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



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!



“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.”

Oren Arnold

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

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...



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



"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)



"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."

Thom Jurek, All Music Guide

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)



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



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."

Zac Johnson, All Music Guide

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)



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



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



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



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."

Jackie Flynn

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



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!"

Shane Signorino

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

“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!"
Andrea Noble, Riverfront Times

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)



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



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


Thierry "Titi" Robin is a self-taught musician born at the end of the 1950s in the West of France. He built his personal musical universe by borrowing instinctively from various musical sources, his two main sources of influence being the Gypsy and silk-road cultures. These two communities welcomed him warmly, the French mainstream music world not understanding his approach at the time.

Community celebrations were a way for him to test the validity of his original approach of music, taking his inspiration from these strong traditions without ever simply copying them. His two main masters at the time were flamenco cantaor Camaron de la Isla and Iraqi 'ud master Munir Bachir.

Thierry "Titi" Robin is a special artist. "World music" is a category he does not accept. Combining music from different parts of the world has no value in itself, but represents a reality, his reality. The main point is to find the best way to translate the feeling at the heart of creation and the artistic form that can express it, be it in a purely traditional style or by transforming established codes. Thierry "Titi" Robin chose to follow his own personal road, with a constant sincerity and authenticity.

This CD is one of the finest musical pieces one can find,if one is interested in spanish,middle eastern and indian music.Robin Tierry is joined on this musical beauty by a number of very talented musicians from Spain and Iran.It sounds very contemporary,even though most of the music is traditional and very classical in it's roots.Improvisations are some of the most beautifull you will ever hear.This CD is a real treasure to have!

01.Priere Gitane
02.Fandangos Maures
03.Ma Gavali (rumba)
04.La Rose De Jaipur
06.Le Marche Aux Musiciens
07.Petite-Mere Sultane
08.An Sumia
10.En Aqueste Casa
11.La Course De L'Alezan
12.La Terre Noire
13.Por Primera Vez
14.Django A Bagdad
16.Ma Gavali (bolero)
17.L'Amour S'Envole

Thierry "Titi" Robin (chant, guitar, bouzouki, oud);
Farid "Roberto" Saadna (chant, guitar);
Abdelkrim Sami (chant, percussion);
Gulabi Sapera, Hacer Toruk (chant);
Francs-Alfred Moerman (guitar);
Renaud Pion clarinet, saxophone);
Gabriel Levasseur, Francis Varis (accordion);
Pascal "Kalou" Stalin (bass);
Francois Laizea (drums);
Jorge "Negrito" Trasant (cajon)



Nears the Christmas...
Some of the Hungarian christmasy music, from Hungary with Love.:)

Kálmán Balogh is joined by musician friends to perform Hungarian and Gypsy folk music with a Christmas theme.

01. Ez öröm napja - This the day of a joy
02. Jó hírt pajtás mond nekünk - A fellow says good news to us
03. Betlehem, Betlehem
04. Ez Karácsony éjszakáján - This on the night of Christmas
05. Kis Karácsony - Little Christmas
06. Vusti, vusti (Ébredj, ébredj) - Awake, awake
07. Mennyből az Angyal - From heaven the Angel
08. Nagy örömet hírdetek - I advertise a big joy
09. Elindult Mária - Maria started
10. Tejle hullind'o Sunto Del (A Szent Isten lejött az égből) - God came down from the sky
11. Altató - Sleeping
12. Vígan zengjetek cimbalmok - Resound cheerfully zymbalons

Kálmán Balogh - cimbalom, voice, drum
Ági Szalóki, Bernadett Kiss, Enikő Szabó - voice
Csaba Ökrös - violin
Mihály Dresch - saxophone, flute
Lato Frankie - violin, viloa
Dániel Gryllus - furulya, voice
Károly Berki - guitar
Csaba Novák - bass
Zsolt Nagy - viola



The band's elusive, winning sound reflects the elliptical nature of their instrumental anarchy: accordion, hurdy-gurdy, banjo, guitar, mandolin, balalaika, ukulele, strings, double bass, bagpipes, recorders, woodwinds, brass, assorted percussion, and occasional vocal rendition. An eclectic repertoire gives their music a captivating freshness, essaying Bavarian, Swiss, Corsican, Polish and British Isles strains, Cajun, French bourrées, Balkan, Gypsy and Jewish tunes, New World folk traditions north and south, neo-funk, Russian laments, waltzes and Scottish piping. German roots music will never be (and never was) the same.

Apart from a few minor changes in the choice of songs, the CD is much like the German ROCK´N ROLL 13. Recorded very much live, the CD shows the harsh truth about our first few years.

01.Der Zug um 7.40 Uhr
02.Bourree dite d'Aurore Sand
04.Valse A Cadet
05.Who stole the Keeshka
06.A Scuttiscia
08.Le Waltz
09.Folk song
10.Shalom Alechem
11.Arriba muchacho
12.King Arthur's Liver
13.Jovano Jovanke
14.Chassidic Song
15.Die Ungarn-Nummer
17.Der Song von Mandelay


pass: Hippies

"Back when I was just a boy, I was desperate to discover that new and unfathomable thing called music. Digging through all of the mysterious devices in the forboding dust of our basement, one day I discovered an old AM radio. With its fake- wood peeling off and single dial, it would always play better when I was touching it. I'd lay there in the darkness of my bedroom, trying to comprehend the tinny sound coming out, songs played by the DJs relegated to the radio wasteland of the dial that counted frequencies in the hundred and tens.

One evening at 9:05 PM I heard the song "The Devil Came Down To Georgia" and everything changed. I listened to that station every night thereafter at 9:05 PM in search of the song, my tiny mind seeking order in the chaos of radio. I eventually moved on to other things, but I never really forgot that fantastic song.

Perhaps it was the sinister content, the endless struggle between good and evil set to raucous southern fable that grabbed me, perhaps it was the otherwordly fiddle. I may never know. What I do know is that the memory of that song rose up like a redneck on malt liquor the moment I turned on Sixteen Horsepower's Low Estate. 13 tracks of fiddle, bass, bandoneon, drums, concertina, hurdy gurdy and cello, blended into a thoroughly sinister mix that speaks directly back to my AM radio and the feeling you get in a southern graveyard when you hear the wolves in the distance.

Low Estate is packed with dark, forboding images, both lyriaclly and instrumentally. Moaning cello telling a tale of ghostly "Phillys Ruth," a slightly picked guitar recounting a hanging, it's pure frontier storytelling that somehow reached my ears through a century of waiting. Deep country roots, fed by the blood of our ancestral criminals, prospectors and cowboys, Low Estate exhibits a true American originality so rare in a country obsessed with looking forward and forgetting the past."

James P. Wisdom

01. Brimstone Rock
02. My Narrow Mind
03. Low Estate
04. For Heaven's Sake
05. Sac of Religion
06. The Denver Grab
07. Coal Black Horses
08. Pure Clob Road
09. Phyllis Ruth
10. Black Lung
11. Fire Spirit
12. Golden Rope
13. Hang My Teeth on Your Door
14. Ditch Digger
15. The Partisan



Formed in 1991, the Egschliglen (translating loosely as "Beautiful Melody") project aims to take the traditional rhythms and instrumentation of Mongolian folk music and adapt them for contemporary listening - adding innovation, experimentation and playfulness to the mix, rather than simply playing their way note-for-note through the ancient standards.

Central to this is the art of "koommii", traditional Mongolian "throat-singing", which evolved as a way of imitating the sounds of nature, such as the mountains, the rivers and the wind. So far, so romantic. However, to Western ears, this deep, resonating overtone growl can be somewhat hard work, and rather than evoking the wide, open plains of Mongolia, instead conjures up images of Hanna Barbera's Captain Caveman creation in the throes of a heavy bout of food-poisoning, or something from a Reeves and Mortimer sketch.

The album often works best when the koomii is given a bit of respite. The epic, cinematic "Nutgiin Zamd" builds beautifully, ending up where Chinese and Russian folk-music meets a Sergio Leone Western soundtrack. On slower pieces such as "Huurhun Haliun", the slightly discordant soundscape even draws parallels with the violin-heavy sounds of the first Velvet Underground album. Final track "Bau'rin" even re-works a childlike Bavarian peasant-song in the Mongolian-style, and it works like a dream.

Gereg is a genuinely intriguing and overall rewarding release - just figure out your stance on Mongolian throat-singing in advance.

01. Hunnu
02. Govin Magtaal
03. Duuren Zaan
04. Aisui Hulgiin Tuvurguun
05. Jaran Zagaan Aduu
06. Meeneg
07. Nutgiin Zamd
08. Huurhun Haliun
09. Uran Has Baletiin Adagio
10. Byan Hishig Daa Tam
11. Udelt
12. Shigshergiin ai
13. Chamaigaa Gelgui Yahav
14. Zezegtei Harmai
15. Bäu’rin (hat die Katz verlor’n)

Migdorj Tumenbayar - 1st moriin khuur, vocals, 2nd moriin khuur, vocals
Amartuwshin Baasandorj - khöömii solo vocals, tobshuur, percussion
Uuganbaatar Tsend-Ochir - ih khuur
Sarangerel Tserevsamba - joochin, percussion, vocals
Ariunaa Tserendavaa - dance
Taivan Chimeddoo - presenter



The Orchestra developed in 2007 of his Aprils as a Transylvanian-Hungarian co-production. Jazz, funky and anything else meld the Hungarian folk music with elements in their music.

"We were born with the 2007 spring awakening with dreams of growth and experiences. Our longing for music does not consist of mysteries, philosophies, only of joy; but from the moment of this publicity attempt, the comments, feedbacks and community/common experiences are also determining for us. We set out from Transylvania, and hope to reach both further regions and souls close to us. Recive our cd just the way we made it, with love."


01. Erdélyország
02. Szeretetlen
03. Csángó leány
04. Bús életem
05. Ötösfogat
06. Settenkedő
07. Új korában
08. Keleti latin
09. Templomkerítés
10. De szeretnék

Judit Kátai - vocal, violin
Jenő Könczey - keyboard
Ferenc Orbán - violin, guitar
Csongor Kerezsi - bass guitar
Jocó Kátai - drums



"New York-based band Firewater, incorporated a global range of musical influences into their highly-dynamic sound. A loosely-knit ensemble centered around the lead vocals of ex-Cop Shoots Cop bass player Tod A. (born: Tod Ashley), Firewater tied together such influences as Klezmer, Indian wedding music, art-punk, and Tom Waits-style cabaret poetry to create their heady, often quite danceable sound. Coupled with Tod A.'s acerbic, post-apocalyptic, and death-obsessed lyrics, Firewater was a band to be reckoned with almost from the beginning.

Shortly after forming in 1995, Firewater released its debut, Get Off The Cross (We Need The Wood For The Fire). Both it and 1998's The Ponzi Scheme featured guitarist Duane Denison of Jesus Lizard, drummer Yuval Gabay of Soul Coughing and saxophone and accordion player Kurt Hofmann of the Jon Spencer Blues Explosion. The sultry vocals of Elsyian Fields' Jennifer Charles also drifted through both albums. Charles returned for 2001's more pop-oriented Psychopharmacology; other contributions came from saxophonist Ori Kaplan and sitar player Oren Bloedow. In 2003, Tod A. and his "wedding band gone wrong" returned with a stripped-down, razor-wire-wrapped effort for Jetset entitled The Man on the Burning Tightrope. The covers album Songs We Should Have Written appeared early the following year. Tod A. then went on an extended trek through Thailand, India, Pakistan, Turkey and Indonesia, which he chronicled on his blog Postcards from the Other Side of the World. A. also recorded music on his travels, collaborating with producer Tamir Muskat and local musicians along the way. The results were The Golden Hour, which Bloodshot Records released in spring 2008."

"In photography, the golden hour is when the sunlight is at the perfect angle to capture beautiful images; in the medical world, it's the window of time where a life can still be saved after severe injuries. Both meanings could apply to The Golden Hour, Firewater's first album of original material in four years: it's a musical travelogue of the three years Tod A. spent in India, Turkey, Pakistan, and Indonesia (which he also chronicled in the blog Postcards from the Edge of the World) after his divorce and the reelection of President George W. Bush in 2004, and each song is like a vibrant, sometimes violent, snapshot along the way. A.'s travels were no vacation -- if anything, there's a sharper edge to his songwriting here than in years, and combined with the contributions of local musicians from each country, The Golden Hour is some of Firewater's most consistently potent music. The album underscores its concept by kicking off with "Borneo," a jaunty, pissed-off exit song listing all the reasons for leaving the U.S. ("You got a monkey for a president" is near the top) with theatrical flair, and from there, A. and crew -- including drummer/producer Tamir Muskat of Balkan Beat Box -- find ways to dance on their troubles with quintessentially Firewater songs like "Hey Clown," "Already Gone," and "Three Legged Dog." The band ups the ante with "This Is My Life," where the tumba, chimta, and dholki of the native musicians (many of whom normally play in the backing bands for belly dancers) add an extra spark to the song's already fiery rhythm. But for every brash moment on The Golden Hour, there is an equally vulnerable one, whether it's the cautionary tales of "Paradise" and "A Place Not So Unkind" or "Six Forty Five," an elegant ballad filled with emptiness as it wanders from sunset to sunrise. On "Weird to Be Back," Tod A. notes that "everything's the same or maybe just a little worse," but that can't be said of The Golden Hour -- it's some of Firewater's angriest, most poignant, and most accomplished music."

All Music Guide


"Melodic Eastern European-flavored gypsy rock, Indian and Middle Eastern percussion, hypnotic sarangi solos... the album is a biting travelogue, the rantings of a surly castaway among the noble savages."
New York Magazine

...Firewater s most compelling record yet, a funky, furious bouillabaisse of fuzzy Gypsy-punk guitars, tart Bollywood strings and throbbing hand-drums.
Time Out New York

01. Borneo
02. This Is My Life
03. Some Kind of Kindness
04. 6-45 (So This Is How It Feels)
05. A Place Not So Unkind
06. Paradise
07. Bhangra Bros
08. Electric City
09. Hey Clown
10. Already Gone
11. Feels Like the End of the World
12. Weird To Be Back
13. Three Legged Dog



On their previous releases, Rumba Argelina and Temporal, Radio Tarifa explored the network of musical connections between North Africa and Spain. With this release, they burrow ever deeper into the music, tracing not only the roots of flamenco-check out the foot percussion on "Patas Negras" to hear the Moorish antecedents of a very Spanish sound-but going back as far as the Renaissance with "Si J'ai Perdu Mon Ami," with its rich oboe sound. There's even "Gujo Bushi," a Japanese tune that they make fit into the overall idea. The biggest musical change is the use of electric guitar, which can seem jarring at first. But this is robust music that's lived for centuries on both sides of the Mediterranean, and it can adapt to all manner of ideas-something Radio Tarifa have in abundance with their imaginative arrangements and strong sense of melody. Where the hypnotic senses of Moroccan trance music meet the passion of flamenco, bridging space and time, that's where you'll find Radio Tarifa.

01. Osu
02. Sin Palabras
03. El Viaje De Lea
04. Ramo Verde
05. La Molinera
06. Cruzando El Rio
07. Patas Negras
08. Gujo Bushi
09. Alab
10. El Quinto
11. Si J'ai Perdu Mon Ami

Radio Tarifa:
Benjamin Escoriza (vocals);
Fain S. Duenas (guitar, strings, bass, percussion);
Vincent Molino (winds, keyboards).

Additional personnel includes:
Merche Trujillo (vocals, pipes);
Juncal Fernandez, Cristina Codoy (vocals);
Joaquin Ruiz (percussion);
Caridad Alcazar Gutierrez, Cristina Codoy, Gema Quesada (background vocals).



Čompe was established in 1994. Its music probes street language as well as Slovene modern poetry (including several poems written by Dane Zajc, Milan Jesih, Edvard Kocbek and Andrej Rozman-Roza), and reflects irony as well as joie de vivre, music virtuosity and dilettantism, revolution and devolution with zeal and humour.
Čompe's musical expression is characterised by the blending together of a range of different genres including, apart from folk-like music, chanson, jazz, cabaret and rock music.

01. Ibrzniki (Intruders)
02. Uvodna (Uwodna)
03. Uspavanka za dnevno rabo (A Lullaby for Daily Use)
04. Roze noci (Flowers of Night)
05. Himalaya . predzadnja pesem (The Himalayas . The Penultimate Poem)
06. Potepuh (The Tramp)
07. Francoz (Good Ol' French)
08. Repa (Turnips)
09. Regi (ti si bila...) (Reggae (You Were...)
10. Garaca (Garratcha)
11. Dva vrana (Two Crows)
12. Cloveska ribica (The Human Fish)

Silvo Zupančič – guitar
Neža Zinaić – violin
Marjan Stanič – drums/bells
Janez Škof – diatonic accordeon/voice
Žiga Saksida – alt/bariton sax
Breda Krumpak – alt sax



Pure Transylvanian Folk Music - this is the folk music that people who live in Transylvania listen to.
Panek Kati and Bodzafa means the same for Transylvanian as Márta Sebestyén means for Hungary.
Kati was one of the founders of the dance house movement in Transylvania and also of the Bodzafa (The Elder Tree) Band. During the Ceaucescu regime, the Elder Tree members emigrated and became leading musicians in Hungary.
For over 20 years Kati has been an actress in the Hungarian Theatre of Kolozsvár (Cluj). It has been 15 years since the Elder Tree released their last album in Transylvania, now they have come together again to record this new album - an album of pure Transylvanian Folk Music.
Be sure and check out the solo release by the violinist featured on this CD Papp István "Gázsa".

1. Gyimesi Ballada
2. Gyimesi Keserves és tánczene
3. Magyarózdi népzene
4. Magyarszováti népzene
5. Kalotaszegi népzene
6. Nagysajói Hangszeres népzene
7. Magyarlapádi népzene
8. Moldovai Ballada

Kati Panek - voice
István "Gázsa" Papp - violin
László Kelemen - viola
Zoltán Szalay - double bass
Imre Bokor - violin
István Pávai - hit-gardon
Levente Székely - violin
Lajos Toró - viola



Cicala Mvta (pronounced shikala moota) are one of Japan's most exciting and original groups. Like other innovative musicians, their music is hard to define; "punk chindon jazz", "world and noise band to clarinet in a chindon group. Colorful chindon groups used to be a common sight in Japan, marching in the streets noisily banging a chindon drum, while saxophones or clarinets would pick out the melody to the hits of the day. Ohkuma tramped the streets of Tokyo for 7 years playing clarinet as part of a spluttering tradition, until the late 80s when together with the group Compostella he started to revive chindon music by mixing it with other elements. While Japan is the only eastern country to have so readily absorbed western music, street performances of wind and percussion instruments can be found all over the world. As an "unmilitarized" street music, chindon is related to Jewish Klezmer music, New Orleans brass bands and wind and percussion ensembles from China and south east Asia. Ohkuma is as keen to embrace these influences in the music of Cicala Mvta. "In my opinion, old jazz , klezmer or wedding brass band traditions, from India to the Balkans, are all similar to chindon as an early modern mixture music . These are all clarinet musics, so it's very natural for me to play these types together" he says.

Ohkuma's other disparate influences help give Cicala Mvta their own distinctive sound. These he cites as progressive rock, punk, avant-garde jazz, early modern music (such as Bartok) and folk. Only occasionally featuring the chindon drum, Ohkuma's perky clarinet is ably abetted by an unusual line-up of musicians, each bringing with them a sense of individuality to supplement Ohkuma's clarinet and saxophone, in what is a totally original line-up; fluid, distorted electric guitar, rip-roaring, booming tuba, squeaking, screeching cello, frantic, discordant fiddle, and tinny, shuffling drums. "Deko Boko" is Cicala Mvta's second album and a progression on their self titled first CD. The mixtures are more radical than ever, and the tunes self penned by Ohkuma and arranged by the group. Both traditional chindon and the retro-futuristic sound of Cicala Mvta are an entirely natural combination of the old and new, the east with the west.

Cicala Mvta is one of only a few Japanese groups, to have created a 'buzz' in other countries. Their first overseas gig in 2000 was supporting Blur in London, afterwhich they toured for 6 weeks, playing to enthusiastic audiences at festivals throughout Europe. Despite being instrumental, their music is not without a message. The band's name, Italian for a 'mute cicada', derives from the epitaph written on the gravestone of Soeda Azembo (1872 -1944) the greatest street singer and songwriter of popular music in Japan before the 1920s. "His songs were banned and he was repeatedly thrown into prison. They tried to break his spirit and make him really mute" explains Ohkuma. Cicala Mvta and chindon music too, is not about to go quietly.

01. Tokyo Jinta
02. Kyu na saka
03. The lowest saddle
04. A weekend of a clown
05. The blue flower kopanitza
06. Sukiniatte gomen nassai
07. Don cholecha variation
08. Bessarabian hora
09. Bulgaria Rhytm
10. Albert Ayler Medley
11. Jerry roll strange motion
12. Motto kyu na saka

OHKUMA Wataru : clarinet,bass clarinet, accordion, timpani,glockenspiel,chorus
OHTA Keisuke: violin, singing(6),chorus
SAKURAI Yoshiki: guitar,Irish bouzouki, lap steel guitar, banjo, reverb tank,chorus
SAKAMOTO Hiromichi: cello,musical saw,chorus
SEKIJIMA Takero: tuba,recorder,chorus
KAMIMURA Shoko:drum,big bass drum(1), chorus
KAWAGUCHI Yoshiyuki: alto,soprano,bariton sax, chorus
Samm BENNETT: drum(3) , percussion, toys,turn table



The Karavan familia Gipsy world music and folk group plays traditional folk music arrangements from the different dialects of their native culture with individual effects and sounds. They have in their performances Gipsy music not only from Hungary, but from the Balkans, Romania, Russia and from Spain – formed to their own style.

The group was formed by István Nagy in 2002. He was born 1969 in Budapest. He taught himself and was influenced by various kinds of folk music and the afro American blues. When he was 15 he was already performing as a blues-musician. (guitar & blues harmonica)

At the end of the 1980’s he connected to the Hungarian Gipsy folklore movement. In 1989 joined the Romanyi Rota ensemble, with which he worked for 13 years. (He did different arrangements, wrote lyrics in Gipsy Romani language, and he was one of the main singers of the group, he played guitar, bouzouki, mandolin, tambura and wooden spoons.) As a member of the band he was awarded the Hungarian distinction of 'Young Master of Folk Arts' in 1995. He made two CDs with the mentioned group which are till nowadays the most authentic Gipsy folk records. (Romanyi Rota: O cerhariko – 1994 Etnofon; Romanyi Rota: Phiravelman kalyi phuv – 1999 Fonó Records)

Simultaneously he was one of the founded members of the Gipsy band of Romano Kokalo with the famous Gipsy cimbalom player, Kálmán Balogh. The two musicians combined their artistic manner and so Romano Kokalo was converted the most progressive Hungarian Gipsy band in the end of the 1990’s.

01. Shej baxtali (Lucky Girl)
02. Blues for Dimo
03. Rumba korkores (Lonely Rumba)
04. Bare droma (Big Roads)
05. Si man voja (I Have a Good Time)
06. Otthon, Szabolcsban (At Home, In Szabolcs County)
07. Romengo dives (The Day of the Gipsies {Ederlezi})
08. Ando baro foro (In the Big City)
09. Amari familija (Our Family)
10. Sáros utca (Muddy Street)
11. Gipsy Crossroads
12. O dadoro (The Daddy)
13. Nikoletta
14. Avel o shavo (The Gipsy Boy Is Coming)
15. O trajo (The Life)
16. Tradav (I'm Driving)
17. Me sim baxtalo (I'm Lucky)
18. Zhas khere! (Let's Go Home!)

István Nagy (leader) - vocal, guitar (el. ac.), tamboura (el. ac.), blues-harp
Nikolett Nagy - vocal, guitar, darbouka, dance
Ilona Farkas - vocal, dance
István Nagy Jr. - vocal, guitar, wooden spoons, water can

Slobodan Wertetić - accordion



"The soundtrack to the film of the same name by Andreas Dresen was created much like the film itself and above all – very unusually – along with the film.

“Halbe Treppe” had no fixed written script. The actors and film team lived in Frankfurt/ Oder for three months, filming several scenes and in the evenings looking at what they had come up with and thinking about how the story might be continued the following day.

We joined them in Frankfurt/Oder from time to time, each time bringing new songs, which Andreas used directly for the filmed scenes. Thus the music suddenly helped decide which direction the story was to take: melancholic, happy, hopeless or uplifting…"

17 Hippies

01. Oros I
02. Gelb zwo drei
03. Isabeau...
04. Kein Feuerzeichen
05. Sandgate
06. Fische
07. Elf-Achtel
08. Tanz des Bauern mit den dicksten Kartoffeln
09. Gabis Lied
10. Isa auf der Brücke
11. Die Oros
12. Immer noch kein Feuerzeichen
13. Dorfwalzer
14. Fahrstuhlmusik
15. Im Schnee
16. El Balado
17. Gator's grin
18. E major
19. Vespa
20. Kolomeyke
21. E major II
22. Mad bad cat


So many excellente musicians on one recording! "Composer-musician M. Montanaro, with Vents d'Est, rewrites the geographical map of Europe with jazz and folk music, Czech, Slovak, Serb, Hungarian or French violins and harmonies are laced sometimes with swing sometimes with sacred music."

01. Lei messorgas
02. La promiera flor
03. Nous sommes deux - Georges Moustaki
04. Nakrise - Dyaa Zniber
05. Barka
06. B'net
07. Le blues de celui qui reste - Arthur H.
08. Orientala
09. Torni
10. D'ouu reviens-tu?
11. Voyageurs encore
12. Voyageurs encore
13. Tarantela
14. Ora sorna
15. Lé moyé
16. Viatge
17. Ungaresca III
18. Sosztar

Écsi Gyöngyi, Dyaa Zniber, Amadou Sanfo, Romano Drom, Serge Pesce, Fabrice Gaudé, Baltazar Montanaro, Arthur H., Georges Moustaki



Suburban Bucharest unites magnificent voices and virtuous fiddlers. It is telling us about musical occasions and their places, the constant changing of prevailing taste, and about the imminent end of the old Lautari-Music in Romania.

Suburban Bucharest is dealing with musical influences from Serbia, Turkey and the Middle East, which the political dignitaries like to apostrophy as the pollution of Romanian music. In the past few years the improvised bars of corrugated iron in the suburbs of Bucharest, for the most part concrete buildings, have been torn down. Along with them the venues of the most Gipsy Bands vanished for ever - and only a handful of them had been lucky to be discovered.

“An eye opener!”

Charlie Gillett, BBC

“One of the best discs I‘ve heard in 2004 - in any genre.”
Simon Broughton, Songlines

“Another superb compilation from Trikont, this time showcasing the effervescent gypsy music of Romanian capital Bucharest, a city composed of "hundreds of sprawling villages that have grown together." Charismatic singers abound: Romica Puceanu (died in 1996) has the skills of an Ella Fitzgerald, while Maria Tanase (from the 1930s) was more of a Judy Garland figure, bringing night-club flair to folkloric material. The muted trumpet of Costel Vasilescu is a high point, spinning dizzily over a wildly swung Hora wedding dance, clanked out by cimbalom, fiddle and fluttering accordion. The tension between traditional sounds and modern pop is endlessly renegotiated - godfather of gypsy pop Dan Armeanca sings both with his coolly modern group and the pumping brass of Fanfare Ciocârlia. Finally there's the exuberant filigree of Taraf De Haidouks, a group ignored in Romania until international acclaim propelled them into surreal situations such as modelling for designer Yoji Yamamoto.”
Clive Bell, THE WIRE

01. Dan Armeanca & Fanfare Ciocarlia: Iag Bari
02. Romica Puceanu: Ileana, Ileana
03. Taraf de Haidouks & Kocani Orkestar: Carolina
04. Maria Tanase & Taraf Mitica Mata: Jandarmul
05. Dona Dumitru Siminica: Draboro
06. Aurel & Victor Gore & Costel Vasilescu: Hora Lautarilor
07. Gabi Lunca: Cu-o Damigeana Si-un Pahar
08. Faramita Lambru: La Crama Din Dragasani
09. Raducano & Orchester Gypsy Star: Maneaua Lui Kemal
10. Romica Puceanu: Doi Tovarasi Am La Drum
11. Dan Armeanca & Band: Can Marraulan
12. Taraf de Haidouks & Viorica Rudareasa: Dumbala Dumba
13. Raducano & Orchester Gypsy Star: So Del Duma Al Romsea
14. Vasile Armeanca: Alilili Monica
15. Maria Tanase: La Uite-o, Zau
16. Mahala Rai Banda: Esti Sexy
17. Rom Bengale: Baro Biao
18. Zavaidoc: Cantecului Zavaidoc


Joanne Shenandoah is a beautiful woman with a beautiful soul. Fittingly, she also has a beautiful voice with which she expresses her spirit and heart. Orenda, an Iroquois word meaning "the soul of all things," features her sweet vocals in harmony with Lawrence Laughing. She sings these ceremonial songs in their native languages. The instrumental accompaniment, by Tom Wasinger and Mark McCoin, is subtle and low-key. This is Shenandoah's CD. Her gentle style is both dynamic and serene. It fills the heart and soul of the listener. Laughing's harmonies are smooth and graceful.

"Multitalented, award-winning composer and musician Joanne Shenandoah gets better with every album. On Orenda, the singer and instrumentalist, herself of Iroquois descent, is joined by Mohawk Lawrence Laughing; and their duets, including "Deer Dance" and "Unity," are among the album's strongest tracks. Shenandoah's voice is a rare gift; on Orenda, it's rich and clear, and never falters. The mix of backing instruments works well, including several percussion and wind instruments as well as guitars, while the spare arrangements allow Shenandoah's and Laughing's voices to stand out. The blend of the traditional and the contemporary in her music works very well indeed, bringing out the best of both."

Genevieve Williams

01. Passage (Prelude) [(Across the Sky Prelude)]
02. Across the Sky
03. I Am Your Friend [Mohawk Standing Quiver Song]
04. Creator's Song
05. The Great Feathered Horse
06. In Love [Mowawk Rabbit Song]
07. All My Relations [Four Cousin Songs]
08. The Four Legged Ones [Garter Dance Intro]
09. Garter Dance
10. Deer Dance [Garter Dance 2]
11. Life Giver [Mohawk Women's Dance]
12. You Are My Friend [Mohawk Friendship Song-omega]
13. Hunting [Mohawk Stomp Dance]
14. Unity [Haudenosaunee Round Dance]
15. Prophecy Song

Joanne Shenandoah (vocals, stomp dance)
Lawrence Laughing (vocals, percussion, stomp dance)
Tom Wasinger (wall harp, mouth bow, dulcimer, guitar, vocals, Native American flute, ocarina, percussion, autoharp, gopichand, bass, cittern, hammered tremoloa)
Mark McCoin (percussion, wooden & resonating stone slit drums, udu, wooden flute)



Since the Eighties, five men and two women from the northern French town of Angers have gelled together into a music community with an invented name, Lo’Jo. This group brings together sounds culled during their endless globe-trotting performances. Reggae, Arabic dance, French folk music and Paris trance all fuse to bring a deeply political message of multi-cultural tolerance and curiosity best enjoyed live.

"I've loved the sound of Lo'Jo from the first time I laid ears on them. They're funky and danceable, though ominous clouds always lurk on their horizon. Their music blends the circus and the city, North Africa and Europe, village and nightclub. This generous 26-song best-of compilation includes cuts from last year's Bazar Savant all the way back to 1993's Fils de Zamal. Even if you can't tell what they're singing, you can appreciate Denis Péan's dark growl, the unique vocal harmonies of sisters Yamina and Nadia Nid El Mourid, and the tight sound of Lo'Jo collective of musicians. Among the tracks are some of our favorites -- including "Senor Calice" and "Sin Acabar" -- along with some songs new to us, such as the reggae-tinged "Woman Intuition," which appeared on the 1994 Lo'Jo EP G7 of Destruction and Artisans of Peace. If you don't know Lo'Jo, this compilation will remedy that in short order. If you do, it's still a worthwhile addition to your collection. Get it direct from France if you have to, but by all means support this wonderful collective of musicians and the conscious global music they're creating!"

Scott Allan Stevens

01. Bernardo
02. Brian Gun
03. Mandeed Soul
04. A L'Ar Des Audacieux
05. Le Piano
06. Dobosz
07. Moon P
08. Senor Calice
09. Un Grand Voyage
10. Une Petite Chanson
11. C'Est La Vie
12. Sin Acabar
13. Magdalena
14. Fils De Zamal
15. Mojo
16. Woman Intuition
17. Au Cabaret Sauvage
18. Be North
19. Siempre
20. La Danseuse
21. Mandeed
22. Rwandamnation
23. Si Jamais Si
24. Dans La Poussi Du Temps
25. YKi
26. Bra Me

Renaud Pion - Clarinet (Bass), Flute (Bass), Saxophone, Turkish Clarinet
Peter Deimel - Keyboards
Pascal Monjanel - Keyboards
Jacquie Turner - Keyboards
Charles Vander Elst - Keyboards
Mephisto - Sax (Tenor)
Dierdre Dubois - Chant
Mehdi Haddab - Oud
René Lacaille - Accordion
Denis Péan - Flute, Clavier, Sampling, Chant, Percussion
Richard Zenou - Contrabass
Richard Bourreau - Kora, Imzad, Clavier, Sanza, Violone
Nicolas Gallard - Percussion, Guimbri, Clavier, Drums
Pascal Garnon - Keyboards
Jean Paul Romann - Keyboards, Mastering
Peter Kendall - Keyboards
Sami Ben Said - Accordion
Eric Aubry - Basse
David Husser - Keyboards
Rafik Ahmed - Sarangui
Benoît Avihoue - Percussion, Rap, Brass, Arranger
Yuki Okazaki - Clarinet, Voices
Iain Burgess - Keyboards



"One of the earlier entries on the market of African blues-inflected music offerings, this album from the folks at Rough Guide is most certainly African, but not particularly fusion in the sense of incorporating the American blues idiom. What one does have here, though, is a relatively early collection of the people that would in large be the most notable figures on the field of African music on the greater world market. Ismaël Lo opens up the album, followed by Rokia Traoré. After a couple of East African entries, the first true blues piece comes courtesy of Ali Farka Toure's hit "Heygana." The great mbira player Stella Chiweshe makes an appearance, as does Hamza el Din, with some bluesy riffs on the oud from the North. Boubacar Traoré puts in the second entirely valid piece of American-esque blues, and the team of Kante Manfila and Balla et Ses Balladins present an excerpt of the Kankan Blues phenomenon. Finishing the album are two more notables: Cape Verde's Césaria Évora, and Mali's up and coming Oumou Sangare, both worth hearing in their own right. Throughout, the album strays a bit from its most apparent mission, but the music remains worthwhile regardless. A fine choice for a quick sampler of the bigger names in African music."

Adam Greenberg, All Music Guide

01. Ismael Lo (Senegal) - Talibe
02. Rokia Traore (Mali) - Mounaissa
03. Orchestra Marrabenta Star de Mocambique - A Va Safy Va Lomo
04. Super Rail Band (Mali) - Mansa
05. Balla et ses Balladins (Guinea) - Paulette
06. Alick Nkhata (Zambia) - Maggie
07. Henry Makobi (Kenya) - Omulanga Wamuka
08. Ali Farka Roure (Mali) - Heygana
09. Stella Rambisai Chiweshe (Zimbabwe) - Ndinderere
10. Hamza El Din (Egypt) - Shams Esh'shamusa
11. Antoine Moundanda Likembe Geant (Congo) - N'Sangou
12. Boubacar Traore (Mali) - Mouso Teke Soma Ye
13. Kante Manfila and Ball Kalla (Guinea) - Kankan Blues (extract)
14. Cesaria Evora (Cape Verde) - Miss Perfumado (live)
15. Oumou Sangare (Mali) - Saa Magni



Sara Alexander is a unique artist. An artist in musical terms, of course, a splendid musician (accordion and guitar), singer and composer, who has recorded and worked the world over. But also, an artist of life, full of curiosity, joie de vivre, and most of all, full of tolerance and understanding of human nature. Born in Israel of a Romanian, Jewish, gypsy father and a Turkish Jewish mother, Sara took to music at an early age, absorbing all the influences from the surrounding Arab culture as well as from the Jewish immigration, bringing with it songs from all over the world. She can count on the complicity of musicians that are, like her, travellers from different origins, and who master the arabesques of the oud, the saz or the ney as brilliantly as they play various electronic instruments. Her warm, deep voice, which is that of an oriental blues singer, and her sensitive and luminous accordion play walk the confines of Greece, Turkey, Spain and North Africa, melting all into an imaginary country where gypsy passion, oriental languor, klezmer humour and contemporary composition grow into something new and original. Sara started travelling with her music early on, and has lived in Europe for many years now, never forgetting about the problems in the part of the world from which she has come, and doing all she could to help contribute to the understanding between the people, especially between Israelis and Palestinians. For her engagement, that made her meet with many personalities from the political and social world, she has had much recognition (from the UN, from the French government that awarded her the Legion d’Honneur, from the Smithsonian Institute that made her a laureate, and many more). She will never stop pursuing in her quest of mutual understanding, and as we all know, music is the best way to communicate across borders and language barriers.

Her album “Café Turc” is strongly anchored in the traditions of the people around the Mediterranean Sea, but also inspired by the Balkan musical tradition, assembles instrumentalists from Turkey, Greece, France, and Italy. Dream of a Gypsy cabaret in Istanbul, add some modern, arab, jewish & indian influences. There, you've got a bitter & sweet Turkish Coffee for a journey till the end of the night.

01 - Café Turc
02 - Madré
03 - Nakhash
04 - Hirourim
05 - Doudaim
06 - Orkha Ba Midbar
07 - Yam Hatichon
08 - Yonathan
09 - Sabar
10 - Syoum

Sara Alexander: voice, accordion, guitar
Pierre Rigopoulos: darbouka, zarb, daf
Anello Capuano: oud, saz, mandolin
Philippe Briegh: clarinet, violin, saxes

Guest musicians:
Mesut Ali: ney
Yannis Vlachos: bouzouki, guitar



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