Sonntag, 29. März 2020

Peter Rohland - 48er Lieder - Lieder deutscher Demokraten

In West Germany from the 1960s onwards, the revived folk song inspired a renewed interest in the songs of the Vormärz and 1848. Singers identified with the basic gesture of rebellion in the satirical Spottlieder, the parodies of authority and servility and the anti-arm songs. Above all, the interest in the 1848 songs lay in the discovery of something new: distinct from the tradition of folk sng that had been co-opted by the Nazis and was now viewed as Nazi-tainted, the 1848 songs represented a "low" tradition of oppositional art.

This was significant in a young Federal Republic where oppositin was struggling to find political and cultural expression. These songs were, however, not readily accessible. School books did not contain information about protest movements and their songs. Examples of the tradition of the German democratic folk song were to be found, however, in Wolfgang Steinitz´s GDR collection Deutsche Volsklieder demokratischen Charackters aus 6 Jahrhunderten. And libraries and city archives contained numerous paphlets ("Flugblätter") of Vormärz and 1848 songs.

It was in such archives that the Swabian Peter Rohland (born 22 February 1933, died 5 April 1966) and the twins from Pirmasens, Hein and Oss Kröher, set about researching and thus reclaiming a lost cultural inheritance. Rohland and the Kröhers stemmed from the Jugendbewegung, whose refounding in 1945 after being banned by the Nazis heralded the beginning of a revival of the German folk song.

Peter Rohland´s 1848 album was recorded prior to his premature death in 1966. It reflects the initial exuberance of rediscovery of a forgotten tradition.


A1Deutschland, du zerrissen Herz1:15
A3Deutscher Nationalreichtum2:45
A4O König von Preußen2:35
A5In dem Kerker saßen2:05
A6Wo soll ich mich hinkehren2:03
A7Der gute, stammelnde Untertan1:30
A8Seht, da steht der große Hecker3:25
A9Lied eines kosmopolitanischen Nachtwächters2:10
B1Hier im Ort ist ein Gericht2:09
B2Brandenburg, Brandenburg2:45
B3Mein Deutschland2:00
B4Im März da hast du gestritten1:55
B5Michels Abendlied1:40
B6Noch ist Polen nicht verloren2:18
B7Denkt ihr daran2:00
B8Ausgelitten, ausgerungen2:25
B9Trotz alledem1:40
B10Mein Vater wird gesucht2:54
B11Die Moorsoldaten2:25

Peter Rohland - 48er Lieder - Lieder deutscher Demokraten
(256 kbps, cover art included)             

Modena City Ramblers ‎– La Grande Famiglia (1996)

The Modena City Ramblers were formed in 1991, a casual musical group that came together to entertain friends and family playing Irish folk music. Meeting up to jam more and more often, the Ramblers began to write their own tunes, inspired by popular Celtic-influenced bands like the Pogues and the Waterboys. Two years after their formation, the band recorded their first demo tape called "Combat Folk". Featuring their punk/Irish folk songs and Italian resistance ballads, the demo sold more than 3000 copies, earning the Ramblers grassroots recognition all over Italy. Picked up by the independent label Helter Skelter, the band's debut album, !Riportando Tutto a Casa" was released in 1994. Eventually distributed by Mercury, the disc went on to sell an impressive 185,000 copies. In the years that followed, Modena City Ramblers earned a reputation as a powerful live act, performing throughout Europe in collaboration with artists such as the Chieftains and Irish rock vocalist Bob Geldof. Their sophomore effort, "La Grande Famiglia", experienced similar success to its predecessor, followed by "Terra e Liberta" which ushered in an era of international attention during which the Ramblers performed in nations such as Bolivia, Spain, Cuba and more. Known for their progressive politics, the band aligned itself with musicians of similar values such as Manu Chao, performing at festivals like the Independent Days Festival in Bologna and the Awesome Africa Festival in South Africa. Their 2002 production "Radio Rebelde" garnered them invitations to perform in locations near and far, including Algeria, the Czech Republic, Amsterdam and Mexico. The band's 2004 album "Viva la Vida! Viva la Muerte!" (a quote from Zapatista leaders) found its way to Italian Top Ten charts, and opened doors for a 120 city tour. The Modena City Ramblers have become a staple of both the Italian rock scene and the leftist musical circuit alike.

"La Grande Famiglia" is a spectacular recording by the Modena City Ramblers. It represents perhaps the height of their Irish orientation, after which they begin to introduce more South American ("Terra e Liberta") and rock/reggae ("Fuori Campo") influences. "La Grande Famiglia", however is a wonderfully balanced and diverse album, ranging from beautiful ballads, such as "Canzone dalla Fine del Mondo" and "Al Dievel", to foot-stomping sing-alongs like "Banda del Sogno Interrotto". And while the music is usually distinctly Irish (plus an accordian or two), they maintain a strongly Italian orientation, writing songs about the partisans in WWII and anti-Mafia activists, and covering folk singer Francesco Guccini's "La Locomotiva". All in all, this is a vibrant, fun album and a great introduction to the Ramblers' music.

Clan Banllieue 3:53
Grande Famiglia 3:01
Canzone Della Fine Del Mondo 3:47
Santa Maria Del Pallone 3:20
L'Aquilone Dei Balcani 1:41
Le Lucertole Del Folk 2:15
Giro Di Vite 2:01
La Mondina / The Lonesome Boatman 2:00
Al Dievel / La Marcia Del Diavolo 3:26
Il Fabbricante Dei Sogni 3:20
La Banda Del Sogno Interrotto 3:00
La Locomotiva 7:13
L'Unica Superstite 4:00
La Fola Del Magalas 3:40
La Strada 4:15
La Mia Gente 2:50

Modena City Ramblers ‎– La Grande Famiglia (1996)
(320 kbps, cover art included)

Fiedel Michel - Kennst Du das Land... (1981)

The West German folk revival that followed in the wake of the Anglo-American folk revival of the 1960s and 1970s took a strong edge of political and social criticism that left little room for folk romanticism. Partly associated with the "68 generation" (the German political students´movement that also based their protest on, among many other issues, the Nazi bakcground of their parent´s generaation), groups and performers such as Hannes Wader, Franz Josef Degenhard, Liederjan, Zupfgeigenhansel and Fiedel Michel built up a large repertoire of worker´s songs, political material, and songs from as far back as the Peasant´s Wars of 1525 and the 1848 revolution.
Musically, these performers also deviated srongly from previous folk traditins. Similar to revival performers in other European countries, many Germans started out by imitating American, Irish, and Scottish musicians and developed an interest in their own mus only later.

Fiedel Michel´s album "Kennst Du das Land..." was released in 1981 on the Nature label. It was recorded in Dublin. The titel track is their version of the famous Erich Kastner poem. "Friedlicher Mittag" is based on a poem by Rolf Dieter Brinkmann, an important forerunner of the German so-called Pop-Literatur.


A1Kennst Du das Land, wo die Kanonen Blühn ? 5:15
A2Kleines Rondo 3:55
A3Der Winter ist vergangen 3:20
A4Friedlicher Mittag 2:50
A5In Senden ist der Löwe los 4:10
B1Raumschot 3:26
B2Ich bin ein freier Mann 4:05
B3Trilobit 4:45
B4Mein Michel 3:40
B5Meridian 3:55

Fiedel Michel - Kennst Du das Land... (1981)
(320 kbps, front cover included, vinyl rip)

Donnerstag, 26. März 2020

Nina Simone - At Newport (1960)

Nina Simone was born Eunice Wayman on February 21st 1933, in Tryon, South Carolina. She is, for many, the ultimate jazz/blues diva. Few know however, that Ms. Simone holds a doctorate in music, yet was once refused admission to the legendary Curtis Institute of Music in Philadelphia, an event that has forever marked her life. An intense live performer, Nina Simone's shows are legendary, and her uncompromising interpretations often reinforce her controversial reputation.

"Nina At Newport" was her second live album for Colpix and was recorded at the Newport Jazz Festival on June 30, 1960. It was, by far, Nina's highest-charting album, featuring stellar performances of "Trouble in Mind", "Porgy" and "Nina's Blues". It reached number 23 inthe Billboard chart in March 1961. The album opens with "Trouble in Mind", Nina´s bluesy interpretation somewhat faster than the origianl jailhouse lament.

The "Porgy" on this album is not the musical "Porgy" of her first hit. The character is the same, but the music and lyrics are by Jimmy McHugh and Dorothy Fields. "Little Liza Jane" is a rousing negro folk song, while Nina takes Cole Porter´s "You´d Be So Nice To Come Home To" smooth and easy.

"Flo Me La" is an authentic African song developed by pack bearers on safari as a rhythmic chant to set the walking pace; eventually, the chant becyme a song, the title meaning "Walking Along". Nina begins the American traditional "In The Evening By The Moonlight" with a restrained chorus, but it develops into a band lcimax to end the disc.

Nina is backed here by what had become her regular band. Chris White (bass) studied at the Manhatten School of Music, Bobby Hamilton (drums) studied with the famous Jim Chapin, and Al Schackman (guitar) was equally proficient in classical and flamenco. Schackman in particular became a lifelong friend, working as Nina´s musical director over many years. They played together from 1957, the other two joining shortly afterwards.


A1 Trouble In Mind
A2 Blues For Porgy
A3 Little Liza Jane
A4 You'D Be So Nice To Come Home To
B1 Flo Me La
B2 Nina's Blues
B3 In The Evening By The Moonlight

Nina Simone - At Newport (1960)
(256 kbps, cover art included)

Mittwoch, 25. März 2020

VA - Volksmusik in Jeans - Folkmusik Revival

Most of the important bands of both East and West are represented here: Recordings from the 70s by Schmelztiegel, Zupfgeigenhansl, Liederjan, Hannes Wader, Moin. Recordings of Eastern German folk bands are younger, starting only in the eighties - represented on this CD are numbers from Folkländer, Liedehrlich, Joachim Piatkowski & Wolfgang Rieck, Wacholder, Jams. Then some more Western bands like Die Hayner, Biermösl Blosn, Älabätsch. The CD closes with a couple of numbers giving maybe an outlook to German folk of today, featuring a newer song of Jams, the "Polka des 3. Oktobers" by Hoelderlin Express or a song of The Drumalane Waltz.

Stylistically, the CD has a focus on songs, most of them being arranged in the typical folk band manner, featuring guitars, fiddle, flute, but also sometimes hurdy gurdy, bagpipes etc.
Of course there are a lot of important names still missing. Still this CD is the best documentation of the German folk revival that has yet come to my ears. Highly recommended for anybody interested in German folk music.

"Volksmusik in Jeans" is part of a huge edition of CDs celebrating "Music in Germany 1950 - 2000", consisting of nineteen boxes with 5-10 CDs from all genres (11 Classical Music boxes, 1 Electronic Music box, 4 Music theatre/Musical boxes, 1 box of film/radio/theatre music, 1 box Jazz and 1 of popular music, featuring also this one album of folk music). All CDs can be either bought in boxes or as single CDs.

VA - Volksmusik in Jeans - Folkmusik Revival
(256 kbps, cover art included)

VA - The King Kong Compilation (Island, 1981)

This collection reveals in all its glory the wealth of classic rocksteady and early reggae produced by Leslie "King" Kong in just a three-year span between 1968 and 1970.

The most well-known hits here include Desmond Dekker's "Israelites," The Pioneers' "Long Shot Kick de Bucket," and a pair of Melodians' tunes, "Sweet Sensation" and the legendary "Rivers of Babylon."

Some less-known tracks are equally as good as these, though: Bruce Ruffin's "Bitterness of Life" and Ken Boothe's '70s protest song "Freedom Street" are both superbly crafted gems.

The Maytals also provide a couple of nice cuts featuring Toots Hibbert's soulful vocals - with "Monkey Girl" and "Monkey Man" (no relation), while The Pioneers' contribute the lovely "Samfie Man."
King Kong would kick Godzilla's ass any day.

Track Listing:
1. Israelites - Desmond Dekker and The Aces
2. Monkey Girl - The Maytals
3. Sweet Sensation - The Melodians
4. Freedom Street - Ken Boothe
5. Let Them Say - Tyrone Evans
6. Samfie Man - The Pioneers
7. It's My Delight - The Melodians
8. Peeping Tom - The Maytals
9. Rivers of Babylon - The Melodians
10. Gave You My Love - Delroy Wilson
11. Bitterness of Life - Bruce Ruffin
12. Sentimental Journey - Ansell Collins
13. Long Shot Kick de Bucket - The Pioneers
14. (Ah) It Mek - Desmond Dekker and The Aces
15. Why Baby Why - Ken Boothe
16. Monkey Man - The Maytals

The King Kong Compilation (Island, 1981)
(256 kbps, cover art included)

Dienstag, 24. März 2020

Manu Dibango - Africadelic (1972/1973) - R.I.P.!

Manu Dibango, the acclaimed Cameroonian saxophonist whose 1972 hit, “Soul Makossa,” would later be sampled by Michael Jackson, Kanye West, and dozens of other musicians, died today from the coronavirus. He was 86. Rest in peace!

Dibango was Cameroon's, and perhaps Africa's, best-known jazz saxophonist. Starting in the 1950s, he became a globe-trotting musician, living and performing in France, Belgium, Jamaica, Zaire, and Cote d'Ivoire, as well as in Cameroon. In 1960, Dibango was one of the founding members of the Zairean band African Jazz, with whom he spent five years. World attention came to Dibango with the release in 1972 of "Soul Makossa", a work that actually had precious little of the makossa sound in it, and scored later hits with Seventies and Ibida. Dibango's output has been prodigious and multi-faceted. He has worked with musicians as diverse as Fela Kuti, Sly Dunbar, Robbie Shakespeare, Don Cherry, and the Fania All-Stars. In addition to being one of the leading jazz saxophonists of his generation, Dibango has also run nightclubs, directed orchestras, and started one of the first African musical journals. A later release, "Polysonik" -- featuring English rapper MC Mello, Cameroonian singer Charlotte M'Bango leading a choral section, and sampled pygmy flutes -- shows that Dibango was continuing to flourish and expand in challenging new directions.

"AFRICADELIC" is the classic 1973 album composed and recorded in the span of one week by Manu Dibango, after the encouraging success of his monster hit "Soul Mokossa." Here he continues to fuse Afro-Caribbean flavors with the contemporary Latin and funk influences of the day, resulting in a highly soulful, highly danceable album.

Afro-jazz legend Manu Dibango died today after contracting coronavirus.


A1 The Panther 2:27
A2 Soul Fiesta 2:07
A3 Africadelic 2:14
A4 African Battle 2:59
A5 Black Beauty 2:48
A6 African Carnaval 3:14
B1 Moving Waves 4:01
B2 Afro-Soul 2:42
B3 Oriental Sunset 1:45
B4 Monkey Beat 2:40
B5 Wa-Wa 3:02
B6 Percussion Storm 1:54

Manu Dibango - Africadelic (1972/1973)
(320 kbps, cover art included)

Donnerstag, 19. März 2020

Richie Havens ‎– Richie Havens' Record (1968)

This was one of two albums comprised of overdubbed solo demos, probably from sometime between 1963-1965, that Havens had done prior to recording for Verve and making his official recording debut. In the late '60s, as Havens rose to stardom, producer Alan Douglas took the original solo demos and overdubbed them with electric instruments. The albums were pulled from circulation and are today hard to find. One would understand why Havens might have disapproved of their release, but "The Richie Havens Record", like its companion "Electric Havens", really isn't bad. The result of the late-date overdub created the misleading impression of an artist caught between the transition from folk to rock music, sometimes awkwardly so, as if he or the producers couldn't decide whether to be one or the other. There's some organ, backup vocals, and light drumming on some of the songs. But essentially this is an album that probably reflects his live sets in folk clubs, mixing covers of folk tunes ("I'm on My Way," "Babe, I'm Leavin"), blues ("Daddy Roll 'Em"), soul ("Drown in My Own Tears"), and material by then contemporary singer/songwriters (Fred Neil's "The Bag I'm In"). 

It convincingly establishes Havens as a talented singer and interpreter, making songs his own with his gritty soul-folk voice and urgent guitar strums, and also conveys the ecumenicism of his repertoire. There's a low-budget feel to the production and arrangements, though, not to mention the packaging: no songwriter credits are given, and the album title is misspelled as "Richie Haven's Record" on the spine.


A1 I'm On My Way
A2 Babe, I'm Leaving
A3 Down In The Valley
A4 Nora's Dove
A5 I'm Gonna Make You Glad
B1 Chain Gang
B2 Drown In My Own Tears
B3 Daddy Roll 'Em
B4 It Hurts Me
B5 That's The Bag I'm In

(320 kbps, cover art included)

Mittwoch, 18. März 2020

Grobschnitt - Razzia (1982)

Grobschnitt was a West German rock band which existed between 1970 and 1989. Their style evolved as time passed, beginning with psychedelic rock in the early 1970s before transitioning into symphonic progressive rock, NDW and finally pop rock in the mid-1980s. Grobschnitt, unlike other bands, utilized humor in their music in the form of unexpected noises and silly lyrics and concepts.

"Featuring a killer closing epic in the form of the nine-minute rock-synth-opus 'Razzia', which, coincidentally, happens to also be the name of the album, this 1982 album finds former- symphonic prog teutons Grobschnitt in full-blown, hard, hard, hard, eighties rock mode. Gone are the carefully-created symphonic keyboard passages, fairy-tale jingles and fantasy trimmings, in comes German lyrics and vocals (awkward and slightly ragged, yet somehow powerful, gritty, highly-aggressive, and very, very cool) edgy, metallic guitars and a whole heap of pent-up anger that gives some of 'Razzia's meatier number some real hair-on-the-back-of- the-neck power. The weaker, softer, and more synth-orientated material may be utterly un-progressive in it's inception, but those rock fans out there who appreciate a killer riff and don't mind the decade that fasion forgot, a.k.a. the 1980s(and not in that silly, retro, hip way that's seen everybody from the Yeah Yeah Yeahs to Franz Ferdinand and The Arctic Monkeys suddenly using synths of their new material) might well warm to late-period Grobschnitt. Obviously, their first five albums are the real crowns in the eclectic Grobschnitt crowd, yet, somehow, these later, more commercialy-orientated efforts - which was only released in central Europe, not in the UK or the USA - such as 'Razzia', eminate with a surprising power and inventiveness that belies their poor repuations amongst prog fans. Dated might be the term used to describe this brand of prog-tinged 80s hard-rock, but that doesn't stop it from being bloody good fun for those who can take it. Dodgy it may be, but for once, this reviewer doesn't really give a damn."

1 Der alte Freund 4:19
2 Schweine im Weltall 4:05
3 Poona-Express 5:25
4 Wir wollen leben 4:10
5 Wir wollen sterben 3:36
6 Remscheid 4:28
7 Razzia

(192 kbps, cover art included)

Montag, 16. März 2020

Ihre Kinder - Werdohl (1971)

Ihre Kinder is a German rock band which made five studio albums during the period 1969- 1972, and then some years later they recorded a live record 1982. Ihre Kinder means "Their Children".
"Werdohl" was the follow-up to the famous album "2375 004" ("Jeans-Cover"). Published later in the same year (1971) it showed a remarkable musical development. Song structures and instrumentation were more complex now with heavy influences from Jazz, blues, and even classical music. Winds, pianos, organs and several acoustic guitars are used. In most of the songs the lyrics tend more towards poetical than political expression ("Unterwegs", "Komm, wir fahr'n auf's Land").

Overall this album is versatile and entertaining but a little unsecure in musical style. Ihre Kinder started to suffer from the ongoing changing of band members. On "Werdohl". Co-founder Sonny Hennig only joins on two songs as "guest".

The main shortcomings are the somewhat murky singing and the sometimes immature words. While on "2375 004" the singing suited the melancholic and dark lyrics and the more folky music here on "Werdohl" it cannot bear the weight of the heavyily arranged and instrumented music.


A1 Babylon 2:58
A2 Rosa Rot 3:44
A3 Unterwegs / 8 Vor Zwei 5:23
A4 Worte 4:18
A5 Komm, Wir Fahr'n Auf's Land 3:48
B1 Werdohl 7:20
B2 Die Graue Stadt 3:39
B3 Kennst Du Den Mann 3:21
B4 Schlaf-Lied 3:38

Ihre Kinder - Werdohl (1971)
(320 kbps, cover art included)

Sonntag, 15. März 2020

Miriam Makeba - All About Miriam (1966)

Following a three-decade-long exile, Miriam Makeba's return to South Africa was celebrated as though a queen was restoring her monarchy. The response was fitting as Makeba remains the most important female vocalist to emerge out of South Africa. Hailed as the Empress of African Song and Mama Africa, Makeba helped bring African music to a global audience in the '60s. Nearly five decades after her debut with the Manhattan Brothers, she continues to play an important role in the growth of African music.

Makeba's life has consistently been marked by struggle. As the daughter of a sangoma, a mystical traditional healer of the Xhosa tribe, she spent six months of her birth year in jail with her mother. Gifted with a dynamic vocal tone, Makeba recorded her debut single, "Lakutshona Llange," as a member of the Manhattan Brothers in 1953. Although she left to form an all-female group named the Skylarks in 1958, she reunited with members of the Manhattan Brothers when she accepted the lead female role in a musical version of King Kong, which told the tragic tale of Black African boxer, Ezekiel "King Kong" Dlamani, in 1959. The same year, she began an 18-month tour of South Africa with Alf Herbert's musical extravaganza, African Jazz and Variety, and made an appearance in a documentary film, Come Back Africa. These successes led to invitations to perform in Europe and the United States.

Makeba was embraced by the African American community. "Pata Pata," Makeba's signature tune, was written by Dorothy Masuka and recorded in South Africa in 1956 before eventually becoming a major hit in the U.S. in 1967. In late 1959, she performed for four weeks at the Village Vanguard in New York. She later made a guest appearance during Harry Belafonte's groundbreaking concerts at Carnegie Hall. A double-album of the event, released in 1960, received a Grammy award. Makeba has continued to periodically renew her collaboration with Belafonte, releasing an album in 1972 titled Belafonte & Miriam Makeba. Makeba then made a special guest appearance at the Harry Belafonte Tribute at Madison Square Garden in 1997.

"All About Miriam" is the 1966 ninth studio album of Miriam Makeba (LP Mercury 134029). Arrangements for the album were by Luchi DeJesus and Sivuca (as Severino Dias De Olivera). Sivuca also played guitar. Harold Dodson played bass, and drummer was Leopoldo Flemming.


A1 The Ballad Of The Sad Young Men
A2 Yetentu Tizaleny
A3 Maria Fulo
A4 I Think I Ought To
A5 Click Song (Number 1)
A6 To Love And Lose
B1 Four-Letter Words
B2 U Shaka
B3 Mas Que Nada
B4 Mommy, Mommy What Is Heaven Like?
B5 Jol'inkomo
B6 The Sound Of A Drum

Miriam Makeba - All About Miriam (1966)
(320 kbps, cover art included)

Donnerstag, 12. März 2020

Crosby & Nash - Another Stoney Evening (1971)

Another Stoney Evening is a live Crosby & Nashalbum recorded at the Dorothy Chandler Pavilion in Los Angeles, California on October 10, 1971.

The Crosby-Nash subset of CSNY carried with it much of the charm and harmony of the larger group, and together and apart the two singers mined that appeal for several gold albums, especially in the first couple of years after the breakup of CSNY in 1970. They even inspired bootleggers, who released "Another Stoney Evening", drawn from one of their 1971 shows. Hence the title of this belated official release, drawn from a different show at the Dorothy Chandler Pavilion in Los Angeles on October 10. Working with acoustic guitars and piano, they sang some of their more popular CSNY songs ("Déjà Vu," "Teach Your Children"), as well as tunes from their solo albums and songs that would turn up on their duo album the following year. Boasting of having "the loosest show on earth" and making cryptic drug references, they nevertheless sang and played well, overcoming with enthusiasm and craft the relative weaknesses of some of the material -- Crosby's formlessness, Nash's preciousness. And the camaraderie they shared with each other and their audience even allowed them a certain imperiousness, such as when the drugged performers lectured the drugged audience on how to clap on the right beat.
  1. "Anticipatory Crowd" – 0:47
  2. "Déjà Vu" (Crosby) – 5:36
  3. "Wooden Ships" (Crosby, Paul Kantner, Stephen Stills) – 5:56
  4. "Man in the Mirror" (Nash) – 2:39
  5. "Orleans" (Crosby) – 2:23
  6. "I Used to Be a King" (Nash) – 4:55
  7. "Traction in the Rain" (Crosby) – 4:51
  8. "Lee Shore" (Crosby) – 4:49
  9. "Southbound Train" (Crosby, Nash) – 5:00
  10. "Laughing" (Crosby) – 4:59
  11. "Triad" (Crosby) – 6:19
  12. "Where Will I Be?" (Crosby) – 5:15
  13. "Strangers Room" (Nash) – 3:49
  14. "Immigration Man" (Nash) – 4:10
  15. "Guinevere" (Crosby) – 6:26
  16. "Teach Your Children" (Nash) – 4:22
  17. "Exit Sounds" – 1:12
(320 kbps, cover art included)

Lee Perry - Songs To Bring Back The Ark

Having abandoned the Jamaican tropics for the snowy peaks of Switzerland, the legendary reggae producer Lee Perry - aka Scratch, the Upsetter, the Super-Ape, Pipecock Jackson, Inspector Gadget, the Firmament Computer, and a cornucopia of other monikers and aliases - now makes his home in one of the quietest corners of Europe. It's an odd but somehow fitting environment for Perry - not because precision clocks and banks have much to do with the intense, spooky, and profoundly playful records he's known for, but because Lee Perry had always been something of a stranger in a strange land.

This is definitly not the Lee Perry album to start with for newbies, but an interesting collection of solo works and collaborations with the fabulous Mad Professor.


1 Two Mad Man In Dub
2 Blood Of The Dragon
3 Noah's Ark
4 Power To The Children
5 Stay Red
6 Bless The Weed
7 Recarnation
8 Power Dub
9 Thanks We Get
10 The Other Side Of Midnight
11 I Am I Said

Lee Perry - Songs To Bring Back The Ark
(192 kbps, cover art included)

Jalal - Mankind (On-U Sound, 1993)

Jalal Mansur Nuriddin, whose work in the spoken-word group the Last Poets helped earn him the title of the “Grandfather of Rap,” died on June, 4. He was 74. 

Nuriddin contributed to the Last Poets’ 1970 debut album as well as the follow-up, This Is Madness. These albums, which paired minimal, driving, percussive accompaniment with emphatic, relentlessly political spoken-word vocals, are widely regarded as crucial early examples of hip-hop.
In 1973, Nuriddin also demonstrated his lyrical dexterity as Lightnin’ Rod on the storytelling solo album Hustlers Convention. 

His musical path crossed that of Adrian Sherwood in the early 1990s. Mankind was originally released as a 10" disco plate via On-U Sound in 1993.


1 Mankind (Part 1) 5:33
2 Mankind (Part 2) 5:10
3 Shade Of The Light (Part 1&2) 6:19
4 Shade Of The Light (Part 3) 4:00
5 Transcendental Twins 8:53

Jalal - Mankind (On-U Sound, 1993)
(320 kbps, cover art included)

Caspar Brötzmann Massaker - Der Abend der Schwarzen Folklore (1992)

German guitarist Caspar Brotzmann's third release pulled in the reins a bit in terms of (semi) accessible hooks and propulsiveness in favor of a sparer, more desolate sound. There's often a sense of wandering through a bombed out landscape where every smell is acrid, every color harsh or burned. 

Brotzmann continued to eschew any guitar pyrotechnics, preferring a massed, grimy assault that seems too billowing and chaotic to be constrained by standard rock forms. Wisely, he allows extended lengths for the songs, giving himself the freedom to roam and ruminate at leisure. While there's a bit more vocalizing here than on the first album, it is largely mumbled (in both German and English) or hurled forth in a snarl. 

The other members of Massaker are entirely in sync with Brotzmann's approach. Lopez' thick, slurred bass and Lommen's heavy, resonant drums sound like natural appendages to the central conception. Perhaps less immediately gripping than its predecessor, "Der Abend der Schwarzen Folklore" was nonetheless a strong record and gave a hopeful sign that Brotzmann was not going to let himself fall into any "rock star" rut, no matter how tempting.


Schwarze Folklore 8:20
Bass Totem 11:58
Sarah 10:40
War Horse 8:58

Caspar Brötzmann Massaker - Der Abend der Schwarzen Folklore (1992)
(320 kbps, cover art included)

Harry Belafonte - Belafonte (1956)

An actor, humanitarian, and the acknowledged "King of Calypso," Harry Belafonte ranked among the most seminal performers of the postwar era. One of the most successful African-American pop stars in history, Belafonte's staggering talent, good looks, and masterful assimilation of folk, jazz, and worldbeat rhythms allowed him to achieve a level of mainstream eminence and crossover popularity virtually unparalleled in the days before the advent of the civil rights movement - a cultural uprising which he himself helped spearhead.                

Belafonte´s second album includes songs featured in the Broadway production of "Three for Tonight", which starred Belafonte along with Gower and Marge Champion. The collection again featured a variety of material, which would become a hallmark with his albums up until the mid-1960s. But now, for the first time, the power of Belafonte's interpretive skills become apparent, especially with songs culled from field recordings of chain gangs and southern prisons. "Jump Down, Spin Around" and "Sylvie" were both popularized by Leadbelly. The hammer song "Water Boy" and the spirituals "Take My Mother Home" and "Noah" are among the most powerful performances in Belafonte's career. Also included is Belafonte's second recording of one of his most requested songs, the calypso "Matilda." This version was far superior to his first effort, released only on a single in 1953. This album was swept along with the success of Belafonte's next release, the million-selling "Calypso", and was #1 on Billboard's album charts for six weeks, remaining on the charts for over a year.  

Harry Belafonte - Belafonte (1956)
(256 kbps, cover art included)

Mittwoch, 11. März 2020

Gary Clail / On-U Sound System ‎– The Emotional Hooligan

In 1987, Gary Clail emerged as a solo artist from the incredibly incestuous underground British funk/rap/reggae scene that also spawned Tackhead, Mark Stewart, Keith LeBlanc, Strange Parcels, and at least half of the On-U Sound artist stable. Not really a singer and not really a rapper, Clail got his start working the mixing board at Tackhead shows, during which he would chime in with weird political pronouncements from time to time.

His solo work gives a fair idea of what that must have sounded like. Over instrumental backdrops that alternate between reggae (courtesy of Dub Syndicate) and funk (courtesy of various members of Tackhead), Clail intones stentorian pronouncements on such topics as social justice ("Food Clothes and Shelter"), domestic abuse ("The Emotional Hooligan") and vegetarianism ("Beef"). While his arguments aren't always completely coherent ("When ignorance fails/Violence prevails," etc.), there's something so essentially good-natured about his delivery that you can't help but like him. 

And then there's the music itself, which, coming as it does from Dub Syndicate and Tackhead, kicks major butt.


1 Food, Clothes And Shelter 4:18
2 Pt. 2 Monk Track 5:11
3 Escape 4:20
4 The Emotional Hooligan 3:43
5 Magic Penny 2:49
6 Human Nature (On The Mix) (12" Version) 6:15
7 Crocodile Eyes 4:25
8 Rumours 4:40
9 Beef (The Future Mix) (12" Version) 5:30
10 Temptation (Parts 1 & 2) 9:58
11 False Leader (Parts 1 & 2) 8:42

(ca. 226 kbps, cover art included)

Harry Belafonte - In My Quiet Room

In My Quiet Room is an album by Harry Belafonte, released by RCA Victor (LPM-3571 and LSP-3571) in 1966. The orchestra was conducted by Howard A. Roberts and arranged by Hugo Montenegro, with musical coordination by Bill Eaton.

From the liner notes: "This album of moving ballads by Belafonte is further evidence of his ever-increasing ability to make a musical mood live for all those who hear it. His sensitive interpretation of a song's meaning and his faultless feeling for the music are testimony to the term artist."

From "Probably the lushest album Harry Belafonte ever made, this record offered further proof to record store owners that HB should be moved from the folk section to easy listening."

"Quiet Room" (Fred Hellerman, Fran Minkoff) – 4:38
"Portrait of a Sunday Afternoon" (Hellerman, Minkoff) – 3:15
"Raindrops" (Mike Settle) – 2:33
"Our Time for Loving" (Hellerman, Minkoff) – 5:11
"The Honey Wind Blows" (Hellerman, Minkoff) – 3:40
"The Girls in their Summer Dresses" (Jim Friedman) – 3:45
"Long About Now" (Hellerman, Minkoff) – 4:24
"I'm Just a Country Boy" (Fred Brooks, Marshall Barer) – 3:43
"Summertime Love" (Frank Loesser) – 3:45
"Try to Remember" (Tom Jones, Harvey Schmidt) – 4:04

Harry Belafonte - In My Quiet Room
(192 kbps, cover art included)

Across The Border ‎– Crusty Folk Music For Smelly People (1996)

Since 1993 this group from Karlsruhe, Germany has been responsible for creating stormy, politically charged, folk -infused punk rock. With lyrical topics ranging from extolling the virtues of marijuana to denouncing political establishments to pro-homosexual views, Across the Border is not your ordinary happy-go-lucky fiddle and squeezebox rock band. 

Anarchistic sums up their philosophy quite accurately. Similar to the modus operandi of Black 47 in depicting the storied Irish-American experience in 19th and 20th century U.S. is Across the Border's approach in voicing their complaints and concerns about perceived injustices in modern-day Germany. That is, in your face diatribes performed with a smirk coupled with their rambunctious yet appealing delivery. Instrumentally they are exceptional, particularly the rhythm section of Stefan and Fezzo and the fiddler who is simply known as David. The two areas most in need of improvement are lead vocals and lyric writing; Singer Jochen's ("Jake") voice is simply too passive for the roll while the text frequently suffers at the hands of simplicity.


1 Sparrows 3:55
2 Patriotic Pack 4:14
3 The Fool And The Bird 5:45
4 Children Of The Valley 4:53
5 Last Crusade 4:54
6 Pilgrims 4:36
7 When Two Men Kiss 2:31
8 My Rose 5:54
9 Faraway 2:05
10 There And Everywhere 4:32
11 20th Of July 4:48
12 Mara 4:01
13 Wrong Arm Of The Law 4:53
14 Sparrows (Reprise) 1:33

(224 kbps, cover art included)

Gary Clail / On-U Sound System - Dreamstealers (1993)

Gary Clail (born 1959) is an English singer and record producer, and the founder of the Gary Clail Sound System. He was part of On-U Sound Records (and also the On-U Sound System) and led Gary Clail's Tackhead Sound System. They had a big hit in clubs with the 1991 song "Human Nature".

While Gary's time under the wing of BMG / Perfecto probably brought him his biggest commercial successes, helped in no small part by the remixing talents of Paul Oakenfold and Steve Osborne in giving some of his tunes more dancefloor friendly edges, the partnership was to be short lived. While BMG's first "Emotional Hooligan" (ON-U LP 55) album in 1991 sold well, a combination of Clail's unrealistic belief that he was now a fully-fledged pop star, coupled with a lack of new musicial direction and particularly his record companies increasing dis-interest in promoting him saw an acrimonious parting in 1993. In particular the almost complete lack of promotion of the following "Dreamstealers" (ON-U LP 70) album left a bitter taste of major label dealings in both Clail's and Sherwood's mouthes.


No Comfort In The City 4:53
These Things Are Worth Fighting For (Perfecto Mix) 5:50
Dreamstealers 5:08
Who Pays The Piper (Perfecto Mix) 7:18
Speak No Evil 3:31
Buzzword 4:02
Decadance 5:07
Isolation 3:45
Autobiography 3:41
Trouble 4:28
Behind Every Fortune 4:15
Free Again 4:42
Speak No Evil (Don't Rock The Boat Mix) 5:21
These Things Are Worth Fighting For (Original Mix) 3:43

Gary Clail / On-U Sound System - Dreamstealers (1993)
(320 kbps, cover art included)