Samstag, 17. August 2019

Armagideon ‎– Steppin Forward / Natural Elements Dub (1995)

This album features two lp’s on one cd from this Bristol based instrumental dub crew "Armagideon". It was recorded and mixed at Armagideon Sound Studio, Bristol.


1 Zion I 3:49
2 Eternal Combustion 3:30
3 Heartical Vibes 3:50
4 Weakheart Drop 3:28
5 Politricks 4:01
6 Hi Fibre 3:58
7 Not Only You 3:49
8 Chill 3:34
9 Foundation 3:44
10 Cosmic Thread 3:56
11 Mother Earth 3:52
12 Herbal Input 3:51
13 Free Spirit 3:37
14 Moving Air 3:55
15 Blazing Fire 3:43
16 Eastern Dawn 3:47
17 Galactic Travel 3:51
18 Guidance 3:52
19 Aquadub 3:55
20 Joyous Arising Intro 1:03

(320 kbps, cover art included)

Mittwoch, 14. August 2019

I-Roy ‎- Musical Shark Attack (1976)

Along with U-Roy, Dennis Alcapone, and Big Youth, I-Roy was one of a quartet of DJs that reigned supreme over the Jamaican music scene during the early to mid-'70s. Of the four, I-Roy was the most eloquent, and his toasts were littered with references to pop culture, from movies to historical figures. He was also one of the most prolific, cutting scores upon scores of singles, and dozens of albums. Although the DJ's sun began to set at the end of the decade, I-Roy continued to record sporadically up to the '90s, by then, though, his life had taken a tragic turn.

By the '90s, the DJ was afflicted with a variety of health problems and his financial situation was so precarious that for stretches of time he found himself homeless.

By the end of his life, I-Roy had become financially reliant on his mentally retarded son. A second son was in prison and was killed there in October 1999. This terrible tragedy was perhaps the final blow for the weakened legend, and on November 27, 1999, the DJ died in a Spanish Town hospital from heart problems.

A more than worthy release during I Roy's Virgin stint in the 1970s, "Musical Shark Attack" mixes satirical swipes at Natty Dread with political period pieces and eulogies to his heroes (black political leader Marcus Garvey and, refreshingly, West Indian fast bowler Michael Holding).

The album features tracks like album features "Semi-Classical Natty Dread" and "Tribute to Marcus Garvey.".


1 Semi Classical Natty Dread
2 Musical Shark Attack
3 Drum Sound
4 Is Love I A Deal With
5 Social Development
6 Jamboree
7 Skyjuice And Festival Dumpling
8 Run For Your Life
9 Tribute To Michael Holding
10 Everybody Ballin'
11 Tribute To Marcus Garvey

I-Roy ‎- Musical Shark Attack (1976)
(320 kbps, cover art included)

Dienstag, 13. August 2019

WordSound - The Red Shift (1994)

Remember the early nineties, when the dark and powerful force of WordSound-I-Power raised from the dungeons of Crooklyn! The unique blend of arabian sounds, dark electronics, Dub, Funk and HipHop. Bass-loaden, majestic and suprising.

"The Red Shift", a compilation of label talent, charts a course through urban back streets, up mystical peaks, down the Nile, and into outer space. Freely mixing hip-hop, dub, funk, jazz, rock, Middle Eastern and African music, this album showcases sonic sculptures fashioned from the infinite world of sound. Featured artists run the gamut from cutting-edge hip-hop producer Prince Paul, who creates an aural collage from the turntables on Pablo\\\'s Theme , to the mighty voice of Jamaican dub poet Oku Onuora, spouting fiery wisdom on Yesterday, Today and Tomorrow. Rising from the post-industrial ruins of Williamsburg, Brooklyn, new outfits Roots Control and Scarab also participate in the festivities as they stake their claim as the future stars the WordSound label.


1 Chicken Walk 5:46
2 Esse 3:53
3 Pablo's Theme 3:43
4 Yesterday, Today and Tomorrow (feat. Oku Onuora) 4:55
5 Elephant, Mosquito 2:31
6 Condition Critical (feat. The Rockstone Coalition) 6:00
7 Dub-Hop Anthem 4:49
8 The Ill Jazz 3:08
9 Youthman 5:01
10 All Rise 4:42
11 World Cup (feat. Scarab) 5:15
12 Track 14 2:27

(320 kbps, cover art included)

Montag, 12. August 2019

Skin Flesh & Bones ‎- Dub in Blood, Vol. 1

From the linernotes: "Skin, Flesh & Bones can be called one of Jamaica´s top recording, stage and night clubs bands. This group of very talented young musicians have been so popular because they play Roots Reggae. Thay know the heavy sound sthat the dancing public likes, and they lay it on them - keeping everyone rocking the dance halls and night clubs."

Recorded and mixed at Channel One Studios by Ernest Hoo Kim and Ossie, this is a crucial component of any dub collection, presenting some heavyweight dubs to tunes from Al Campbell and George Faith.

A1 Dub In Blood
A2 Skin Dub
A3 Flesh Dub
A4 Bones Dub
A5 Heart Dub
B1 Dub To The Vein
B2 Injection In Dub
B3 Syring Dub
B4 Doctor Dub
B5 Medicine Dub

Track 10 "Medicine Dub" is credited on both label and artwork but does not appear on the disc.

Skin Flesh & Bones ‎- Dub in Blood, Vol. 1
(320 kbps, cover art included)

Sonntag, 11. August 2019

Keith Hudson ‎– The Black Breast Has Produced Her Best, Flesh Of My Skin Blood Of My Blood (1974)

Ominously knows as "The Dark Prince Of Reggae", Keith Hudson was born into a musical family in Kingston, Jamaica in 1946. His musical education began as Hudson worked as a sort of roadie for Skatalite and Jamaican trombone king Don Drummond.

By age 21, Hudson, who had been trained as a dentist, sunk his earnings into his own record label, Inbidimts, and had a hit with Ken Boothe's recording of "Old Fashioned Way." Not long after this chart success, the suddenly hot Hudson was producing some of the biggest names (and soon-to-be biggest names) in reggae - John Holt, Delroy Wilson, Alton Ellis, and the great toasters U-Roy and Dennis Alcapone, all of whom benefited from what would be Hudson's trademark production style: groove-centered, bass/drum-dominated, lean and mean stripped-down riddims.

By the mid-'70s, Hudson began releasing more solo work, hitting paydirt from the start with his 1974 debut, "Entering the Dragon" and his intense second record, "Flesh of My Skin", an ominous, dark record that earned Hudson his title as reggae's "Dark Prince." In 1976, Hudson relocated to New York City and worked pretty much nonstop, producing as well as recording solo records up until 1982. He succumbed to lung cancer in 1984, at age 38, robbing reggae of one its greatest, most adventurous, and unhearalded producers and performers.

The title tracks, spread across a vocal cut and an accompanying instrumental version, beautifully intertwines R&B, pop, and roots reggae. "Stabilizer" meanders across even more genres, blurring the lines between C&W, blues, R&B, and reggae, across an inspired version of Hudson's own 1972 single "True True True to My Heart." For "Stabilizer," Hudson and his backing group the Soul Syndicate Band deftly connect the dots between genres, while "Testing of My Faith" erases them, cleverly twinning C&W with roots reggae. The song is faintly reminiscent of the theme to "Midnight Cowboy," assuming Jon Voight disembarked not in the Big Apple, but Trench Town. In which case, "Fight Your Revolution" sends "Shaft" era Isaac Hayes on a Greyhound bus to Memphis. The music on this set is so astounding that it's easy to lose sight of the bigger picture of Hudson's dramatic lyrical themes and the album's overarching concept of the black experience and history. On "Faith," he pleads to "be just like any other man," but if his prayer was granted, the world would have lost one of its most unique artists even sooner.

Playlist :
Flesh Of My Skin
Blood Of My Blood
Testing Of My Faith
Fight Your Revolution
Darkest Night
Talk Some Sense (Gamma Ray)
Treasures Of The World
My Nocturne
I Shall Be Released
No Friend Of Mine

Keith Hudson ‎– The Black Breast Has Produced Her Best, Flesh Of My Skin Blood Of My Blood (1974)
(320 kbps, cover art included)

Samstag, 10. August 2019

International Beat - Their Most Explosive Hits

The break-up of the original version of The Beat in 1983 was a great loss at the time. The band was close to breaking big in the U.S. and had they stayed together probably could have approached The Police in terms of popularity. Instead various members went their separate ways and the musical world gained General Public and the Fine Young Cannibals. Often overlooked in the divorce of The Beat were saxophone player Saxa and drummer Everett Morton, who in my humble opinion were just as responsible for the unique sound of the band as any of the other members.

Enter Tony Beet who through a chance meeting with Saxa at a pub in Birmingham one night helped to launch the International Beat. The band was formed in 1990 by Beet along with ex-Beat members Everett Morton and Saxa and also featured Ranking Roger as a special guest at select shows. Beet, who was the the guitarist/vocalist and songwriter for the band was also able to recruit ex-Dexy's Midnight Runners/General Public piano player Mickey Billingham as well. They toured in the early 90's and also released a studio album called 'The Hitting Line' in 1991. The album was produced by Ranking Roger and he often guested with the band at some of their shows. The International Beat toured the UK and United States before calling it a day in 1992.

1. I Fought The Law (Rizla Club Mix)
2. Hands Off, She's Mine
3. Over The Valley
4. Mirror In The Bathroom
5. Sign Of The Times
6. Hard World
7. The Fitz
8. Head Man's Plan
9. Takin's The Pills (Version)
10. Are You Ready?
11. I Fought The Law (Radio Edit)
12. Rock Steady
13. Stand Down Margaret (Live)

(320 kbps, cover art included)

Freitag, 9. August 2019

VA -. Get on up! - Joe Gibbs Rocksteady 1967 - 1968

Adding considerably to their stock of rocksteady and early reggae releases under Joe Gibbs' name, Trojan has released this 26-track collection spotlighting the producer's 1967-1968 output for his own Amalgamated label.

While other discs cover more of Gibbs' early reggae and reggae sides, here the focus is on his earliest rocksteady material. And while Lee Perry actually oversaw most of the sessions these cuts were culled from, Gibbs' unerring ear for talent and taste in backing bands is felt throughout. Stellar vocal groups like the Pioneers and the Versatiles were regular Gibbs artists, while unique solo singers like Errol Dunkley and Roy Shirley made some of their best records with the producer. In addition to fine contributions by these acts, the collection also includes fine instrumentals by Tommy McCook and Neville Hinds, as well as more vocal treats by the Overtakers, the Mellotones, Dennis Walks, and Jackie Robinson. The rock-solid support comes from guitarist Lynn Tait & the Jets (who come up with some fine instrumentals of their own here), which featured such Jamaican musical luminaries as pianist Gladstone Anderson, organist Leslie Butler, drummer Joe Isaacs, tenor saxophonist Felix "Deadly Headley" Bennett, and trumpeter Bobby Ellis. A fine disc tailor-made for the discriminating fan of vintage Jamaican sounds.


1) Errol Dunkley - You're Gonna Need Me
2) Tommy McCook & His Band - Feel So Fine
3) Keith Blake - Musically
4) The Dynamics - My Friends
5) Errol Dunkley - I'm Going Home
6) Keith Blake - Woo Oh Oh
7) Overtakers - The Big Take Over
8) Lyn Taitt & The Jets - Dee's Special
9) Neville Hinds - Tit For Tat
10) Pioneers - Give It To Me
11) Neville Hinds - Soul Glide
12) Mellotones - Fat Girl In Red
13) Pioneers - Dip And Fall Back
14) Roy Shirley - The World Needs Love
15) Dennis Walks - Having A Party
16) The Groovers - Day By Day
17) The Creations - Get On Up
18) Pioneers, Lyn Taitt & The Jets - This Is Soul
19) Jackie Robinson - Over And Over
20) Lyn Taitt & The Jets - I Spy
21) Jackie Robinson - Let The Little Girl Dance
22) Eric 'Monty' Morris - Cinderalla
23) Pioneers - Tickle Me For Days
24) Lyn Taitt & The Jets - Sleepy Lady
25) Hugh Malcolm -Mortgage
26) The Versatiles - Let Me Through (Please Mr. Gateman)

VA -. Get on up! - Joe Gibbs Rocksteady 1967 - 1968
(320 kbps, cover art included)

Mittwoch, 7. August 2019

African Head Charge - My Life In A Hole In The Ground (1981)

Their debut album from 1981 that plays on both the title and concept of David Byrne and Brian Eno's experimental "My Life in the Bush of Ghosts", African Head Charge - led by Adrian Sherwood and percussionist Bonjo Iyanbinghi Noah -- engage in free-form sonic explorations set to dub and African rhythms.


1 Elastic dance
2 Family doctoring
3 Stebeni's theme
4 The race Pt. one
5 Crocodile shoes
6 Stone charge
7 Far away chant
8 Primal one drop
9 Hole in the roof

(320 kbps, cover art included)

Dienstag, 6. August 2019

Keith Hudson - Torch Of Freedom (1975)

Whether you know him as The Dark Prince Of Reggae, the Ghetto Dentist or
just plain Keith, the legendary artist and producer Keith Hudson created
some of the most idiosyncratic, innovative and atmospheric reggae that ever came out of Jamaica.

Intensely militant, "Torch of Freedom" was the record that got Hudson signed to a worldwide deal to Virgin.

Odd because "Torch" is so accusatory and nakedly polemical you would think that it would frighten major labels away from this fire-breathing reggae singer known as the Dark Prince. This was the start of a heightened international profile for Hudson, who at this point had left Jamaica for New York ready to make it big in the Big Apple.


1 Lost All Sense Of Direction
2 Jah Jah
3 Don't Look At Me So
4 Look At Me
5 Don't Let The Teardrops Fool You
6 Teardrops
7 Like I'm Dying
8 Turn The Heater On
9 So Cold Without You
10 Five More Mins Of Your Time
11 My Time
12 Torch Of Freedom
13 Freedom Movements

Keith Hudson.- Torch Of Freedom (1975)
(256 kbps, cover art included)

Montag, 5. August 2019

Bob Marley & The Wailers - The Rarities, Volume 1 (Jamaican Gold)

Ah, the Lee Perry years, the most overly compiled era of the Wailers' career. Surely, even the most dedicated fans must by now yelp in dismay when yet another in the deluge of sets drawn exclusively from this era hits the racks.

"The Rarities, Vol. 1" attempts to ignite waning enthusiasm for this period
by rounding up not the hits, but the outtakes, versions, and hard to find singles from this period. Fed up with the multiple recurrences of "Small Axe"? Check out the notably different arrangement on "More Axe" and the instrumental take "Axe Man" for a change. Or for something completely different there's "Shocks of Mighty" and its version, released only in the U.K. on a blank-label 12" single. Of course, you still get "Duppy Conqueror" for the umpteenth time, but how often do you see "I Like It Like This" or two versions (neither the 45 take) of "Picture on the Wall"? Then again, there was a reason some of these tracks were left as outtakes, consigned to B-sides, or failed to hit. Still, Upsetter fans will lap them up regardless, for even if the Wailers don't always shine here, Perry's productions continue to intrigue and amaze.


1 Shocks Of Mighty 3:34
2 Shocks Of Mighty - Version 3:27
3 All In One 2:24
4 One In All 2:06
5 Copasetic 3:11
6 More Axe 3:32
7 Axe Man 2:48
8 Duppy Conqueror 3:22
9 Zig Zag 3:03
10 Run For Cover 3:16
11 Picture On The Wall - Version 3 3:02
12 Picture On The Wall - Version 4 2:59
13 Man To Man 3:36
14 Nicoteen 2:41
15 Rock My Boat 2:53
16 Like It Like This 2:56

Bob Marley & The Wailers - The Rarities, Volume 1 (Jamaican Gold)
(320 kbps, cover art included)

Sonntag, 4. August 2019

Byron Lee & The Dragonires - Reggae Hot Shots (1971 - 1973)

Byron Lee and the Dragonaires have been a respected and well-known part of the Jamaican music scene for more than four decades. At times numbering as many as fourteen members (dancers excluded), BL & D were founded in 1956 as a so-called "big band". The band has helped popularize many differnt styles. In the fities, they played calpyso, cha-cha, bolero, merengue, and easy listening. During the sixties, they focuesd on ska, rock steady and reggae, in the seventies and eighties they specialized in calpyso, while in the nineties they have played primarily soca.

A first-rate show band, BL & D have travelled all over the world. Their first album "Fire Fly Jump Up" was released in 1960. Since then the prolific group has gone on to make more than seventy-five albums.

This compilation fetures material from the reggae albums recorded from 1971 to 1973. Only four of the songs here are of Jamaican origin, the othersreggae versions of well-known pop tunes. The eighteen tracks come from the LPs "Going Places", "Reggay Hot Col And Easy" and "Regay Roun´ The World". These were all released on Byron Lee´s Dynamic label, the latter two were also released in England by Trojan Records.


1. Message to a Black Man
2. Smoke Gets in Your Eyes
3. Theme from "Shaft"
4. Back Stabbers
5. Your Love Is Amazing
6. Breakfast in Bed
7. Chick a Bow
8. Maegre Dog
9. Hot Reggae
10. Mammy Blue
11. Julianne
12. Can't Wine
13. Bam Sa Bo
14. For Your Precious Love
15. A Little Love
16. Flying Machine
17. Three Bells
18. Good Morning Jamaica

Byron Lee & The Dragonires - Reggae Hot Shots (1971 - 1973)
(320 kbps, cover art included)

Mittwoch, 24. Juli 2019

Short Break

Dienstag, 23. Juli 2019

Nico - Chelsea Live

Nico's performance at London's Chelsea Town Hall on August 9, 1985, shows a woman of 46 dipping into her surprisingly vast catalogue to offer a dark and often heavy concert, a mix of solo material and songs with a synth-drenched rock band. Nico's renowned stentorian voice is even deeper and louder than ever, booming all over the messy, percussive arrangements, sometimes veering dangerously close to the borderlines of tunefulness, but still it adds to the atmosphere and the overall framework of the performance.

The set picks out only three songs from the most recent album, those being the stark, menacing opener "Tananore," the slinking, synth-influenced "Fearfully in Danger," and "My Heart is Empty," which is part of a cycle of solo songs on harmonium here, rather than the band arrangement on the studio album. Nico also dips into her other '80s venture,Drama of Exile, on quite altered versions of "Sixty-Forty," "Purple Lips," and "One More Chance," where it seems as if the whole arrangement has been overturned and instead built on '80s synth effects. She offers a glimpse of those songs before they acquired their exotic Arabic production on the original album, on a solo rendition of "The Sphinx," which loses much of its melody and beauty when performed on harmonium alone.

The harmonium is Nico's primary instrument, and she used it for composing ever since she first learned to play it in the late '60s. It offers up treats as well as nightmares, with Nico often finding beautiful, hypnotic melodies as well as depressing medieval dirges. "Procession" is in the former category, a song of mournful majesty with some hypnotic, simple synth work. The much older "Janitor of Lunacy" finds Nico reaching higher notes, and "You Forget to Answer" is unremittingly bleak but has more melodic movement. There's also a return to harmonium for her off-kilter, epic cover of "The End" by The Doors. She also covers the songs of Lou Reed from The Velvet Underground and Nico, which she participated in in 1966. She offers a simple but powerful "a cappello" reading of "All Tomorrow's Parties," and is joined by stark piano on a somewhat out of place but still entertaining "Femme Fatale."

This live recording has good sound, and Nico offers a reasonably wide glimpse of her catalogue, although she keeps away from her very earliest solo material. These songs became her stock live favourites in her later years, the busiest years of her career. After her re-emergence, she was championed by the rock press and by post-punk advocates, and, perhaps in a bid to fund her heroin habit, she took any concert going, remaining admirably active right until the month before her death in the summer of 1988. The band here is synthy, as befits an '80s rock combo, but often quite messy as well, particularly on "Sãeta," one of her most hypnotic, beautiful compositions. But, still, it's an entertaining artefact of Nico's live career in those heady 1980s.


1 Tananore 6:33
2 One More Chance 7:27
3 Procession 4:17
4 My Heart's Empty 5:00
5 Janitor Of Lunacy 4:28
6 The Sphinx 3:10
7 You Forget To Answer 3:38
8 Fearfully In Danger 4:48
9 Sixty Forty 4:35
10 All Tomorrow's Parties 3:10
11 Purple Lips 3:59
12 Femme Fatale 4:22
13 Saeta 6:22
14 The End 9:17

(320 kbps, cover art included)

Montag, 22. Juli 2019

Bertolt Brecht - Lehrgedicht von der Natur der Menschen (Helene Weigel, Ekkehard Schall, LITERA 1967)

These readings of Brecht´s "Lehrgedicht von der Natur der Menschen" were recorded at the 150. birthday of Karl Marx, May 5, 1968.

The poems were read by Helene Weigel and Eckehard Schall.

1. Vorbemerkung
2. Aus dem ersten Gesang „Über die Schwierigkeit, die es bereitet, sich in der Natur der Gesellschaft zurechtzufinden“
3. Der zweite Gesang„Das Manifest“
4. Aus dem vierten Gesang „Über die ungeheuerlich gesteigerte Barbarisierung der Gesellschaft“


Bertolt Brecht - Lehrgedicht von der Natur der Menschen (LITERA 1967)
(192 kbps, cover included)

Ernst Busch: Frank Wedekind – Spottlieder (Aurora,1964)

Frank Wedekind, original name Benjamin Franklin Wedekind (born July 24, 1864, Hannover, died March 9, 1918, Munich), was a German actor and dramatist who became an intense personal force in the German artistic world on the eve of World War I.
A direct forebear of the modern Theatre of the Absurd, Wedekind employed episodic scenes, fragmented dialogue, distortion, and caricature in his dramas, which formed the transition from the realism of his age to the Expressionism of the following generation.

The son of a German American father and a Swiss mother, Wedekind lived in Switzerland from 1872 to 1884, when he moved to Munich, where he remained until his death. He was successively an advertising manager, the secretary of a circus, a journalist for the satirical weekly "Simplicissimus", a cabaret performer, and the producer of his own plays. The electric quality of his personality has been attested by his contemporaries.

Wedekind’s characteristic theme in his dramas was the antagonism of the elemental force of sex to the philistinism of society. In 1891 the publication of his tragedy "Frühlings Erwachen" ("The Awakening of Spring", also published as "Spring Awakening") created a scandal. Successfully produced by Max Reinhardt in 1905, the play is a series of brief scenes, some poetic and tender, others harsh and frank, dealing with the awakening of sexuality in three adolescents. In the Lulu plays, "Erdgeist" (1895; "Earth Spirit") and "Die Büchse der Pandora" (1904; "Pandora’s Box"), he extended the theme of sex to the underworld of society and introduced the eternal, amoral femme fatale Lulu, who is destroyed in the tragic conflict of sexual freedom with hypocritical bourgeois morality. These two tragedies inspired Alban Berg’s opera Lulu. The character of Lulu is most identified with actress Louise Brooks, who portrayed her in G.W. Pabst’s masterful silent film version of "Die Büchse der Pandora" (1929).

In 1918, Bertolt Brecht attended the funeral of Frank Wedekind. He later wrote in his diary, "They stood perplexed in top hats, as if round the carcass of a vulture. Bewildered crows."

Wedekind was a prophet in the darkness. He had come before his time. A moralist who wore the mask of an immoralist, he had been the terror of the German bourgeoisie, alternately praised for being a saint and condemned for being a devil. He did not follow any group, or subscribe to any political ideology of the day. And his expressionistic visions preceded the rise of expressionism by several decades.

During Frank Wedekind's lifetime, his plays were persecuted and only performed in censored versions. They were considered pure pornography, for he dared to deal with issues of sexual freedom and release, problems of puberty, moments of ecstasy between the sexes, and moments of misunderstanding and violence. Wedekind's language was brilliant and poetic, constructed mainly of cascades of short one-line sentences often consisting of only one or two words, like verbal exchanges between pistols. His plays broke through all the clichés of the theatre of his time, and today he is considered one of the founders of modern drama.

Celebrating the 100th birthday of Frank Wedekind, Ernst Busch released in 1964 as a part of his "Aurora"-series a booklet with two EPs featuring "Spottlieder" by Frank Wedekind, accompanied by Walter Olbertz.

EP 1: Im heiligen Land, Der Anarchist / Der Zoologe von Berlin, Der blinde Knabe
EP 2: Brigitte B., Mein Lieschen, Die Wetterfahne / Die sieben Heller, Diplomaten

Ernst Busch - Frank Wedekind - Spottlieder (Aurora, 1964)
(192 kbps, front cover included)

Dagmar Krause - Panzerschlacht (Die Lieder von Hanns Eisler)

A worthy follow up-to "Supply and Demand", this release focuses on Dagmar "The Voice Of Armageddon" Krause's interpretation of the music of Hans Eisler, a great German songwriter and contemporary of Brecht and Weill (though less well known).
As usual, the singing is stunning, and the instrumental accompaniment, which features significant contributions by Lindsay Cooper and Danny Thompson, is impeccable. Krause recorded English and German versions of "Tank Battles" (hence the title "Panzerschlacht") and both are highly recommended.

"Panzerschlacht" is an uncompromising vehicle to showcase the radical compositional method that Eisler employed even as he tried to write songs that would be popular -- among those who resisted fascism. He wrote in the vernacular of the Weimar Republic and in the sophisticated language of jazz as it entered the cultural mainstream, despite the fact that he was taught by Arnold Schoenberg in Vienna until he quit and went to Berlin, wanting to write music for people instead of periods. It's true that these are "art songs," but only through the lens of history. Krause, who is truly one of the most gifted vocalists of the 20th century, situates these songs - most of them collaborations with Brecht -- as Eisler wrote them, in the wind of resistance and commitment to defeating the fascists, reclaiming Europe from their influence, and regaining dignity for workers in a socialist struggle. But in no way do these songs sound like timepieces in Krause's treatment of them, nor do they sound like hollow moments of history run through with the holes of empty victory and decadent complacency. Krause is a firebrand of urgency and emotion -- her style goes for the heart of a melody and twists the lyric around it, whether on a labor organizing song such as "Zahlen müßt ihr," a melancholy song of displacement and loss such as "Chanson Allemande," or a song that combines both, such as "Ballade von den Säckeschmeißern."

All of Eisler's best-known songs are here, from the aforementioned to "Lied einer deutschen Mutter" and "Und ich werde nicht mehr sehen," along with many others. There are also some of his lesser-known but hauntingly beautiful pieces written for the theater, for example "Genevieve: Ostern ist Ball sur Seine."
Krause's performances of these songs are more than empathetic; it's as if Eisler and Brecht wrote them especially for her. Her sense of the dramatic is unparalleled and her voicings of the more subtle shades of meaning in the lyrics are truly visionary, offering these songs in a completely new setting -- one that is current, valid, and perhaps just as urgent in these tense times as they were in Eisler's.


1Lied von der Tünche1:58
3Zahlen müsst ihr1:37
4Chanson Allemande1:13
5Ballade von den Säckeschmeissern3:16
6Mutter Beimlein1:11
7Das "Vielleicht" Lied1:44
8Lied von der belebenden Wirkung des Geldes4:22
9Der Mensch0:54
11Lied einer deutschen Mutter2:26
12Ändere die Welt - sie braucht es1:59
14Legende von der Entstehung des Buches Taoteking6:31
15(Ballade von der) Wohltätigkeit2:45
16Mutterns Hände1:55
17Spartakus 19192:24
18Und ich werde nicht mehr sehen1:48
19Geneviève : Ostern ist Ball Sur Seine1:00
20Ballade vom Weib und Ddm Soldaten3:33
21Verfehlte Liebe1:02
22Und endlich Ssirbt1:07
23The Rat Man - Nightmare1:11
24Die Heimkehr1:26
25Der Graben3:33
26An den kleinen Radioapparat1:00

Here is the original German edition of "Panzerschlacht":
Dagmar Krause - Panzerschlacht (Die Lieder von Hanns Eisler)
(192 kbps, ca. 79 MB)

Widerstand im Dritten Reich

It happened 75 years ago: July 20, 1944, was the day Hitler was to die. Colonel Claus Schenk von Stauffenberg had prepared the assassination attempt together with other Wehrmacht officers. On this day, there was a conference in Hitler’s "Wolfschanze” headquarters in which Stauffenberg was involved. The colonel managed to smuggle a bomb into the room and to detonate it. However, Hitler survived the attack with only slight injuries; five other people were killed. 

After his return to Berlin, Stauffenberg refused to believe the news that Hitler had survived. Together with his friend Albrecht Ritter Mertz von Quirnheim, he made fevered attempts to win over high-ranking officers in the military districts for the coup. In the late evening, he had to admit that the assassination had failed. Claus Schenk Graf von Stauffenberg, his adjutant Werner von Haeften, Albrecht Ritter Mertz von Quirnheim, and Friedrich Olbricht were shot dead in the courtyard of the Bendler Block that same night.

The assassination attempt was the culmination of efforts by several groups in the German resistance to overthrow the Nazi German government. The failure of the assassination attempt and the intended military coup d'état that was to follow led the Gestapo to arrest more than 7,000 people, of whom they executed 4,980. Not all of them were connected with the plot, since the Gestapo used the occasion to settle scores with many other people suspected of opposition sympathies.

Von Stauffenberg and his fellow conspirators saw the assassination attempt as the only chance to save Germany from a certain disaster. They were in contact with other opponents of National Socialism who, like them, wanted to establish a different Germany after the war.

Stauffenberg's legacy in postwar Germany has been mixed. Some view him as a hero of the anti-Hitler resistance movement and others see him as an opportunist who only turned against the Nazi dictator when Germany's defeat became certain.

Historian Wolfgang Benz told the Augsburger Allgemeine newspaper that it was important for Germans to remember the broader resistance movement and not just the military officers involved in the July 20 plot.

"Conservatives have always focused on the military resistance, but it came very late [in the war]," he said.

"Widerstand im Dritten Reich" is a feature about Hans and Sophie Scholl, Claus Schenk von Stauffenberg and Oskar Schindler in german language. 

(320 kbps, cover art included)

Sonntag, 21. Juli 2019

Fela Kuti & Africa 70 - Zombie

"Zombie" was the most popular and impacting record that Fela Kuti & Africa 70 would record -- it ignited the nation to follow Fela's lead and antagonize the military zombies that had the population by the throat. 

Fela is direct and humorous in his attack as he barks out commands to the soldiers like: "Attention! Double up! Fall In! Fall out! Fall down! Get ready!" Meanwhile, his choir responds with "Zombie!" in between each statement. Since the groove was so absolutely contagious, it took the nation by storm: People in the street would put on a blank stare and walk with hands affront proclaiming "Zombie!" whenever they would see soldiers. If "Zombie" caught the attention of the populous it also cought the attention of the authority figures -- this would cause devastating personal and professional effects as the Nigerian government came down on him with absolute brute force not long after the release of this record. This is still an essential disc to own for the title track alone.


1. Zombie
2. Mr Follow Follow

(320 kbps, cover art included)

Samstag, 20. Juli 2019

VA - Victor Jara - Tributo Rock

The facts of Victor Jara's tragic death are well documented. Arrested in the aftermath of a military coup d'état, Jara was one of many political prisoners led to the National Football Stadium where many were tortured, beaten, and executed. Although his hands were broken or, as many have claimed, amputated, Jara continued to sing a song supporting the ousted Popular Unity Party. After receiving many brutal blows, Jara stopped singing only when a machine gun fired by a military officer took his life. In the decades since, Jara's songs and spirit have been celebrated by numerous politically minded folksingers including Pete Seeger and Tom Paxton. Arlo Guthrie set Adrian Mitchell's words to music for the ballad "Victor Jara," recording the song on his album "Amigo". Undoubtedly, although Jara's heart may have been forcefully stilled, his music has lived on.

This album is a rock tribute to Victor Jara, based on an idea by Claudi Gutiérrez.


1. Rincidentes / Plegaria A Un Labrador
2. La Floripondio / Inga
3. Cacho Vásquez / La Flor Que Anda De Mano En Mano
4. Attaque 77 / Hermana De La Victoria
5. Ska-P / Juan Sin Tierra
6. Ratos De Parao / Canto Libre
7. Mecanica Popular / Gira,Gira, Girasol
8. Fermín Maguruza Eta / El Derecho A Vivir En Paz
9. Pedro Aznar / Deja La Vida Volar
10. La Pozze Latina / Las Casitas Del Barrio Alto
11. Los Miserables / Mobil Oil Special
12. Boom Boom Kid / Te Recuerdo Amanda

VA - Victor Jara - Tributo Rock
(320 kbps, cover art included)

Nikki Sudden & The Last Bandits - Treasure Island

Nikki Sudden must have been in seventh heaven when the Faces' keyboard boss Ian McLagan agreed to play piano and organ on select tracks from his 2004 garage-and-burn outing with the Last Bandits (John Clifford Barry on bass and Stephane Doucerain on drums), "Treasure Island". Given his total Faces and Rolling Stones worship, Sudden must have been beside himself with joy. But Mac isn't the only legendary guest on the set. Along with old mates Dave Kusworth and Anthony Thistlewaite, former Rolling Stones guitarist Mick Taylor and pedal steel ace B.J. Cole also lend a hand on the set.

While it's true that Sudden gets little to no notice on American shores for his rootsy swagger and roll that takes the entirety of rock's grand yesteryear into its arms and wrings fresh life out of it with drunken joy and pathos, Sudden has made his share of fine recordings, and "Treasure Island" may his finest since Kusworth founded the Jacobites. There's the trashy swamp of "Kitchen Blues" with Taylor on guitars and the raggedly elegant balladry of "Stay Bruised," which Sudden himself deems "one of the hottest romantic numbers you'll ever hear." There's the sexed up wail of "Wooden Floor" with Mac on B-3 and Cole on steel and the spooky, Thislewaite mandolin-drenched darkness of "Russian River," the Last Bandits shambolic blues stroll in "High and Lonesome," and the faux-"Sweet Jane" doo wop Phil Spector-ism of "Fall Any Further" with Marie-Therese McCormack & the Girls crooning the chorus. 

What it adds up to is a rock & roll album of truly brilliant proportions -- you know, the kind people just don't make anymore. This one should be on the shelf between "A Nod Is as Good as a Wink...To a Blind Horse" and "Goats Head Soup". Yeah!


A1 Looking For A Friend
A2 Break Up
A3 Stay Bruised
B1 Kitchen Blues
B2 Wooden Floor
B3 Russian River
C1 House Of Cards
C2 High & Lonesome
C3 Fall Any Further
C4 Sanctified
D1 When The Lord
D2 Never Let Me Go
D3 Treasure Island
D4 Highway Girl

Nikki Sudden & The Last Bandits - Treasure Island
(192 kbps, cover art included)