Subject: I have found a CD that I think you would enjoy
Polish Village Music - Historic Polish-American Recordings 1927-1933
Genres: Folk, World Music, Special Interest, Pop
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Playful music,which cheers you up!
Lee Hartsfeld | 06/13/1999
(3 out of 5 stars)
"Good points:the instrumental part is amazing,especially"Icek w Kolomej". Bad points:the voices are awful."
Very traditional folk music
Polska | Detroit, MI USA | 01/17/2005
(5 out of 5 stars)
"This sound track is very authentic from an ethnographic and
anthropoligic angle; this is true Polish folk music played on traditional, handmade instrumentation. I am using this CD for my Polish folk dance ensemble. This is music one would hear at a traditional Polish village wedding or celebration in times gone by."
Great vintage polkas by the barrelful!
Lee Hartsfeld | Central Ohio, United States | 11/03/2002
(5 out of 5 stars)
"Fascinating vintage polka 78s beautifully restored, with much variety in style to offset the inherent monotony of the simple and repetitious (but fun and lively!) strains. There is incredible historical background in the liner notes, along with unintentionally hilarious text translations, such as: "So, because of this opportunity, I saw those garters. It's nothing strange; They're made of elastic ribbon." Hopefully, in Polish such lyrics sound more lyrical. To be sure, these recordings are not for those whose idea of "folk" is Bob Dylan. In particular, the "highlander" style of track 4 (Last Evening in Podhale) is a jolt to most ears, courtesy of strange rhythmic figures and a stranger mode that features the perfect fourth AND tritone of the scale, with much emphasis on the former. Ouch! The pieces are 2/4 polkas and 3/4 "obereks," and they are recognizable in the modern-polka sense by a predominance of simple arpeggios, scale-runs, and mostly three-chord harmonies--not to mention lyrics about vodka, women, and dancing. The main difference resides in performance styles, which are generally as remote from Myron Floren as can be. This package is a joy, its only flaw consisting of inaccurate musical analysis. The notes promise modulation "between several keys, and between the major and minor." In fact, none of the tracks feature more than two key changes--usually, very traditional shifts to the keys of IV and or V (or IV only). Most of the tracks feature Major-mode melodic strains. Only three tracks (5, 9, and 24) feature minor mode, and only the last, "Devil in Jail," moves from major to minor, or vice-versa. Certainly, this music is exotic enough to begin with, without the assigning of harmonic and modal features that aren't present."