Spanish Text Enclosed STEREO: MFS 812 Vocals in Spanish

Monitor presents the Chilean Ensemble

GRUPO RAIZ Side One 1. EL VUELO DE LA PARINA (Chile) 3:40

Flight of the Flamingo (Claudio Araya) Through this instrumental theme, Claudio Araya, Chilean composer, simulates the flight and death of the pink flamingo. Nearly extinct today, this species makes its home in northern Chile near Lakes Chungara and Citani. Both areas were made into National Parks in 1972. Since 1973, they have been converted into military bases.

~ 2. ME MATAN SI NO TRABAJO (Cuba/Uruguay) 3:05 They Kill Me If I Don't Work (Nicolas Guillen, Cuba-Daniel Viglietti, Uruguay) This song expresses the unhappiness of the majority of Latin Ameri­can workers over their extreme poverty and the inhumane treatment they receive in the city and in the countryside. It was written by Nicolas Guillen, major Cuban poet and Daniel Viglietti, Uruguayan singer and composer, now in exile.

• 3. EL MAYOR (Cuba) 3:10 The Major (Silvio Rodriguez) Cuban song dedicated to the memory of Major Ignacio Agramonte . Agramonte was born to a wealthy family and gave up the privileges inherent in his social class, placing himself at the service of the rebellious slaves who escaped to confront their Spanish masters .

1> 4. BAILECITO DE LA PENA (Chile) 3:05 Dance of La Pena (Fernando Fei'la) Instrumental for zampoiia in the Bolivian bailecito or dance rhythm. The music was written by Feiia at "La Peiia" in Berkeley during a Grupo Raiz rehearsal. It is dedicated to the place where the group got its start and which has consistently given it support .

.. 5. VAYA UN PECADO (Venezuela) 2:45 Ain't No Sin (Traditional) A traditional song from the Island of Margarita in Venezuela which tells of the local gossip about the friendship between Pedro and Juana in a small fishing village.

$ 6. LOS MAPUCHES, EL GUILLATUN, ARAUCO TIENE UNA PENA (Chile) 3:50 The Mapuche Indians, The Ritual Dance, The Suffering of Arauco (Violeta Parra) A medley of three songs by Violeta Parra which decry the injustices suffered by the Araucan people since the Spanish conquest . Through these songs, Grupo Raiz pays tribute to Violeta Parra, a principal founder of the New Latin American Song Movement.

Amaneceres

The Chilean Ensemble Grupo Ralz

GRUPO RAIZ came together at La Pena Cul­tural Center in Berkeley, California, at the beginning of 1980. The Group extended the work of two of its members who had been singing Latin American music at peiias and solidarity events in northern California for over a year, forming a versatile six member performing group with a broad instrumental and vocal repertoire.

The goals ofthe Group were twofold: to make known the music and culture of the Latin American people, and to give support through their music to the resistance movement in Chile and to liberation movements in Latin America and throughout the world.

Although the Group's collective accent is Chilean, their music begins in the Mapuche lands of southern Chile and extends across the Andes to the Atlantic plains and Caribbean coastline - island hops around Cuba and Puerto Rico - and absorbs the vibrance, pain, and promise of Central America today. Their music expresses a continental consciousness, encompassing the simplicity of Andean flute melodies and the sophistication of the Nueva 'frova Cubana.

Instruments Used on this Recording:

String : guitar, tiple, charango, Venezuelan cuatro

Wind: quena, zampona, trompe (Jew's harp)

Percussion: drums, bongos, congas, snare drum, maracas, guiro, claves, sasara, vibra slap, temple blocks, bells, triangle, tambourine

For complete catalog write: MONITOR RECORDS, 156 Fifth Avenue, New York, N.V 10010

Side Two

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01. SEGUN EL FAVOR DEL VIENTO (Chile) 3:40 According to the Will of the Wind (Violeta Parra) Another Violeta Parra song which deals with the insecurities and hardships in the life of the Indians on the island ofChiloe in southern Chile. Many of them make their living from the sea, setting out in small, fragile boats, defying difficult weather in search of driftwood to sell back home , if they can overcome the storms of the waves.

~ 2. VICTOR JARA (Chile) 4:00 (Fernando Alegria - Rafael Manriquez) This song pays homage to the life and works of the Chilean poet and composer. He was murdered on September 17 , 1973 in Chile by the military junta that overthrew the popular government of Salvador Allende.

D 3. TEMA DE LA QUEBRADA DE SAN LORENZO (Chile) 3:40 Theme from the Valley of San Lorenzo (Traditional) An instrumental for zampoiias, this traditional piece was heard by a member of Grupo Raiz during part of a religious festival in San Lorenzo de Pica. The Group adds a new dimension in its interpreta­tion with the addition of string instruments.

r. 4. LOS PALAFITOS (Chile) 3:30 Huts Over the Water (Osvaldo Torres) Palafitos are a traditional type of Indian house found in certain areas of the island of Chiloe. The lyrics tell of their destruction to build a new highway and decries the fact that the government offers no solution to the housing problem affecting the people .

t:l5. AMANECERES (Chile) 3:35 The Daybreak (Rafael Manriquez) An instrumental piece for charango written in the Bolivian rhythm of the huayno with classical and modem influences. Amaneceres re­flects the hope of something new . . . necessarily different and better than the oppression and injustice under which a great part of the world now lives .

Cover photo: Hector Gonzalez Recorded for Monitor by Bay Records, Alameda, California Sound Engineer: Michael Cogan

® 1981 Monitor International Corp.

Printed in U.S.A.

MUSIC OF THE WORLD

AMANECERES MFS812

Spanish and English Texis

CARAI 2. ME MATAN SI NO TRABAJO Me matan si no trabajo y si trabajo me matan, siempre me matan, me matan, ay, siempre me matan.

Ayer vi un hombre mirando mirando el sol que salia, el hombre estaba muy serio porque el hombre no vela.

Ay, los ciegos viven sin ver cuando sale el sol, cuando sale el sol, cuando sale el sol.

Ayer vi a un nino jugando a que mataba a otro nino, hay nmos que se parecen a los hombres trabajando .

Quien les dira cuando crezcan que los hombres no son nmos, que no 10 son, que no 10 son, que no 10 son.

Me matan si no trabajo .. .

3. ELMAYOR

a la memoria del Mayor General Ignacio Agramonte y Loynaz, en el centenario de su caida en combate en la saban a de Jimaguayu, el 12 de mayo de 1873

El hombre se hizo siempre de todo material : de villas senoriales o barrio marginal. Toda epoca fue pieza de un rompecabeza para subir la cuesta del gran reino animal, con una mano negra y otra blanca mortal.

Mortales ingredientes armaron al Mayor: luz de terratenientes y de Revoluci6n; destreza de la esgrima, sucesos como un preso, Amalia abandon ada por la bala, la vergiienza, el amor; o un fusilamiento, un viejo cuento, modelaron su adi6s.

SIDE 1 2. THEY KILL ME IF I DON'T WORK They kill me if I don 't work and they kill me if I do, they're always killing me , always killing me .

Yesterday I saw a man looking at the rising sun, the man looked serious for he couId not see.

Ah , the blind live without seeing the rising of the sun, the rising of the sun, the rising of the sun.

Yesterday I saw a child playing at killing another child , there are children who look like people working.

Who will tell them when they grow up that grown-ups are not children no, they are not. no, they are not, no, they are not.

They kill me if I don't work ...

3. THE MAJOR

In memory of Major General Ignacio Agramonte y Loynaz, on the tOOth anniversary of his death in combat, on the savanna of Jimaguayu, May 12, 1873

Man was always made of all matter of things : of lordly mansions or fringe barrios. Every epoch was a piece in a jagged puzzle so as to climb the slope of the vast animal kingdom, one hand black, and the other, deadly white.

Mortal ingredients armed the Major : guiding light of landholders and of Revolution ; quickness in dueling, hardships as a prisioner, Amalia abandoned by the bullet, by pride, by love; or an execution, an old story, shaped his good-bye.

Va cabalgando El Mayor con su herida, y mientras mas mortal el tajo, es mas de vida. Va cabalgando sobre una palma escrita, y a la distancia de cien aiios resucita.

Trota sobre la espuma, seguido por un mar de negros en machete y sin encadenar. Ordena a su corneta el toque de a deguello, y a un siglo de distancia entona nuestra cancion y con recia garganta canta, espanta lejos la maldicion.

Va cabalgando El Mayor con su herida, y mientras mas mortal el tajo , es mas de vida. Va cabalgando sobre una palma escrita y a la distancia de cien aiios resucita.

5. VAYA UN PECADO

Vaya un pecado digo yo que Margarita tenga una luna grandota y bajo esa luna hermosa salir a tomar la brisa .

Dicen que a Pedro y a Juana los cargan de boca en boca y dicen que Juana es loca y Pedro es un tarambana.

Dicen que los vieron ir mar adentro en la piragua dejandose confundir con el verde azul del agua.

Y que importancia Ie dan a tanto bicho hablador si a Juana Ie gusta el mar y ese Pedro es pescador.

Vaya un pecado, etc ...

6. TRES CANCIONES

Millelche esta triste con el temporal los trigos se acuestan en ese barrial los indios resuelven despues de llorar hablar con Isidro con Dios y Sr. Juan, con Dios y Sr. Juan.

Arauco tiene una pena . que no la puedo callar, son injusticias de siglos que todos ven aplicar, nadie Ie ha puesto remedio pudiendole remediar. Levantate, Huenchullan.

La lluvia que cae y vuelve a caer los indios la miran sin hallar que hacer se arrancan el pelo, se rompen los pies porque las cosechas se van a perder, se van a perder.

Un dia llega de lejos huescufe conquistador, buscando montaiias de oro, que el indio nunca busco, al indio Ie basta el oro que Ie rei umbra del sol. Levantate, Curimon.

The Major is galloping, bearing his wound, the more deadly the slash, the more life it holds. The Major is galloping on an inscribed palm tree, and at a a distance of 100 years returns to life.

He trots over the foam, followed by a sea of black men, wielding machetes and free of chains. He orders his bugle to sound the attack, and at a distance of a century intones our song, and with robust voice he sings, frightening away the curse.

The Major is galloping, bearing his wound, the more deadly the slash, the more life it holds. The Major is galloping on an inscribed palm tree, and at a distance of 100 years returns to life.

Translated by Reina Benmayor and Juan Flores

5. IT'S NO SIN

I say it's no sin for Margarita to have a great big moon and to go out under that beautiful moon to get some fresh air.

They say that everyone's spreading rumors about Pedro and Juana and they say that Juana is crazy , and that Pedro's good for nothing.

They say that they were seen going out to sea in the boat losing themselves in the blue green water.

Paying no attention at all to all the spiteful gossips, because Juana likes the sea and Pedro's a fisherman.

I say it's no sin ... etc .

6. THREE SONGS

Millelche is sad with this spell the wheat sleeps in this muddy spot the Indians decide after crying to speak with Isidro with God, and S1. John, with God and St. John.

The Arauco has a sorrow which I cannot silence , it is the inj ustices of centuries that all see being committed, no one has remedied them though they could be remedied. Get up, Huenchullan.

The rain that falls and continues to fall . the Indians watch it without knowing what to do they tear out their hair, they break their feet beca use the harvest they are going to lose , they are going to lose.

One day from afar a conquering demon came seeking mountains of gold which the Indians never sought, for them the light of the sun was gold enough. Get up, Curimon.

Se juntan los indios en un corraion con los instrumentos rompi6 una canci6n la machi repite la palabra sol y el eco del campo Ie sube la voz, Ie sube la voz.

~Ad6nde se fue Lautaro? Perdido en el cielo azul , y el alma de Galvarino se la llev6 el viento sur, por eso pasan llorando los cueros de su Kultrun. Levantate, pues, Callfull.

Arauco tiene una pena mas negra que su chamal, ya no son los espafioles los que les hacen llorar, hoy son los propios chilenos los que les quitan su pan. Levantate, Pailahuan.

CARA2

1. SEGUN EL FAVOR DEL VIENTO

Segun el favor del viento va navegando el leiiero atras quedaron las rocas para dentrar hasta el puerto, corra sur 0 corra norte la barquichuela gimiendo llorando estoy segun el favor del viento me voy, me voy.

Del norte viene el pellin que colorea en cubierta, habran de venderlo en Castro aunque la lIuvia este abierta, o queme el sol de 10 alto como un infierno sin puerta, llorando estoy, o la mar este revuelta me voy, me voy.

En un rincon de la barca esta hirviendo la tetera a un lado pelando papas las manos de alguna isleiia, sera la madre del indio, la herman a 0 la compafiera, llorando estoy, navegan lunas enteras me voy, me voy.

No es vida la del Chilote, no tiene letra ni pleito, tamango lleva en sus pies, milcao y aji en su cuerpo, pellin para calentarse del frio de los gobiernos 1I0rando estoy, que Ie quebranta los huesos me voy, me voy.

Quisiera morir cantando sobre un barco velero y cultivar en sus aguas un libro mas justiciero, con letras de oro que digan no hay padre para el isleiio llorando estoy, segun el favor del viento me voy, me voy.

The Indians gather in the corral, with their instruments they broke into a song the sorcerer repeats the word "sun" and the echo of the country raises its voice.

Where has Lautaro gone? Lost in the blue sky , and the spirit of Galvarino was carried off by the south wind, that is why the skin of his drum is lamenting. Get up, therefore, Callfull .

The Arauco has a sorrow blacker than his garment, it is no longer the Spaniards who cause him grief, it is the Chileans themselves who take away his bread. Get up, Pailahuan.

SIDE 2

1. ACCORDING TO THE WILL OF THE WIND

According to the will of the wind the woodcutter goes sailing, and behind the rocks can be seen all the way to the port. Sailing south, sailing north the little boat groans. I am weeping. I am going, I am going according to the will of the wind.

From the north comes the coal that glitters on the deck, they will have to sell in Castro even though the rain may pour, or the sun may burn down from up high like a Hell with no escape, or the sea may churn. I am weeping. I am going, I am going.

In a corner of the boat the kettle is boiling to one side the hands of an island woman peeling potatoes. She might be the mother, the sister or the compafiera of the Indian, sailing for many moons. I am weeping. I am going, I am going.

The Chilote people have no life, it has no letter nor argument they carry tamango in their feet miicao and peppers in their bodies, coal to warm themselves from the coldness of the government that brittles their bones. I am weeping. I am going, I am going.

I would like to die singing on a boat with full sails and plant in its waters a book full of justice with golden letters that say the islander has no father. I am going, I am going according to the will of the wind.

2. VICTOR JARA

Vengo a lIamar la atenci6n con voz de cantor serrano al hombre que va sin manos por cielo de mi nacion no ignora en su turbacion que las flores se apagaron y los rfos se secaron privados de primavera por las movidas arteras de tigres que 10 mataron

Va volando su guitarra sola entre rojas banderas quemando la sementera con su voz que el viento amarra viento que saca las garras buscando en la plaza oscura sangrante la huella impura del cuchillo que cort6 tus cuerdas y nos dej6 para siempre tu bravuta

Vuela y canta compaiiero sobre llanuras nevadas no quede tu mano helada porque es don del buen obrero entre rocas del estero hacer noches de mananas mientras abre su ventana a quien Ie toc6 morir por una ley de vivir del pueblo contra el guerrero

Te oigo hermano can tar en el Estadio vacio voz de piedras en un riO que nadie habra de callar y me da por preguntar por que tu vuelo cortaron si supieron que fallaron no por mala punteria pues el pueblo recibia vida cuando te mataron

4. LOS P ALAFITOS

Una manana fria de viento negro por los canales junte el madero

Desde Chaiten vinieron mis familiares y arme la choza a orilla del mar.

Pero ya se vinieron por el Achao la furia negra y el ttauco alzado.

Entre las patas traen desde el gobierno la muerte negra para toditos los Palafitos .

Nunca podran sacarme estas raices de viento y agua mis cicatrices

Toda la sangre Ona y la yagana me estan pidiendo que alce el grito por la manana.

2. VICTOR JARA

Listen to me, all of you, while I sing with the voice of a country poet about a man without hands who goes wandering over the skies of my land.

Though confused, he does not fail to notice the flowers burnt out, the spring gone dry by the sly moves of killer tigers killer tigers who took his life.

Alone among red flags he flies , his voice scorching the seeded field, bound by a wind with bare claws, searching the darkened plaza, seeking the bloody traces left by the knife that cut the strings and gave his courage, a courage that lasts.

Fly, fly and sing, companero, as you pass over snow-covered plains, do not leave your hands lying frozen among the rocks in the stream.

A good worker makes morning of nights, while the window of the one who has died to the law of the living swings open : the people against the Fascist might.

Brother, I hear you still singing filling the stadium's emptiness, I hear your voice like the stones in a river a JOund that nobody can quiet and I ask : why was your flight denied if your murderers knew they would fail not because of their aim, but because we, the people, live on through your death?

Translated by Carmen D. Alegria

4. HUTS OVER THE WATER

One cold morning with a dark wind blowing I gathered logs down by the canals. All my relatives came from Chaiten and I put the shack on the seashore.

But then down the river Achao came the black fury and the awory demon, bearing in his claws the government's death sentence for all the Palafitos.*

They will never be able to pull up my roots, my scars of wind and water. All the blood of the Ona** and the Yagana** tell me to raise a cry of protest in the mornings.

*Palafitos are wooden slat houses OD stilts typical of the island of Chiloe. **People from two tribes of soutbern Chile.

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