Billy Bragg - The Internationale (EP, 1990) | Zero G Sound

 

Billy Bragg - The Internationale (EP, 1990)

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"The Internationale" is a 1990 album by Billy Bragg. Originally released on Bragg's short-lived record label, Utility Records, it is a deliberately political album, consisting mainly of cover versions and rewrites of left-wing protest songs. Although Bragg is known for his association with left-wing causes, this release is unusual; most of Bragg's recordings balance overtly political songs with social observation and love songs.

Billy Bragg's albums have always contained material with the strong political slant of classic folksingers in the Woody Guthrie/Bob Dylan mold. This release shows him at his most muckrakingly fervent and angry. Only "The Marching Song of the Covert Battalions" has music actually composed by Bragg -- and that selection contains a lengthy quote of the tune "When Johnny Come Marching Home." The rest are covers of songs (some of them pre-20th century) that either overtly or covertly deal with revolution, radical politics, or pacifist sentiments. The arrangements are a real departure for Bragg, and are most unusual and effective. "I Dreamed I Saw Phil Ochs Last Night" and "Nicaragua Nicaraguita" are for unaccompanied voice. "Marching Song of the Covert Battalions" features prominent clarinet and recorder passages supported by organ, accordion, and revival-meeting bass drum/cymbals combination. "Red Flag" is an energetic reel set sparsely for voice, whistles, percussion, and minimal guitar. The title track is given a grand, traditional, all-stops-out treatment, arranged for chorus, large brass ensemble, and percussion. The album's best selection, "My Youngest Son Came Home Today," is a dirgelike antiwar number that is very moving and effective. This album is a committed, deeply felt manifesto well worth a listen. Original pressings of this record came with a wide-ranging and enjoyable promotional 45 containing selections by Bragg, Clea & McLeod, Caroline Trettine, and the Young Fresh Fellows.

Tracklist:

1 The Internationale 3:45

2 I Dreamed I Saw Phil Ochs Last Night 1:27

3 The Marching Song On The Covert Battalions 3:59

4 Blake's Jerusalem 2:30

5 Nicaragua Nicarauguita 1:06

6 The Red Flag 3:12

7 My Youngest Son Came Home Today 3:04

Ghost Riders In the Sky (American Outlaws: Live at Nassau Coliseum, 1990) | Twilight Zone

Yippie yi ooh! Yippie yi yay!!

The Highwaymen performing "Ragged Old Flag" from American Outlaws: Live at Nassau Coliseum, 1990 Listen to The Highwaymen: https://Highwaymen.lnk.to/listenYD Follow The Highwaymen: Facebook: https://Highwaymen.lnk.to/followFI Spotify: https://Highwaymen.lnk.to/followSI

Guess you have to play this straight . . . . . but this is one of the funniest American songs I ever heard and it always made me hold with laughter!

 . . . . it is MEANT to be funny right?

Remembering the great Stevie Ray Vaughan (October 3, 1954 – August 27, 1990) - Jas Obrecht | Don’s Tunes

Scuttle Buttin - Live at Montreux 1985 

Vaughan co-produced Texas Flood with his Double Trouble bandmates–bassist Tommy Shannon and drummer Chris Layton–and Richard Mullen, who also engineered the sessions. I met up with Mullen at Austin’s Arlyn Studios in 1996, while he was engineering and co-producing Eric Johnson’s Venus Isle album. During a break, we spoke about the Texas Flood sessions. “Ninety-eight percent of all of Stevie’s records were done straight live,” Mullen explained. “Stevie was relatively fearless in the studio. He was a real performer in the sense that he didn’t think too much about the technical things. Once he got out there and started playing, he was just enveloped in the music. You could see that when he played live, and he wasn’t any different in the studio. If he was into it, you’d see him do his little dance steps all over the studio, just like he was playing for 10,000 people. There were hardly any overdubs at all. Just about the only overdubs were vocals and an occasional rhythm part over a lead, but the basic guitar parts on the studio records were all done live. And they were almost always judged on Stevie’s performance. If someone in the band made a bonk but Stevie played great, we’d say, ‘Well, that’s it. Let’s just go with that.’

- by Jas Obrecht

Don's Tunes

Stevie Ray playing acoustic blues . . . . .