Bluesmen's World(Music)

"Recorded live in Bordeaux.
Developed over the last 15 years, Song of the Lodz Ghetto is a unique musical work, a song cycle in which memory and imagination freely interact to create a Proustian journey between present and past. At the center are Brave Old World's arrangements of the rare Jewish street and cabaret songs from the Nazi ghetto of Lodz, Poland, 1940-44. Leading through the Lodz repertoire like stepping-stones through the river of memory are Brave Old World's own original compositions, reflections on 17 years of performing Jewish music. Michael Alpert's moving Berlin 1990 forms the emotional and musical counterpoint to the passionate and ironic street songs of the bard of the Lodz ghetto, Yankele Herszkowicz. A musical and spiritual journey of resistance, love, and reconciliation."

"...this collection illustrates the power of the creative consciousness to survive, even thrive, in the most harrowing of circumstances."

01. Rumkovski Kayim/Lodzh-fidl
02. Lodzh-overtur
03. A gants fayn mazltov
04. Nisht nor simkhe/Veynendiks
05. Vayl ikh bin a yidele
06. S'Iz Kaydankes, kaytn
07. Kimts in herts/Rumkovski Khayim
08. Yikhes/Vinter 1942
09. Makh tsi di eygelekh
10. Berlin 1990 (Refren)
11. Es Geyt a Yeke
12. Ver Klapt du Azoy?/Geto varyant
13. Geto, getunya
14. Kuyavyak
15. Amerike Hot Erklert/Kemfn!
16. Berlin 1990
17. Lodzh-coda
18. Bobover Khupe-Marsh/Rumkovski Khayim

Alan Bern: musical director, accordion, piano
Michael Alpert: vocals, fiddle, percussion, guitar
Kurt Bjorling: clarinet, bass clarinet
Stuart Brotman: bass, cello, cymbalom, trombone, fiddle

Link

Recorded in 2001, Golem's debut album features tunes sung in Ladino, Ukrainian, Spanish, and of course, Yiddish... not bad for a 5 song EP!

01. Skrip Klezmer!
02. Balkan Espanol
03. Kopav Kopav
04. Madre Mia
05. Az der Rebbe Elimelekh

Aaron Diskin: vocals, tambourine
Alicia Jo Rabins: violin
Curtis Hasselbring: trombone
Taylor Bergren-Chrisman: contrabass
Laura Cromwell: drums

Link

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"Once upon a time in Hungary a group of young and talented people – who had otherwise not much common points – agreed that they will show their compatriots and to the whole world that the saying “the Hungarian rejoices crying” is absolutely false. In the music of Yava Folcore Punk Brigade the folk songs are not artefacts of museums or worldmusic-like commercial products but pulsating energy which is not only intertwined with the musical traditions of the Middle East or Indonesia but also with hardcore punk music. After long waiting the debut album of the band will be coming out in November 2008 and the band that already had several international gigs is ready to conquer the world.
Yava was established by the bassist of the legendary band “Galloping Coroners” (VHK), Adam Mestyan and Polett Dus in 2001 and their very different characters define the main features of the band. Polett today is the editor in chief of a radio station but before she played as an actor in a travelling company, was a folk-musician and then lived for a long time in Indonesia where she studied the ancient arts of “wayang” and the “gamelan” music. Adam was graduated as an Arabist and lived in North Africa and later one year in Kuwait. In 2002, the folk musician Szabolcs Roka joined the band who is the master of the Hungarian “koboz” and the Arabic-Turkish oud. From 2004 the also legendary VHK-member guitarist Fritz Laszlo Nemeth joined the band while the progressive metal-drummer Kristof Szabo is the youngest member.
In the inimitable music of the YAVA FOLCOR PUNK BRIGADE it can happen that the bass will answer to the themes of the bagpipe. Who does not believe this, listen to this magic how the different musical traditions of different nations are united, how the medieval songs and instruments are joined to punk and hardcore melodies."

01. Szerelem
02. Tizenkettö
03. Ó, Castília
04. Indonéz
05. Mire vársz
06. Gen 36
07. Rejtsetek el engem
08. Kezemet homokba
09. Üsküdari mese
10. Aranytoll
11. Izzott nyögött
12. Hergetés

Link

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"Winter Chasing draws from the music of the peoples of our country in the widest sense of the word: I could almost say, it embraces nearly all the peoples with a common fate during its thousand: year: old disastrous, bloody history who have influenced each other musically: Katalin Szvorák, who gives expression to this common tone, is a highly competent, artistic interpreter of the music of the Hungarians and all the peoples living with them.

May you regard the music you hear as a bunch of flowers made of the music of thousand years and love it both as a whole and each of its precious flowers separately.

And accept it with proper love from from Katalin Szvorák who has gathered the bunch and presents it to you now."

Sung in Hungarian, Slovak, German, Moravian, Armenian, Czech, Gypsy and Croatian.

01. Ma vagyon Farsang híres napja
02. Ez ki háza, ki háza
03. Za nuno baluśo
04. Hipp, hopp farsang
05. Kura Jóska, dudáljon kend
06. Pod šable
07. Elmúlott a hosszú farsang
08. Dúsgazdag siralma
09. Sokác kóló
10. Talalaj, talalaj
11. Haj ki kiszi, haj ki
12. Keď si videl, že nemožem
13. Jaj, de szennyes a kendője
14. Faschingmarsch
15. Huculka
16. A macskának kesely lába
17. Gakavik
18. Ezek a szép szász leányok
19. Illik a tánc a rongyosnak
20. Hopp csillárom

Musicians:
Kati Szvorák - voice
and The Monarchia Orchestra:

MULATSCHAG GRUPPE (Bécs, Vienna, Austria):
Evelyn FINK - violin, voice
Ernst FRITZ "Blizzfrizz" - violin, accordion
Andrea HOFFMANN - harp, voice
Rudolf PIETSCH - violin, voice
Margit WERNER-ANDERL - voice

PONITRAN (Nitra, Slovakia):
Bernard GARAJ - Slovak bagpipe, cimbalom, voice
Peter HUJER - violin, ozembuch, voice
Marián JÁREK - violin, voice
Ján VÁCLAVEK - viola, voice
Pavol VAKOŠ - double bass, voice

Béla ÁGOSTON - clarinet, bagpipe
Joszif Jurijevič ČERNAVEC (Técső, Ukraine) - Jew's harp
Tamás GOMBAI - violin
Mihály HUSZÁR - double bass, accordion, voice
Ferenc KISS - voice, kobsa, zither, Jew's harp, tambur, percussions, violin, hurdy-gurdy, water can
Zsolt KÜRTÖSI - double bass
Péter PÉTERDI - keyboards
Zoltán SZABÓ - Croatian bagpipe, tambur, ocarina
Sándor D. TÓTH - viola

Pupils of the folk-song class of Szentendre Vujicsics Tihamér Music School:
Flóra KISS, Berci SASVÁRI, Borcsa SASVÁRI, Marci SASVÁRI, Csenge SZEBENY, Rebeka TAMÁSI, Sára TÍMÁR, Réka ZETELAKI - voices

Link

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"In both Polish and Hebrew, the word "balagane" means either "big mess" or more colloquially, "whorehouse." It is also the name of the second album from Montreal-based group Jeszcze Raz (pronounced YES-chay Raz), led by the irreverent poet/songwriter Paul Kunigis. Balagane is a playful collection of rollicking songs driven by elements of Jewish, Gypsy, and Arabic folk, with hints of French chanson, jazz and blues in the mix.

This array of influences is skillfully woven by polyglot pianist and songwriter Paul Kunigis. Polish-born of a Catholic mother and Jewish father, Kunigis was raised in Israel where he went to a school run by French Jesuits and took Hebrew studies on the side. He plays his upbringing like a trump card, laughing, "I had a first communion AND a bar mitzvah!" with self-conscious irony. In his music, Kunigis acknowledges the myriad of sometimes opposing cultural forces that created him. Most of all he identifies as an outsider.

Songs in Polish, Hebrew, Arabic and French lambaste bar-stool philosophers, celebrate the lives of rag-pickers and prostitutes, and dream improbable dreams of a lasting peace in the Middle East. The impassioned lyrics are bittersweet and gutsy: Kunigis pulls no punches. In concert, he likes to say with a twinkle in his eye, "My music is not politically correct. It's just correct."

Balagane was produced by Yves Desrosiers of Lhasa de Sela fame, and features Desrosiers on guitars. The elements that made Lhasa's La Llorona sound great (including a careful attention paid to arranging and dynamics) make this album a success, too. A song that starts with bare-bones percussion and bass might evolve into a raucous burlesque sing-along with swirling violin, snaky accordion and sleazy bass clarinet blats. Percussion lines laid down by the rock-steady Rémi LeClerc are played over in such a way that individual songs integrate klezmer, Latin and Arabic influences effortlessly.

If there is one shortcoming to the album, it is that you may recognise some concepts from earlier tracks returning in some of the latter songs. But Kunigis and Jeszcze Raz can hardly be classified as one-trick ponies. No, they are the whole crazy circus. Balagane, indeed."

In March of 2003, Jeszcze Raz won the 2002 Juno Award (the Canadian equivalent of the Grammies) for World Music Album of the Year.

01 - Balagane (Bordel)
02 - Czarna kawa (Café Noir)
03 - Alte zachen (Vieilles Guenilles)
04 - Yahayouni (Mes Yeux)
05 - Bamidbar (Dans le Désert)
06 - Zimbergaya (Tzimbergaya)
07 - 3 pajaci (3 clowns)
08 - Swetlana (Chviétlana)
09 - Tiberiade (Tibériade)
10 - Ostatni dzien (La Derninre Valse)
11 - Mamaleh (Petite Maman)
12 - J'aimerai te dire
13 - Shequette (Silence)

Link

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"After years of research, a dream has at last come true: the world’s first major anthology of Rembetiko – the "Greek Blues". Presenting 31 ensembles from 13 countries, the album showcases the leading representatives of Rembetiko in its many forms throughout the world and traces its development over the years. Rembetiko emerged in the early 1920s in the port cities of Piraeus and Thessaloniki where hundreds of thousands of Greek refugees arrived from Asia Minor. They brought with them their own lifestyle and their oriental music. In the taverns, or tekes, they smoked hash, made music, and dressed in a distinctive way. It was a subculture that went against the grain. Banned under various dictatorships and later ideologically rejected, Rembetiko still survived in various forms, eventually becoming an integral part of Greek identity. From Greece, Rembetiko spread among the immigrant communities of North America, Australia and Western Europe. This musical journey through the world of Rembetiko presents the best groups, including Apodimi Compania from Australia, Prosechos, Salto Orientale and Zotos Kompania from Germany, Kudsi Ergüner and Melihat Gülses from Turkey, Diamanda Galas and the Projekt Café Aman Amerika from the USA, Taximi from Sweden, Palio-Paréa from Holland, The Rembetika Hipsters from Canada and such icons of recent Greek musical history as Mikis Theodorakis, Dionyssis Savopoulos, Nikos Xydakis, Niki Tramba and Ross Daly at the Café Aman and Stavros Xarchakos with music from the legendary film „Rembetiko".

CD 1.

01. Stavros Xarchakos - Prologos-Mana Mou Ellas
02. Cafe Aman America Orchestra - O Pinoklis
03. Taximi - Rosenbuskens Blad
04. Kudsi Erguner Ensemble - Yedikule
05. Kegome - Salto Orientale
06. Bayat - Irinaki(Traditional Arr.)- Bratsch
07. Talking To Charos - San Pethano Sto Karavi
08. Christos Pantelis - Bouzouki Mou Diplochordo
09. Miquel Gil - I Giren
10. Ross Daly & Labyrinth - Afou Chis Allon Stin Kardia
11. Ankala - Cafe Izmir
12. The Rembetika Hipsters - Mes Tis Polis To Hammam-
13. Evening Take-Abaji - For Rita
14. Pavlos Sidiropoulos - To Blues Tou Paliokaravou
15. Grigoris Bithikotsis - Mikis Theodorakis Sta Pervolia

CD 2.

01. Apodimi Compania - Doctor
02. Martha Frintzila - Thalassa Lipisou
03. Zotos Kompania - Ego Mangas Phenomouna
04. Diamanda Galas - Anoixe
05. Christos Pantelis - Pali Kiapopse Skeftikos
06. Salto Orientale - Diki Mou Ine I Ellas
07. Michalis Jenitsaris - I Ladades
08. Fotia - Psila Ta Parathyria Sou
09. Palio-Parea - Tou Votanikou O Mangas
10. Prosechos - Plimyra
11. Stelios Vamvakaris & Louisiana Red - I Fantasia Stin Exousia
12. Solon Lekkas - San Pothano Paragelno
13. Vosporos - Zeybekiko
14. Niki Tramba, Ross Daly & Labyrinth - Emai Orfanos Apo Paidhi
15. Melihat Gulses - Barba Yannakakis(Kurban)
16. Roberto Zanisi - Stin Ipoga
17. Nikos Xydakis, Manolis Rasoulis & Nikos Papazoglou - I Manges Den Iparchoun Pia
18. Dionyssis Savopoulos - Zeybekiko

CD 1.
Cd 2.

"Inner Voice is a meditative inner journey meant to awaken the primeval powers slumbering at the very depth of the "Self". It is a bringing up to the surface the energies of the ancient elements of earth, water, fire and air with the natural means of music and harmony.
We can only reach the very depth of our selves by the help of growing silent completely, a turning inward in meditation. The touching of the primeval powers slumbering in the depths of our "Self" happens when we use the most ancient of string instruments, that is, the human voice, archaic Hungarian folksongs, Gregorian chants and special instruments that awaken the four archetypical elements."

1. Föld / Earth
2. Víz / Water
3. Tűz / Fire
4. Levegő / Air
5. Belső hang / Inner Voice

Irén Lovász - voice
János Kerekes - didgeridoo
Ágnes Pintér - harp
Gergely Balázs - violin
Judit Gesztelyi Nagy - shakuhachi
Zoltán Mizsei - voice

Link

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"On first thought, the idea of the Man in Black recording such covers as "Bridge over Troubled Water," "Danny Boy," and "The First Time Ever I Saw Your Face" might seem odd, even for an artist who's been able to put his personal stamp on just about everything. But American IV: The Man Comes Around, which also draws on Cash's original songs as well as those by Nine Inch Nails ("Hurt"), Sting ("I Hung My Head"), and Depeche Mode ("Personal Jesus"), may be one of the most autobiographical albums of the 70-year-old singer-songwriter's career. Nearly every tune seems chosen to afford the ailing giant of popular music a chance to reflect on his life, and look ahead to what's around the corner. From the opening track--Cash's own "The Man Comes Around," filled with frightening images of Armageddon--the album, produced by Rick Rubin, advances a quiet power and pathos, built around spare arrangements and unflinching honesty in performance and subject. In 15 songs, Cash moves through dark, haunted meditations on death and destruction, poignant farewells, testaments to everlasting love, and hopeful salutes to redemption. He sounds as if he means every word, his baritone-bass, frequently frayed and ravaged, taking on a weary beauty. By the time he gets to the Beatles' "In My Life," you'll very nearly cry. Go ahead. He sounds as if he's about to, too. Unforgettable."

01. The Man Comes Around (by Johnny Cash)
02. Hurt (written by Trent Reznor of Nine Inch Nails)
03. Give My Love to Rose (by Johnny Cash)
04. Bridge over troubled Water (by Paul Simon)
05. I Hung My Head (Sting)
06. The First Time I Saw Your Face (Ewan MacColl)
07. Personal Jesus (Martin L. Gore)
08. In My Life (John Lennon/Paul McCartney)
09. Sam Hall (Arranged by Johnny Cash)
10. Danny Boy (Arranged by Johnny Cash
11. Desperado (Glenn Frey/Don Henley)
12. I'm so Lonesome I Could Cry (Hank Williams)
13. Tear Stained Letter (Johnny Cash)
14. Streets of Laredo (Arranged and Adapted by Johnny Cash)
15. We'll Meet Again (Ross Parker/Hugh Charles)

Link

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Bugotak plays Siberian music in a traditional folk basis, but their musical references are so diverse to be classified by genre (let’s call it Siberian Contemporary music). They even dare to cover rock classics, in their traditional Siberian instruments. The main idea of Bugotak’s art is that only those traditions come alive, which develop itselves; stark traditions are subject to nobody. Therefore, the project declares itself to play in any style, keeping native Siberian spirit. Lovers of ‘pure folk’ should stay away, to avoid stagnation of native folk’s culture.

01. Kon' Togethy (The Beatles's Come Together)
02. Altai Kys (Uriah Heep's Gypsy)
03. Kaar Mege (Nirvana's Rape Me)
04. Hododoo (Metallica's Nothing Else Matters)
05. Maadai-Kara (Mission Impossible)
06. Kozhung Of The Rising Sun (The Animals House Of The Rising Sun)
07. Ajylham Djiktite
08. The Crow And The Crucian
09. Aduushanai Duun (The Cowboy's Song)
10. Men Sanaarym (Queensryche's I Will Remember)
11. The Arctic Fox (It Happens)

Link

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"Fado (translated as destiny or fate) is a music genre which can be traced from the 1820s in Portugal, but probably with much earlier origins. In popular belief, Fado is a form of music characterized by mournful tunes and lyrics, often about the sea or the life of the poor. However, in reality Fado is simply a form of song which can be about anything, but must follow a certain structure.

The music is usually linked to the Portuguese word saudade (that has no match in English but it could be understood as nostalgia felt while missing someone), a word describing a sentiment. The word "pine", sharing the same root as the portuguese word "pena" (which has evolved to express the feeling of being sorry for someone) seems to describe the meaning of the word saudade only in very crude terms as a feeling of nostalgia, or longing, which is agreed by translators to not be an accurate description.Furthermore, because the word pine is actually a verb in English whilst saudade is simply a noun, any translation using these two words would be inaccurate.

Some enthusiasts claim that Fado's origins are a mixture of African slave rhythms with the traditional music of Portuguese sailors and Arabic influence.

There are two main varieties of Fado, namely those of the cities of Lisbon and Coimbra. The Lisbon style is the most popular, while Coimbra's is the more refined style. Modern fado is popular in Portugal, and has produced many renowned musicians. According to tradition, to applaud fado in Lisbon you clap your hands, while in Coimbra one coughs like if clearing one's throat.

Mainstream fado performances during the 20th century included only a singer, a Portuguese guitar player and a classical guitar player but more recent settings range from singer and string quartet to full orchestra."

01. Alfredo Marceneiro - A Casa Da Mariquinhas
02. Carlos Ramos - Nao Venhas Tarde
03. Berta Cardosa - Tia Macheta
04. Hermina Silva - A Tendinha
05. Max - A Rosinha Dos Limoes
06. Maria Teresa De Noronha - Rosa Enjeitada
07. Antonio Dos Santos - Partir E Morrer Um Pouco
08. Lucilic Do Carmo - Foi Na Travessa Da Palha
09. Amalia Rodrigues - Foi Deus
10. Tony De Matos - Lisboa A Noite
11. Tristao Da Silva - Aquela Janela Virada Pro Mar
12. Vicente Da Camara - Fado Das Caldas
13. Fernando Farinha - Belos Tempos
14. Hermano Da Camara - Colchetes De Oiro
15. Antonio Mourao - Fadista Louco
16. Te-Embora - Fernanda Maria - Saudade Vai
17. Joao Ferreira Rosa - Embucado
18. Teresa Silva Carvalho - Amar
19. Carlos Do Carmo - Saudade Mal Do Fado
20. Joao Braga - Arraial
21. Maria Da Fe - Ate Que A Voz Me Doa
22. Nuno Da Camara Pereira - Carvalo Ruco

Link

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Djelem is a Gypsy group based in Montréal, Québec, lead by Anatoli Iakovencho, a Ukrainian Gypsy. What differentiate Gypsy musicians from any other musicians is that a Gypsy is at home everywhere they go. And this is exactly the case with Iakovencho. As he says it himself, "Gypsies take the colors of the new surroundings." In Souvenirs, their second CD, this is what we find. On the one hand, unable to deny his Ukrainian roots, his music keeps an East European flavor, but as the same time, you can feel the Canadian influence, especially with a folk-type acoustic guitar playing similar to the one found among Quebecois singers. Moreover, he wrote a song titled "Montréal-Québec" to celebrate his new home and he also rearranged a well-known French Canadian song. The word "djelem" means let's go, meaning what it is to be a Gypsy, open to new experiences. The group includes as well Moldavian violinist Sergei Trofanov, Claude Simard on double bass and keyboards, and Sonya Sanscartier on vocals. Romantic, nostalgic, serene, from the heart, open to the world! Gypsy music with a new flavor!

01. Montreal Quebec
02. Souvenir Bulgare (Bulgari)
03. Tiha Voda
04. Plene Lune (Full Moon)
05. Solitude
06. Hors De Roumanie (Romania)
07. L'aube (The Dawn)
08. Trans-Siberia
09. Pole
10. Yamshick
11. Perseide
12. Bozo (instrumental)
13. Pour Une Derniere Fois

Sergei Trofanov: violin
Anatoli Iakovenko: voice, guitar
Nikolai Makar: pan flute
Claude Simard: double-bass, percussion

Link

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Ladysmith Black Mambazo was founded by Joseph Shabalala in 1974. They've cut well over 30 albums since, but the group did not become well known outside of South Africa until Paul Simon asked them to perform on Graceland. Shabalala was born into a poor family that lived on a white man's farm near the town of Ladysmith. There were eight children in the Shabalala family, and, as the oldest boy, it was Joseph's duty to take care of the family after his father died.

Shabalala's first musical experience, save for a bit of fooling around on the guitar, came with a choral group called the Blacks. Shabalala eventually took over leadership of the group and became its main composer. The Blacks won most of the local vocal competitions and became the most popular Zulu vocal group, but Shabalala felt that something was missing. "I had been hearing a voice inside me," Shabalala said. "I didn't know it, but it was the voice of God." When the voice told him to fast, Shabalala obeyed, and on his fast, he had a vision of a new kind of vocal music. Shortly thereafter he became a Christian. Taking the choral music he heard in the Christian church, he combined it with the Zulu tradition to create his own style.

When the Blacks refused to take part in Shabalala's experiments, he formed Ladysmith Black Mambazo. The group consists of seven bass voices, an alto, a tenor, and Shabalala singing lead. The combo immediately began releasing albums at a staggering rate, offering a massive catalog of vocal music. Even if you don't speak Zulu, when they hit a low rumbling note, you can literally feel the power of their voices in your body.

"In Zulu singing there are three major sounds," Shabalala explains. "A high keening ululation; a grunting, puffing sound that we make when we stomp our feet; and a certain way of singing melody. Before Black Mambazo you didn't hear these three sounds in the same songs. So it is new to combine them, although it is still done in a traditional style. We are just asking God to allow us to polish it, to help keep our voices in order so we can praise Him and uplift the people."

01. Homeless
02. Hello My Baby
03. Kangivumanga (I Disagreed)
04. Lelilungelo Elakho
05. Nomathemba
06. Nkosi Yamakhosi
07. Sisesiqhingini
08. Zithi Nqonqonqo
09. Liph’ Iqiniso
10. Inhlelemtombi
11. Nansi Imali
12. Izinto Ziyavuma
13. Uthando Olungaka
14. Zintombi
15. Awu Wemadoda
16. Vulani Amasango
17. Yanda Yabeletha
18. Akehlulek’ubaba (With God Everything Is Possible)

Link

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"This family band from Flagstaff, Arizona, pump up their politically driven punk with some serious medicine - a unique Native American worldview that informs their music as it sets them apart from other message rockers. Navajo (Diné) siblings Klee, Clayson, and Jeneda Benally are joined by elders both spiritual and geneological on One Nation Under, which features Joey Ramone on two tracks as well as proud papa Jones Benally, a champion hoop dancer and pow-wow singer. There's no starker depiction of the Blackfire dichotomy, and the band make the tensions between hallowed tradition and the urgencies of modern rock work for them again and again on this CD, which handily netted a Native American Music Award in 2002. Blackfire drive home their reservation blues with traditional percussion and vocals deployed over a taut rhythm section recalling the predatory post-punk of Fugazi. There's plenty worth shouting about, as the scandalous situation of America's first people is rich with enough bad faith, cynicism, and exploitation for a hundred Minor Threat albums. But while the social injustices may be specific to the Diné and their kin, there's resonance with the struggles of oppressed folk everywhere. And it's to them that Blackfire offer their hard truth, promising survival to those strong enough to maintain their culture, with all the incongruities, rage, and humor that this modern age demands. May they long practice what they preach."

01. No Control
02. Exile
03. Stand Strong
04. One Nation Under
05. Prove Them Wrong
06. Is This Justice
07. Dine' Gourd Dance Song
08. Many Farms
09. What Do You See
10. It Ain't Over
11. Lying To Myself
12. Someone Else's Nightmare
13. Level
14. Shattered
15. Downfall

Clayson Benally - Drums, Vocals
Jeneda Benally - Bass, Vocals
Klee Benally - Vocals, Guitar

Link

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Vándor Vokál (Wanderer Vocal) has been a regular performer in various Hungarian clubs and dance-houses: Falkafolk, Csik, Ghymes, Méz, Rila, Méta, Tatros, Zurgó, Martenica, Fonó, House of Traditions, Muzsikás.

As the name itself suggests - the old Hungarian word 'vándor' means wanderer - the group stages East European and Balkan vocal polyphony, using the authentic and original attributes mixed with the members' own style and ideas.

Vándor Vokál was established from pupils of Klára Bodza, folk singer and music teacher of the "Nádasdy Kálmán" Music School in Budapest. Musical education, coupled with regular participation in field - recording trips have helped the members to master the versatility of melodies and styles characteristic of East European and Balkan folk music.

The group has been actively involved in the music life of Hungary, performing in various folk music clubs, dance-houses and festivals, including the annual Dance-house Festival in Budapest, the Kaláka Festival in Diósgyőr, the Ost-West Festival in Kőszeg and the Vujicsics Festival in Szentendre.

In addition to this CD release they are featured on several folk music albums and CD's like the 'Táncháztalálkozó'-Dance House Festival; 'Élő Népzene'-Living Village Music- (Evening Song).
Band members - history
Tünde Farkas, Kata Izsák, Judit Szluka, Szilvia Bognár have worked together since November 1998. In 2000 Bea Palya joined the group. Meanwhile Bea left. Her place was taken by Katalin Bakó. Szilvia Bognár and Navi, also former members of the band, have left.

It was formed in 1990 in Budapest from Hungarian folk singers. After several field recording trips to East-European countries the repertoire has been enlarged with Bulgarian, Macedonian, Croatian, Serbian, Greek, Slovakian, Ruthenian and Corsican songs in addition to the Hungarian ones. In our performance we try to be as close to the original as possible while adding our own ideas to the songs.
In the future we would like to go on discovering and presenting more peoples' folk tunes.
The present lineup is:
Szilvia Bognár: ethnographer, folk dancer, sings with several folk an world-music groups.
Tünde Farkas: majored in aesthetics and Romanian at ELTE, flarnenco dancer and singer.
Kata Izsák: majored in English and history at ELTE, the mother of two, dancer, the contact persen of the group.
Andrea Navratil: Biologist, wolfmother, the singer of Zurgó folk-music group, song and step master of dancehouses for children.

01. Magyarbődi dalok zene nélkül
02, Magyarbődi dalok zenével
03. Szlovák dalok
04. Szerb, horvát, bolgár dalok
05. Mama si
06. Magyar dalok Moldvából
07. Gyimes
08. Kalotaszeg
09. Kihajtottam(Szászcsávás)

Vándor Vokál:
Izsák Kata (voice)
Farkas Tünde (voice)
Bognár Szilvia (voice)
Bakó Katalin (voice)

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Bareh Droma is a classy little compilation of Russian gypsy music, the acceptance of gypsy culture in mainland Europe has undoubtedly improved over the last few years and the music is often promoted but in Russia, like a few genres there, it's still not that easy to get although it is available from certain websites. This compilation of classic tracks from over the years, is I find more rustic than the majority of Balkan or Iberian gypsy music and it has a unique sound of a bygone past.

The track Opai Dad sounds almost like an Eastern Siberian Inuit chant and it's obvious that where as the Balkan music has more oriental and the Iberian - North African ones, the Russian gypsy music has remained relatively untouched with maybe a few influences coming from traditional slavic songs as well as other smaller ethnicities in the region.

The guitar work on "The Little Hut" is devine whilst there is also a collection of excellent vocalists who show a lot of emotion whether it be pain or excitement as does "Wings of the Peacock" in fact I find this to be a more acoustic guitar heavy album than wind-instrument which after having listened to a lot of windy Macedonian music in particular, makes a pleasant change.

01. Poshunenti (Listen) - A. Saveliev
02. The River Neva - B. Ivanesku
03. Opai, Dad - P.Mihay, T. Mihailova
04. Britiyano - P.Mihay
05. Vanka - M. Buzyleva, M. Buzylev
06. The Lady Of The House - A. Saveliev, D. Savelyeva, L. Shishkova
07. Polka - V.Romano-Orlov, M. Buzylev
08. Wings Of The Peacock - L. Shishkova
09. Don't Judge Me - A. Kolpakov
10. Natasha - D. Savelyeva
11. The Roma Propineh (Crossroads) - B. Ivanesku
12. Potpourri - A. Buzylev
13. Kheroro (Small House) - D. Savelyeva, L. Ivanesku
14. The Little Hut - A. Buzylev
15. Dadyves (Nowadays) - A. Buzylev
16. Sosnitsa (The Little Pine Tree) - A. Saveliev
17. Pernytsa (The Down Quilt) - D. Savelyeva, A. Saveliev
18. Shel Meh Versty (A Hundred Miles) - B. Ivanesku
19. Kako Sanka (Uncle Sanka) - M. Bueypeva,N. Buzyleva

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Eugene Hutz picked up a sideline career as a film actor with 2005's Everything Is Illuminated, but anyone worried about that derailing the momentum of his riotously inventive band Gogol Bordello can breathe easy. On Super Taranta!, the NYC-based gypsy-punk crew is as energized as ever, knocking out a rocked-up take on Eastern European and Roma traditional music that sounds a little like The Pogues and Gipsy Kings partying in the back seat of the speeding car from Fear And Loathing In Las Vegas. This time around, styles like flamenco and reggae work into the mix. But whatever the sound, everything revolves around charismatically anarchic frontman Hutz, who tosses his Ukrainian-accented lyrics like grenades laden with radical politics and a sly sense of humor: "Have you ever been to American wedding? / Where's the vodka, where's marinated herring?"

01. Ultimate
02. Wonderlust King
03. Zina-Marina
04. Super Theory Of Super Everything
05. Harem In Tuscany (Taranta)
06. Dub the Frequencies Of Love
07. My Strange Uncles From Abroad
08. Tribal Connection
09. Forces Of Victory
10. Alcohol
11. Suddenly...(I Miss Carpaty)
12. Your Country
13. American Wedding
14. Super Taranta!

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“Christmas gift suggestions:
To your enemy, forgiveness.
To an opponent, tolerance.
To a friend, your heart.
To a customer, service.
To all, charity.
To every child, a good example.
To yourself, respect.”

"Nem volna más vallás,
Nem volna csak ennyi:
Imádni az Istent
És egymást szeretni...
Karácsonyi rege
Ha valóra válna,
Igazi boldogság
Szállna a világra..."



Joyeux Noel!
Fröhliche Weihnachten!
Buone Feste Natalizie!
Hristos Razdajetsja!
Kala Christouyenna!
Vesele Vianoce!
Feliz Navidad!
Tchestito Rojdestvo Hristovo!
Wesolych Swiat Bozego Narodzenia!
Kala Christouyenna!
Ruumsaid juulup hi!
Nollaig Shona Dhuit!
Wesolych Swiat Bozego Narodzenia!
Nollaig chridheil huibh!
Sretam Bozic!
Hristos se rodi!
Kurisumasu Omedeto!
Shub Naya Baras!
Hyvaa joulua!
Gladelig Jul!
Bon Nadal!
Shenoraavor Nor!
Gezur Krislinjden!
Priecigus Ziemassvetkus!
Linksmu Kaledu!
Gledelig Jul!
Noeliniz Ve Yeni Yiliniz!
Gledileg Jol!
Nedeleg laouen na bloavezh mat!
Cestit Bozic i Sretna Nova godina!
Sarbatori vesele!
¡Feliz Navidad!
Boas Festas!
Frohe Weihnachten!
Zalig Kerstfeest!
Vessela Koleda!
Feliz Natal!
Sheng Tan Kuai Loh!
Eftihismena Christougenna!
Mo'adim Lesimkha!
Merii Kurisumasu!
Sung Tan Chuk Ha!
Prettige Kerstdagen!
Veseloho Vam Rizdva!
Milad Majid!

This CD supplements a book containing a complete collection of Hungarian Christmas folk songs. The songs are performed by Éva Korpás (vocalist of the Tükrös Ensemble) – accompanied here by the renowned cymbalom artist, Kálmán Balogh.

01. Kirje-Kirje...
02. Mennyből az Angyal
03. Jertek, menjünk
04. Bethlehem kis városában
05. Pásztortársim...
06. Ó, gyönyörűséges Szent Éjszaka...
07. Ó, szerencsés éjszaka
08. Mostan kinyilt
09. Mezei hívek...
10. Repüljetek, Angyalok...
11. Nagykarácsony éjszakáján...
12. Dicsőség Mennyben
13. Az Ég és a Föld...
14. Ó, szép fényes hajnalcsillag
15. Pásztorok, Pásztorok
16. Ma született...
17. Kegyes szívű
18. Pásztorok, kik nyáj...

Link

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Songs about the ancient people, how they have seen the dance of the darkness and daylight? Songs about the way of the Sun and Moon, the changing of the seasons, changing of the days and nights. Beautiful songs with Christian simbolism! The hidden power of the born and mothership! Songs about the Little Child, Maria and Betlehem. Bea bring us the real good news, there is something increasing, the LIGHT, what we call: LIFE!

This is a Maxi CD.

01. Megjövendölve volt régen
02. Betlehem, Betlehem
03. A sötétség szünni kezd már
04. Betlehem kis falucskába
05. Menjünk mi is Betlehembe
06. Paradicsom kökertjébe
07. Kedves álmot hogy szerezne szülöttjének

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"Multicolored whirlwind of Serbian and Romanian dances leaves nobody untouched, whether Drobinska plays in underground Lisboa cafe or suburban Gasprom castle. Wedding melodies from south Slavic villages bring a sense of an unforgettable celebration, open to everybody.

Oleg Drobinski (clarinet, bagpipes, flutes, bouzouki) founded the band in 2003 after traveling in Balkans, studying in Chishinau conservatory and living a while in France.
Dmitri Ignatov (bass, bouzouki, percussion), universal musician, whose range spreads from medieval music to rock`n`roll.
Maxim Karpychev (saxphone, clarinet), graduated in Odessa conservatory, comes from Krymea, Ucraine.
Alexander Romitsyn (drums and percussion) before moving to Moscow played with different bands in his hometown Kazan, capital of Tartar republic.
Basem Al-Ashkar (al oud, - Arabian luth) native of Palestine, came to Russia to study classical music on the violin, but kept link to his roots playing al oud."

01. Atojska Rachenitsa (Bulgarian Dance)
02. Nani Nani (Moldavian Lullaby)
03. Injevska Gaida (Macedonian Bagpipe Tune)
04. Slobozine A Gazde-N Casa (Romanian Christmas Carol)
05. Nouae Optimi (Macedonian)
06. Cozacul Batrinilor (Romanian Dance From Bukovina)
07. Duni Mi, Duni (Serbian Love Song)
08. Velikdensko Oro (Bulgarian Easter Dance)
09. Imam Sluzhba (Bulgarian Song About Going To The Army)
10. Kopenitsa (Bulgarian Dance)
11. Mi Badita (Moldavian Love Song)
12. Pravo Lesnoto Oro (Makedonian)

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"The noted Israeli singer-songwriter has fashioned a suite of wry modern tales, related via literate yet colloquial Hebrew lyrics and easy-going folk-rock arrangements. Her rich, chesty alto sings of people who are trying to belong or just passing through. A poorly-paid Romanian immigrant must suddenly deal with unfamiliar Jewish funeral rites. A single worshipper waits in vain near a synagogue. Noisy post-holiday crowds return to mundane concerns, crowding the streets as they head back to their cars. Drunkards carouse amid the Sabbath hush, racism appears in insidious guises, a couple exists in polite estrangement, and tourists wander about with video cameras, seeing nothing. In a New York coffee house without reading glasses, Alberstein squints at a neighboring patron's newspaper, trying to figure out why Federico Fellini is front page news. Daily life consists of minute indignities and triumphs. Alberstein enlightens us about this process with humor, sympathy and tact."

"On her 54th recording (and only her third issued in the United Sates), Israeli chanteuse Chava Alberstein moves into some new terrain. Celebrated for her classics Foreign Letters and Well, a collaboration with the Klezmatics, Alberstein and her poet/lyricist husband, Navad Levitan, have crafted a wondrously melancholy series of songs and tone poems about modern life in Israel from a variety of viewpoints and capturing a startling array of situations. Musically, Ms. Alberstein is somewhere between the great folk music traditions of her homeland, modern day pop, the folk-rock heritage she literally created in Israel using Yiddish, primarily, and the depth of soul of Leonard Cohen and Joni Mitchell. As a singer, Ms. Alberstein is dramatic and taut, though far from cinematic. She prefers to allow the lyrics of a song to permeate her delivery as she works in concert with her accompaniment; she never places herself above it or tries to communicate with vocal pyrotechnics. The most notable tracks here are the title track, with its sad imagery of people departing the beaches after Rosh Hoshanah and the hookers looking on at the departing throng. Musically, the languid, slow dirge-like tempo buoys the deep ache in the singer's voice. There is also the gorgeous and wrenching immigrant's song, "Vera From Bucharest," set to a folk melody, the acoustic guitar darkness of "'Shadow," whose poetry is as stark as the darkness and is punctuated by a lone electric guitar piercing the space with fills around her mournful voice. Ultimately though, using a variety of styles and settings, Ms. Alberstein offers a view of Tel Aviv and its everyday life that is never seen by outsiders: it is a city of ghosts and grinning shadows to be sure, but also of flesh and blood that aches, weeps, and goes about the business of making sense of the changing nature of the times. This is a brilliant, provocative recording that fans of alternative pop - rock will flip for."

01. End Of The Holiday
02. Real Estate
03. Vera From Bucharest
04. Black Video
05. Shadow
06. Psalms
07. Empty Synagogue
08. Boiling Water
09. Friday Night
10. Dying Creek
11. Fellini In New York

Chava Alberstein (vocals, acoustic guitar, classical guitar)
Ovad Efrat (acoustic guitar, bass)
Berry Sakharof (guitar, background vocals)
Amos Hadani (guitar)
Sheffi Yishay (accordion)
Eyal Sela (winds)
Yaron Bachar (Synthesizer)
Avi Agababa (drums, percussion)

Link

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Ferenc Snétberger, born in 1957 in Salgotarjan, Hungary, lives in Berlin, Germany since 1988. Inspired by his father, a musician who played harp, trumpet and guitar, Ferenc started formal studies of classical guitar at age 13. Later he seriously took up the jazz guitar and studied at the jazz conservatory in Budapest. Melting jazz improvisation into his classical technique and gypsy roots, he was to become one of Europe's most original and virtuosic guitar players.

Snétberger has to his credit 18 years as a professional musician and several recordings with Trio Stendhal, as a soloist and - on his ENJA debut "Signature" - with his own trio and quartet. He has performed in Hungary, Yugoslavia, Finland, France, Italy, Spain, Germany, India and other countries. He also took part in many radio and TV productions and as a soloist with big bands (e.g. with Ernie Wilkins). On stage he met with such as Didier Lockwood, Anthony Jackson, James Moody and David Friedman.

As an unaccompanied soloist, Ferenc Snétberger displays his artistry in a very personal, multi-cultural style that defies categories. He easily assimilates influences from Brazilian, Spanish, classical, gypsy and jazz traditions. Snétberger himself considers his 1996 concert at the Budapest academy "the finest performance I ever did."

01. Budapest Mood
02. Springtime In Winter
03. Song To The East
04. Brazil
05. The Dophin
06. Little Bossa
07. Variation
08. Tangoa Free
09. Bossa For Egberto
10. Manha De Carnaval
11. Budapest Encore

Link

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Reverend Glasseye and His Wooden Legs' recent release, Black River Falls, is stirring up good reviews all over the nation.
It only takes a few words, a couple of yodels and an occasional shout to take any listener into a time-warping tunnel while listening to a 70-year-old man with a mustache belt out his sorrows.
This Boston-based band has a special sound: a melting pot of musical influences and curious instruments, from old-time medicine show music to gypsy jazz to southern gospel.
They are armed with traditional instruments that include clarinet, musette, flugal horn, banjino, dobro and qarqaba.
With tracks like "50% Murder," "Blood O' Lambs," and "Carnival of Pills," the sound is in one word: macabre.
These songs wouldn't make it to Billboard, but are suitable for a Hollywood Western. Fans are left with a whiskey-filled gut without ever taking a sip.

"The outrageously named Reverend Glasseye and His Wooden Legs look and sound as if they've just stepped out of an Edward Gorey drawing, complete with vaudeville street-corner instrumentation and waxed moustaches just itching to be twirled maniacally. Their swirling carnival sound and medicine-show vocals are one part Squirrel Nut Zippers, one part Tom Waits, and a... More hint of Sixteen Horsepower, with just a pinch of absinthe haze. Their 2001 release, Black River Falls, clunks and churns along with hints of klezmer and old-timey music peeking through the keyholes, recounting tales of preacher's daughters and tragic fishermen. While the band evokes an accurate period sound with some interesting quirks, the Reverend's theatrics tend to overshadow some fine songwriting at times, although that may be the whole point."

01. Midnight Cabaret
02. No Road Out Of Houston
03. 50% Murder
04. Blood O' Lambs
05. Penitentiary Highball
06. Seven Little Girls
07. 3 Ton Chain
08. Carnival Of Pills
09. Paddywagon Turban
10. One More Smoke
11. Black River Falls

Adam Glasseye (lead vocals, guitar, banjo, piano, organ, chimes),
Tim Maher (drums, vocals),
Piet Masone (organ, guitar, vocals),
Jon Wobesky (coronet, trumpet),
Kevin Corzett (alto & baritone saxophone, clarinet, vocals),
Wendy Emerson (vibraphones, piano, chimes, vocals),
Dennis Maher (bass fiddle, vocals)

Link

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Album was released by two of Russia’s leading lights in the world of folk music. In particular these are Sergei Starostin and Andrei Kotov, together with Vladimir Volkov (double bass/viola), and Leonid Fedorov, lead singer of rock staples Auktsyon.

The CD is a collection of spiritual or “edifying” songs, some of which are based upon bona fide medieval texts, whereas others are stylizations. The project has been extraordinarily well-received by the Russian press, who praise its “virtually monastic degree of modesty,” together with a successful avoidance of both “archaisms and kitsch.”

Andrei Kotov is leader and manager of the folk ensemble Sirin. Inspired by the idea of somehow modernizing the choir’s repertoire, he began seeking support for a show that would “bring together tendencies not only from Russian folk performance, but spiritual, and modern acoustic genres, too.”

Jazz/folk vocalist and ethnographer Sergei Starostin was soon on board, together with Fedorov, if for no other reason than the threesome have been experimenting together since 2002.

They decided to base the project on carefully selected traditional refrains, together with songs from both monastic and nomadic canons. The common ground between them all soon manifested itself as “Life, Death, and Eternal Life.”

The press release frames the CD as follows: “The performers of ‘Edifying Songs for Every Day’ have combined both a national heritage and contemporary talent. Together they slowly and respectfully touch upon those eternal questions that - sooner or later - stand before each of us. This is music for our ears, mind, and soul. It’s about the past, the present, and the future. It’s about timeless matters.”

To the folk texts already mentioned, we can add 16th-century spiritual verses and variations upon the Psalms of King David. This is a remarkable recording that left one Moscow journalist declaring it a “genuine masterpiece” - and hoping some of the tracks would be adopted by the nation and sung around family dining tables!

One of the most remarkable reactions has been the tendency - in several publications - of referring less to time-honored folk tradition than to the collaborative output of Coil. The desire of Kotov, Starostin, Volkov, and Fedorov to drag these recordings away from dusty archives, through jazz, and out into borderline psychedelia leaves the press finding more useful contexts in electronic drone!

“These are spherical songs,” says one journalist, “rounded melodies that form a circle of life, death, and resurrection. An almost pagan interpretation of a Psalm will link to an Okudzhava waltz; spiritual songs will overlap with a form of Indian ragga.”

“It’s very hard not to note the structural similarities with Eastern music as a whole. This recording is more than willing to draw itself out, endlessly and effortlessly. It is constantly changing, yet never moves from the spot.”

“These ‘Edifying Songs’ exist in a form of spiritual simplicity. Each word and sound does no more than designate itself: an oak is a tree; Russia is our homeland; death is inevitable. This is almost not music, but a pure and naked element, lying somewhere in the depths of time immemorial. Four grown men raise it to the surface.”

At this point the enthusiasm is both a little extreme and bordering on the edge of awkwardness. As a result, rather than spin off into metaphors of the motherland, it’s better to bring things back to the opening reference regarding monastic simplicity.

Starostin’s reputation as ethnographer, as collector of living folk traditions, has kept this CD far from the dangers mentioned above: archival tedium and/or tastelessness. This is a smart, challenging, and deeply moving album.

01. Zavedu Ya Kompanyu
02. A V Lugakh
03. O Cheloveche
04. Kogda Uydu
05. Stikh O Smerti
06. Makariy
07. Psalom #1
08. Gluboko
09. Otshelnik
10. Greshnyi Cheloveche
11. Kuda Letish Kukushechka

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The band was formed in 1987 at Nagyecsed (North Eastern Hungary), and at first they interpreted the songs of the local Romania community. Most of the members moved to Budapest in 1991, the present formation of the band working together since 1998.

They represent the culture of the three main Romani groups living in Hungary, the so called Romungro, Vlach Rom and Boyash. Beside the friendships their aim is to give an authentic representation of the music (whether Gypsy or not), to reduce the prejudices among the different groups of Gypsies and to interpret this variegated culture on a high professional level. Completing their repertoire, beside the songs of Nagyecsed, they play self-composed pieces and Gypsy songs from around the world.

The band plays traditional contemporary gypsy music using a very witty, interesting and unusual orchestration. The songs very collected from Hungary, Slovakia, Romania and the Balkan area. Colorful and enjoyable compilation. Traditional sounds are mixed with modern instruments (electric guitar and drums), but the water-jug is the most characteristic elements of this music.

01. Pala Tute
02. Aven E Rrom
03. Kéket Fogott
04. Fata Mami
05. Ke Somoas Me
06. Rromani Chej
07. Butzangli Chej
08. Úgy szeretem
09. Ba More
10. Auschwitz
11. Sa Le Roma
12. So Kero
13. Mangav Tut Me
14. Baro Salcin
15. Jertisaren Mange
16. Na Dara Chajorrije
17. Esma
18. Ramajana
19. E Dej Nasvalij
20. Bute Bersenca

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A young Hungarian band whose name Vodku v Glotku is Russian for "Vodka to my throat!" Vodku play European Jewish music mixed with other Balkan genres.

From record label:
"Musical group Vodku v glotku was founded in the year 2000, in Budapest, Hungary. The goal of the band is to introduce the folk music of the nations throughout Central and Eastern Europe, mixed with its own musical concepts. The dominant elements in the music of the band are Hungarian, Jewish, Russian, Ukrainian, Bulgarian, as well as other folk motives from Central and Eastern Europe and the Balkans. This is mixed with the elements of rock, jazz and other progressive musical styles. As a result, a musical world is created on the stage, which makes feel home the many nations inhabiting the Central and Eastern European region.
Since 2001, the band Vodku v glotku had hundreds of successful concerts throughout Hungary, they also visited Serbia nd Montenegro, Slovakia and Austria, and they had two tours in Mexico in 2001 and 2005."

01. Haszid / Chasid
02. Moldvai / Moldavian
03. Albán / Albanian
04. Mit akar az eső... / What The Rain Tels...
05. Óbolgár / Old Bulgarian
06. Újbolgár / New Bulgarian
07. Szól a kakas már... / The Rooster Is Crowing...
08. Népdal / Folk Song
09. Gépzsír / Converse Pink
10. Galíciai / Galytzianer
11. Ballada / Ballad
12. Viszockij / About Volodya Vysotzky
13. Nyakak a jégen / Necks On Ice
14. Paploma
15. Gitsenbass

István Bata - guitar, vocal, trumpet
Éva Gadanecz - vocal
Attila Kiss - drums
Júlia Nedeczky - clarinet, saxophone, vocal
Gábor Ruthner Jero - bass, electric guitar
Árpád Szabó - violin, vocal

Special guest:
Adél Kováts - vocal

Link

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One of my largest favourites: Shane MacGowan...:)

The Pogues are a band of mixed Irish and English background, playing traditional Irish music with influences from punk rock, formed in 1982 and fronted by Shane MacGowan. They reached international prominence in the 1980s and early 1990s, until MacGowan left the band in 1991 due to drinking problems. They continued with first Joe Strummer and then Spider Stacy on vocals before breaking up in 1996. The band began performing together again in 2001, though they have yet to record new music.

Their politically-tinged music was influenced by The Clash, yet used traditional Irish instruments such as the tin whistle, banjo, cittern, mandolin, accordion, and others. In the later incarnations of the band, after the departure of Shane MacGowan, rock instruments such as the electric guitar would become more prominent. The first of The Pogues' albums, Red Roses for Me, borrows much from the punk tradition of MacGowan's previous band The Nipple Erectors (later dubbed "The Nips").

The Pogues were founded in King's Cross, a district of North London, in 1982 as Pogue Mahone—pogue mahone being the Anglicisation of the Irish póg mo thóin, meaning "kiss my arse".

The band specialised in Irish folk music, often playing with the energy of the punk rock scene in which several of the members had their roots.


"The Irish Clash? A punk Dubliners? The fact is that The Pogues - or Pogue Mahone as they were initially known until Radio 1 had a hot flush on discovering that it was Irish for "Kiss my Arse" - were far better than both and only suffered the comparisons because the mid-80's music scene didn't know what the f**k else to make of or say about them.

To be fair though nobody had really clattered a tea tray against their head before to help keep time or tooted on the tin whistle like the devil himself had hold of their crotch in his fist. And certainly nobody had EVER written about the boozed and bruised experience of the Irish diaspora with the broken, fired-up eloquence that Shane MacGowan poured out in such large measure.

Many of the songs collected again here are now held in the same high regard as the standards which Shane grew up listening to and later covered - note the definitively crushed reading of Eric Bogle's 'The Band Played Waltzing Matilda'.

'A Pair of Brown Eyes', 'Rainy Night in Soho', the Christmas-isn't-Christmas 'Fairytale of New York'... the term poetic genius might now be devalued through lazy overuse but no other epithet does the crazy, bewildered bloke full justice.

The Pogues stand alongside The Smiths, New Order and The Jesus and Mary Chain as one of the truly important bands of the last 20 years but their songs will easily outlast the lot. Long after Shane's finally supped his last and tumbled off his barstool for the very last time, we'll still be boozily linking arms and shouting "you scumbag, you maggot..." in each other's faces with genuine affection. God bless you, Shane. You're not the first to have p**sed away your talent."

01. Dirty Old Town
02. Irish Rover - Pogues & The Dubliners
03. Sally MacLennane
04. Fiesta
05. Pair Of Brown Eyes
06. Fairytale Of New York - Pogues & Kirsty MacColl
07. Body Of An American
08. Stream Of Whiskey
09. Sick Bed Of Cuchulainn
10. If I Should Fall From The Grace Of God
11. Misty Morning Albert Bridge
12. Rain Street
13. White City
14. Rainy Night In Soho
15. London Girl
16. Boys From The County Hell
17. Sunnyside Of The Street
18. Summer In Siam
19. Hell's Ditch
20. Old Main Drag
21. The Band Played Waltzing Matilda

Accordion, Piano - James Fearnley
Citern, Vocals - Terry Woods
Guitar, Vocals - Philip Chevron
Tin Whistle, Vocals - Spider Stacey
Banjo, Saxophone - Jem Finer
Drums, Vocals - Andrew Ranken
Lead Vocals, Guitar - Shane MacGowan
Bass, Vocals - Darryl Hunt

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Dirge-Country pioneers Strawfoot brings a dark sound of candy-coated salvation and hellfire damnation to the stage, weaving a dark tapestry of haunting, cautionary tales. Songs of outlaw scarecrows, wayward preachers, falling pianos, and the devil paint a dark and menacing landscape, creating an original sound steeped in the rich, dark history of America and beyond. A seven-piece band consisting of violin, banjo, harmonica, upright bass, guitar, percussion and mandolin, the Strawfoot congregation has quickly become a fan favorite wherever they take the stage, gaining fans across America and abroad.

During the Civil War, many soldiers didn’t know their left from their right. To teach them to march, hay was tied to their left foot, straw to their right. Rather than calling out “Left, Right, Left,” Soldiers marched to the cadence of “Hayfoot, Strawfoot”
It’s about marching forward.

Bubbling under the surface, there is a musical revolution. Creeping through the shadows, a collection of musicians and artists are gaining attention from the public eye as they push through the pre-fab world of pop, finding their way into the light. They look to the past with reverence, all the while pushing forward towards the future. As vast as the Mississippi , this revolution encompasses a melting pot of styles and influences.

Some call it Alt.Country, others call it Gothic Americana. Many have tried to categorize the sound, but the influences are far too expansive. This dark folk music takes listeners on a journey through time and circumstance with violins, banjos, harmonicas, accordions and mandolins mixing with electric guitars, powerful drumming and upright bass to create a dynamic, raw sound. Like a medicine show without the snake oil, the shows are filled with an incomparable energy.

"Strawfoot has created their own genre and accomplish this rare feat with blues guitar riffs, the country pluck of the banjo, fiddlin' and harp blowin'. The lyrics and vocals oscillate between humorous rants and painfully poetic pleas. These cats have always been a favorite in the Lou..Come one come all to the congregation!"

"Old-time revival and spirited dirge country band (Strawfoot) make fire and brimstone sound sweet."


“Preaching to a choir of local converts, the Reverend is flanked by his alt-country brothers and sisters. His songs flirt with damnation and sin, yet he always ends his sermons with a hearty Amen!"

01. Wayfarin' Stranger
02. Achilles Heel
03. Cursed Neck
04. Strawfoot Waltz
05. My Dog
06. The Lord's Wrath
07. Damnation Way
08. Cloth
09. Fiddle and Jug
10. The Sky Is Falling
11. Effigy
12. Wayfarin' Stranger (2)

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Ex Oriente lux – light comes from the East. The magic spirit of ancient Eurasia is conjured. Shaman power in psychedelic hardcore. Huns from the Steppes finally triumphed. Primordial God-feeling. The spell-binding knowledge of the One and Indivisible Universe. All these are different formulations of one music group: VÁGTÁZÓ CSODASZARVAS - The Galloping Wonder Stag. As it is written about their music: “Certainly there is no other music that could more effectively communicate to our compatriots, or even to the whole world, the powerful force of our national past and heritage — which survives and flourishes to the present day, as the music of the Vágtázó Csodaszarvas (cca. Wonder Stag in Full Gallop) so eloquently testifies. If you hear it once, you will find it unforgettable — and will seek out the experience again” (you can see the whole article below: The Power of Galloping Melodies).
Actually, the music of the Galloping Wonder Stag arises in the same way as the ancient ethnic music: from the deepest impulses of the human spirit seeking expression of life’s profound, enrapturing, unfolding beauty. It is a natural music, born of the cosmic creative power of Nature.
As the great Hungarian composer Bela Bartók wrote: “The real ethnic music is a natural phenomenon free from any cultural influence, the result of the formative activity of the unconsciously acting natural force. Such creations develop with the same organic freedom as the other living organisms of Nature: the flowers, animals etc…. Such music expresses the instinctive manifestation of a peasant’s musical perception.”
The deepest human self-expression reaches back to this natural, cosmic force, with all its elementary, magical power. VÁGTÁZÓ CSODASZARVAS’s music manifests the ancient spirit of Eurasia, of the rich and noble experience of restless, nomadic people canvassing the wilderness for human possibilities. Listening to this music, you can tune into the experience of a thousand years of horse-riding people intimately connected to the heart of Nature, and immerse yourself in the bright treasures of overwhelming rhythms and melodies that is their legacy to us, denizens of the modern age. The leader of the group, Attila Grandpierre, is a bona fide shaman in the ancient sense of that term, a perceptive instrument mediating the ancient and eternal reality of this primaeval experience, translated to us in our own age via this incomparable, magical folk-music.
VÁGTÁZÓ CSODASZARVAS emerged in 2005 subsequent to five years of creative activity defining and refining its concept and musical direction. Attila Grandpierre, founder of the ensemble, left his former music group Vágtázó Halottkémek (abbr. VHK, cca. Galloping Coroners) in the year 2000, after 26 years of vital activity. They were officially forbidden by the authorities, but were able to play because of their incredible popularity. In these decades he had became a world-renowned icon of the contemporary Hungarian music scene before his departure. VHK had acquired its reputation as the best shaman-punk band ever. In this new group, Attila invited some of the best Hungarian folk virtuosos, together with some previously unknown but technically excellent and spiritually-endowed musicians. Their recent debut in the Petőfi Hall presented a ferocious performance, and received wide credit as a tremendous success. The band now consists of eleven members, playing on zymbalon (dulcimer, ancient Hungarian cymbalom), koboz (kobsa, ancient Hungarian lute, lyre), the Hungarian bagpipe, the Csango drums (ancient Hungarian shaman-drums), violin, and double bass — all together fusing to create what is by turns a ferocious and enrapturing sound.

VÁGTÁZÓ CSODASZARVAS is not merely a musical experience, but a vision of an unlimited will to live our lives to the fullest capacity. The ritual, shamanic dance presented by Attila Grandpierre is a source of magic that enraptures the whole band and hypnotizes the audience, who thereby experience the extraordinary world where the magical music still lives, as it has ever lived from time immemorial.

It almost goes without saying that The Galloping Wonder Stag is reputed to be an eminently distinguished Hungarian cult band. The music of VÁGTÁZÓ CSODASZARVAS is a proud music, life-affirming, spontaneous, joyful, and suffused with overwhelming energy seeking release. In present terms, it is shamanistic and psychedelic. It is a cosmic vision about the role of earthly life in the destination of the Universe. It develops in a sovereign way as a self-revelation by means of its sheer elementary power.

The first CD of VÁGTÁZÓ CSODASZARVAS — entitled Pure Spring — appeared in August 2006, published by FONÓ Records. Its pride and glory is to recall Béla Bartók’s concept of the real folk music — and to make it resonate with the minds, sensibilities, and spirits of people like you and me who seek vital connections with our living world and with our human past. It reached the top at the list of the best records of 2006 of the editors of Rockinform, the Hungarian musical journal, and has been dedicated to the best CDs of 2006 in the categories of the best debut albums, the best productions and the best CD covers as well at the international list of Hungarian Metal Awards Hang-Súly’06.

1. Végtelen Egy / Infinite One
2. A Zene lakodalma / Music’s Wedding
3. Mámoros éji vágtázás / Elated Nocturnal Galloping
4. Rég volt / A Long Time Ago
5. Fohász egy lóhoz / Prayer To A Horse
6. Pótolhatatlan Halhatatlanság / Irreplaceable Immortality
7. Vágtázó Himnusz / Galloping Anthem

Grandpierre Attila - voice
Bese Botond - bagpipe
Balogh Kálmán - zymbalon
Benke Félix - drum
Benkő Róbert - double bass
Bolya Mátyás - lute
Geröly Tamás - drum
Márton Bernadett - voice
Miller Krisztina - violin
Róka Szabolcs - lute
Szokolay Dongó Balázs - wind players

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This 19-song compilation features a wide variety of artists from this small but influential island off the Senegalese coast. Opening with Cesaria Evora and an early tune, "Papa Joachim Paris," the album visits luminaries like Simentera, Paulino Vieira, and Tito Paris and introduces you to many less famous but deserving names. Real roots come from the Mindel Band with a raw violin and a perpetual groove. Luis Morais's band is jazzy and fun. Voz de Cabo Verde are sweet and homey. The album closes with a live, lush, yet ragged "Lundum" by Vieira and Celina Pereira, a perfect island tune of slight melody and lots of feeling.

01. Papa Joachin Paris - Cesaria Evora
02. Miss Perfumado - Humbertona & Piuna
03. Falso Testemunho - Maria Alice
04. Partida - Djosinha
05. Boas Festas - Luis Morais
06. Otilia/Otilio - Tito Paris
07. O Bernard' - Ana Firmino & Travadinha
08. Pais Di Mel - Teofilo Chantre
09. Situacoes Triangulares - Bau
10. Fidjo Maguado - Chico Serra
11. Sina De Cabo Verde - Bana
12. Galo Bedjo - Titina
13. Cercode - Mindel Band
14. Dia C'Tchuva Bem - Simentera
15. Carinha Di Bo Mae - Voz De Cabo Verde
16. Serpentina - Bana
17. Cutch Cutch - Amandio Cabral
18. Saude - Celina Pereira
19. Lundum - Celina Pereira & Paulino Vieira

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