a blush. Today, singers describe graphically what once could only be hinted at. But give me subtlety every time -- these tunes are a treat, and every time I listen I can see their faces, eyes twinkling and grinning broadly as they belted out the old songs.
A title like "Songs of Seduction" conjures a lot of possibilities for music. What I didn't expect when I first place this one on was a quavery, old voice stumbling through a few verses of "Blackbirds and Thrushes" before chortling hoarsely. But that's precisely how "Songs of Seduction," a fresh release from "The Alan Lomax Collection," begins. And there's more of the same -- 33 tracks in all, most featuring creaky, timeworn voices eroded by years of work and whiskey. What a treasure!Alan Lomax is a beloved name in folk revivalism, capturing a dying style of melody before it vanished and, as a result, helping to bring it back bigger than ever before. This album, and others in the re-issued series from Rounder Records, is the product of several years in the early 1950s which Lomax and a few others -- Peter Kennedy, Seamus Ennis, Hamish Henderson, Wyn Humphries and Sean O'Boyle -- spent traveling through the countrysides of England, Ireland, Scotland and Wales, toting their recording equipment down country streets to search melody where it still rtunately for us, Lomax created these recordings before it was too late. Fortunately, too, Rounder Records hasn't allowed the melody to disappear into the archives of old and scratchy vinyl -- this CD is an awesome piece of musical e singers for the most part aren't professional musicians. They're laborers and craftsmen -- common folk. For instance, "Blackbirds and Thrushes" is sung by ie Lashbrook, a wandering chimney sweep who slept rough in Cornwall hedgerows. "The Foggy Dew" came from Major Philip Hammond, a Norfolk soldier. Tinker Jimmy McBeath contributed an "erotic fragment" of Scots diddling called "Toorn-a Ma Goon." "The Jolly Tinker" was from Thomas Moran, a 79-year-old Irish farmer, while East Anglian farm laborer Harry Cox, whose "repertoire of erotic lyrics was extraordinary," shared "The Long Peggin' Awl," "Firelock Stile," "The Maid of Australia" and "The Knife in the Window."Charlie Wills was a "jovial country Englishman ... with a cider mug in one hand and a lusty ballad on his lips." His lively rendition of "Up to the Rigs of London Town" is particularly delicious, sung with schoolboy enthusiasm despite his 80-plus years -- and with ample assistance from the crowd around him. Johnny Doherty, an Irish Traveler and peddler, played "Bundle and Go" on a borrowed fiddle because he had none of his ere are women represented here, too, like Irish tinker Annie O'Neil on "The Thrashing Machine" and Perthshire's Belle Stewart on "The Overgate." Aberdeen balladeer Jeannie Robertson supplies a few: "The Bonny Wee Lassie Who Never Said No," "The Cuckoo's Nest," "Never Wed a' Auld Man" and "She is a Rum One." An all-night session in Belfast produced 17-year-old tinker Lal Smith's performance of "The Bold English Navvy."You can hear generations in these songs. The voices are rough, unpolished, in some cases trembling with age -- but these are the songs they grew up singing and the words are worn into their souls like wheel tracks on a muddy road. Sometimes they cough, hesitate or stumble in the words. But there's also pride in the sound, and undisguised glee as they sing the bawdy modern melody standards, there isn't much here to raise even a blush. Today, singers describe graphically what once could only be hinted at. But give me subtlety every time -- these tunes are a treat, and every time I listen I can see their faces, eyes twinkling and grinning broadly as they belted out the old songs.
One of these 26 songs played as background melody on a YouTube video of some kind of gymnastic or dance feat out of Russia. I hunted down the melody, read the English lyrics, then decided to see what else was in the album. Downloaded the full album for $15 via Amazon mp3 downloader, and now happily listen to the melodies (interspersed) on my iPod.
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Jau Nebereikia Vogti Dainorėlius iš Stovyklų Turtingas dainų rinkinys! Labai dėkingas esu už Jūsų darbą, kuris padėjo mums parnešti namo Neringos stovyklos prisiminimus. Norėtųsi, kad stovykla tęstųsi ilgiau, ir dainos primena linksmiausius laikus praleistus su draugais. Čia tikrai vertinga dovana visiems. Ačiū!
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Augo putins - lacking Russian translation No Russian translation for augo putins
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Geras 😮😮😮 dabar žinau visas dainas!
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