Samstag, 23. März 2019

Paul Dessau - Orchesterwerke - Works For Orchestra (P. Dessau, H. Kegel, G. Herbig)

"This disc of orchestral works does in many ways display the more than slight tension between Dessau's commitment to social realism and his avant-garde inclinations - a tension between conformity and defiance to the highly politicized art of Eastern Germany (conformity through the choice of themes, defiance in terms of musical voice); "Meer der Stürme", for instance, strongly suggests that Dessau sought an excuse in purported pictorialism for deploying radical compositional techniques.

Keeping the biographical and political background in mind certainly helps in appreciating the four orchestral works on this disc. Im Memoriam Bertold Brecht was written in 1956-57 and uses themes from their previous collaborations. The outer movements contain grief-laden funeral music based on a minor second played as a descending motif. The middle movement, on the other hand - with the subtitle "War shall be damned" is a cantus firmus stridently asserted by the brass gradually choked by almost scarily calculated contrapuntal patterns. It is overall an interesting and emotionally striking work.

The Bach-variations was the most performed orchestral work by the composer in his lifetime, built on a respectful but casual treatment of themes by CPE and JS Bach incorporating the often-used B-A-C-H theme intervowen with the musical letters of Arnold Schönberg's name (A-D-E flat-C-B-B flat-E-G). While immediately appealing on the surface, the work is also contrapuntally ingenious fascinatingly combining and recombining various themes and figures. Two of the variations were also, in fact, not composed by Dessau, but by Goldmann (no. 7) and Wagner-Régeny (no.9). It is probably the most immediately attractive work on the disc, and if not quite a masterpiece at least quite enjoyable and fascinatingly rich.

The last two works are in many ways more difficult nuts to crack. The Meer der Stürme is a hugely dramatic work inspired by the landing of the second Russian moon probe and the 50 years anniversary of the revolution; it is a cataclysmic sounding work incorporating and heavily transforming the revolutionary work `Warszawianka', culminating in a high E maintained by 30 violins in an intensive crescendo. The Orchestral Music no. 4 is perhaps a little more traditional, a solemn work based on a Bach theme and, in some sense, seeming to try to underline the importance of Bach to the modern world while at the same time transforming those influences into a thoroughly contemporary statement.

The first two works are conducted by the composer himself; the Meer der Stürme by the Leipzig Radio Symphony Orchestra under Herbert Kegel and the Orchestral Music no. 4 by the Berlin Staatskapelle under Günther Herbig. All performances are good, although sometimes a little rough, and the sound quality is decent if not exactly spacious and brilliant (it might be interesting to hear the Meer der Stürme in a modern, more dynamic recording). All in all, this is a rewarding and rather fascinating disc, well worth your acquaintance."
- G.D @


01. Gewandhausorchester Leipzig - Paul Dessau / In memoriam Bertolt Brecht: I. Lamento [0:03:21.67]
02. Gewandhausorchester Leipzig - Paul Dessau / II. Marcia [0:07:14.58]
03. Gewandhausorchester Leipzig - Paul Dessau / III. Epitaph [0:03:16.17]
04. Gewandhausorchester Leipzig - Paul Dessau / Bach-Variationen: I. Einleitung [0:02:38.63]
05. Gewandhausorchester Leipzig - Paul Dessau / II. Thema [0:01:12.57]
06. Gewandhausorchester Leipzig - Paul Dessau / III. Veränderung 1 [0:01:06.35]
07. Gewandhausorchester Leipzig - Paul Dessau / IV. Veränderung 2 [0:01:23.03]
08. Gewandhausorchester Leipzig - Paul Dessau / V. Veränderung 3 [0:00:52.20]
09. Gewandhausorchester Leipzig - Paul Dessau / VI. Veränderung 4 [0:02:25.07]
10. Gewandhausorchester Leipzig - Paul Dessau / VII. Veränderung 5 [0:01:36.23]
11. Gewandhausorchester Leipzig - Paul Dessau / VIII. Veränderung 6 [0:01:33.07]
12. Gewandhausorchester Leipzig - Paul Dessau / IX. Veränderung 7 [0:01:35.55]
13. Gewandhausorchester Leipzig - Paul Dessau / X. Veränderung 8 [0:01:18.20]
14. Gewandhausorchester Leipzig - Paul Dessau / XI. Veränderung 9 [0:01:40.15]
15. Gewandhausorchester Leipzig - Paul Dessau / XII. Veränderung 10 [0:01:22.45]
16. Gewandhausorchester Leipzig - Paul Dessau / XIII. Veränderung 11 [0:01:06.10]
17. Rundfunk-Sinfonie Orchester Leipzig - Herbert Kegel / Meer der Stürme (Orchestermusik Nr. 2) [0:14:46.63]
18. Staatskapelle Berlin - Gunther Herbig / Orchestermusik Nr. 4 [0:16:36.17]

Paul Dessau - Orchesterwerke - Works For Orchestra (P. Dessau, H. Kegel, G. Herbig)
(320 kbps, cover art included)

The Slits - Man Next Door (Single, 1980)

Along with the Raincoats and Liliput, the Slits are one of the most significant female punk rock bands of the late '70s.

"Man Next Door" (also known as Quiet Place or I've Got to Get Away) is a song based on Paul Witt's 1964 American hit 'A Quiet Place' and originally recorded by John Holt with his group The Paragons in 1968.

The Paragons version was produced by Duke Reid and first released on his Duke label as the B-side of "Left with a Broken Heart".

The song has been covered by numerous other reggae artists including Dennis Brown, UB40 and Horace Andy who also sang in a more electronic version of the song for the Massive Attack album "Mezzanine", with a sample of the drum riff from Led Zeppelin's cover of "When the Levee Breaks".

The song was released as a single by The Slits in 1980, when it reached number 5 on the UK Indie Chart, staying on the chart for 13 weeks.


1 - Man Next Door
2 - Man Next Door (Version)

The Slits - Man Next Door (Single, 1980)
(ca. 220 kbps, cover art included)

Sister Carol - Liberation For Africa (vinyl rip, 1983)

One of the dancehall era's few successful female DJs, Sister Carol was something like reggae's answer to Queen Latifah: a strong, positive feminist voice who was inspired by her faith and never resorted to sexual posturing to win an audience. Leaning heavily on socially conscious material, Sister Carol delivered uplifting and cautionary messages drawn from her Rastafarian principles, while always urging respect for women.

She was more of a singjay than a full-time toaster, capable of melodic vocals as well as solid rhymes. Never quite a commercial powerhouse, she nonetheless enjoyed a lengthy career and general critical approval.

Sister Carol was born Carol East in Kingston, Jamaica, in 1959, and grew up in the city's Denham Town ghetto. Her father worked in the music industry as a radio engineer, and in 1973, he moved the family to Brooklyn in search of work. Carol got involved in New York's thriving Jamaican music scene, and tried her hand at singing; however, music wasn't a career prospect yet, as Carol earned a degree in education from CCNY and gave birth to the first of four children in 1981. Not long before the latter event, she met Jamaican DJ Brigadier Jerry, who inspired her to try her hand at dancehall-style DJ chatting rather than singing. She developed rapidly under Jerry's mentorship, winning talent competitions in both New York and Jamaica, and toured as an opening act for the Meditations. Her first album, "Liberation for Africa", was released in limited quantities on a small label the following year. Recorded for the Jah Life label, 1984's "Black Cinderella" was the album that established Sister Carol in the international reggae community, featuring the title track (her signature song) and "Oh Jah (Mi Ready)."

Carol subsequently formed her own Black Cinderella label, which gave her an immediate outlet for single releases in the years to come. Most notably, she cut a cover of Bob Marley´s "Screwface" in tandem with onetime I-Three Judy Mowatt, who issued the single on her own Ashandan label. It took Carol several years to come up with another LP, however, as she briefly turned to an acting career; she earned supporting roles in two Jonathan Demme comedies, 1986's "Something Wild" (which included her soundtrack cut "Wild Thing") and 1988's "Married to the Mob".

Sister Carol -Liberation For Africa (1983)
(160 kbps, front cover included)

Freitag, 22. März 2019

Flappers, Vamps, and Sweet Young Things (1990)

Valuable as an index of theatrically inclined or jazz-addled female pop vocalists, this rosy little compilation mingles famous and relatively obscure singers in a sequence of pleasantly old-fashioned performances recorded from 1924 to 1931. Jane Green, Helen Kane, Annette Hanshaw, the Brox Sisters, Ruth Etting, Zelma O'Neal, and Esther Walker come across as fetching, zippy, and cute. Marion Harris, Blossom Seeley, Sophie Tucker, and Margaret Young represent a closer affiliation with vaudeville and real jazz. Libby Holman, Kate Smith, Mildred Hunt, Aileen Stanley, Lee Morse, and Greta Keller resort to the tried and true formula of sounding sentimental and blue, whereas Gertrude Lawrence, Lillian Roth, and Helen Morgan use the conventionally sugary and romantic approach.
The fine art of gender-bending is represented here with lesbian overtones by Ruth Etting, who declines an opportunity to alter the lyrics to Irving Berlin's "It All Belongs to Me," and even more outrageously by the Brox Sisters with their enthusiastically campy rendition of "Red Hot Mama." An intriguing time capsule, this album is both entertaining and historically informative.

This compilation is a tribute to the irresistible women of the Twenties, be they flappers, vamps or sweet young things. The 20 delightful examples range from the "Boop-boop-a-doop" girl Helen Kane to "red-hot mama" Sophie Tucker, from torch singer Libby Holman to the ultimate musical star, Gertrude Lawrence. How can anyone NOT love this sort of historical music?

Donnerstag, 21. März 2019

Stahlnetz - Wir sind glücklich (1982)

Why this synth and drums duo didn't make much of an impact is anybody's guess. With unabashedly catchy melodies, clever arrangements, witty lyrics plus a dose of quirky artiness you should think that they would have appealed both to the underground crowd and the masses. Instead they didn't find success with either audience: although the single "Vor all den Jahren" was a minor hit in 1982, their album bombed and Stahlnetz disbanded.

Today, "Wir sind glücklich" is one of the rarest and most sought after German new wave records. (Which is actually pretty strange, considering that it was released on the major label Arista, you'd think there must be quite a few copies floating around.) Anyway, what you get here is beautiful, clean-sounding, metronomic synth-pop that blends the Kraftwerkian influence that goes with the genre (those post-Romantic triads!) with a sort of stripped-down, Teutonic take on Human League/Heaven 17-style pop and ironic references to German cabaret songs and Schlagermusik of the thirties and forties. Oh yeah, and Conny Plank produced.

Stahlnetz - Wir sind glücklich (1982)
(320 kbps, cover art included)

Crosby, Stills, Nash & Young - Studio Archives (1969)

This is a very nice little bootleg, which spans the period between the release of CSN's debut album together, and "Deja Vu", the first CSN&Y album. The songs are taken from a few sources, including Stephen Stills home studio and the Wally Heider's Studio. Many unreleased songs, a couple of cover versions (many takes of the Beatles one), and more vasic, stripped down versions of released tracks. Enjoy!

Highlights include beautiful alternate recordings of “Triad”, “The Lee Shore” and “Almost Cut My Hair”, four gorgeous in-studio takes of “Blackbird”, some hysterical in-studio dialogue, and a lovely renditionof the Fred Neil track “Everybody’s Talkin’” which Harry Nilsson made popular on the “Midnight Cowboy” soundtrack.



1. Everybody's Talkin' (Fred Neil cover)
2. How Have You Been (John Sebastian cover)
3. Black Queen Riff / Dialogue
4. Triad (acoustic studio take)
5. Almost Cut My Hair (acoustic studio take)
6. Every Day We Live (Stephen Stills unreleased song)
7. Sea of Madness (Studio Take)
8. The Lee Shore (different vocal take)
9. Everybody I Love You (unedited basic track)
10. I'll Be There (Stephen Stills unreleased song)
11. Blackbird (Beatles cover, Takes 1-4)
12. Ivory Tower (Stills' unreleased song)
13. 30 Dollar Fine (Stills' unreleased song
14. Everybody's Been Burned (Nash version)
15. You're Wrong, Baby (Nash's unreleased song)
16. Everybody's Alone (Young's unreleased song)

Crosby, Stills, Nash & Young - Studio Archives (1969)
(192 kbps, cover art included)

Mulatu Astatke - Mulatu of Ethiopia (1972, vinyl rip)

Mulatu Astatke (surname also spelled Astatqé) is an Ethiopian musician and arranger. He is known as the father of Ethio-jazz.

Born in 1943 in the western Ethiopian city of Jimma, Mulatu was musically trained in London, New York City, and Boston, where he was the first African student at Berklee College of Music. He would later combine his jazz and Latin music influences with traditional Ethiopian music.

"Mulatu of Ethiopia" was released in 1972 on Worthy Records. Mulatu Astatke does some pretty amazing work on this album with it's unique "Roy Ayers meets Sun Ra with a hot dose of African funk" sound.


A1 Mulatu 5:00
A2 Mascaram Setaba 2:40
A3 Dewel 4:00
B1 Kulunmanqueleshi 2:05
B2 Kasalefkut-Hulu 2:25
B3 Munaye 3:15
B4 Chifara 7:00

Mulatu Astatke - Mulatu of Ethiopia (1972, vinyl rip)
(192 kbps, cover art included)

Male - Clever & Smart (7´´, 1979)

The german punk band Male was found in December, 1976 in Düsseldorf by Jürgen Engler, Bernward Malaka and Stefan Schwaab.

Male was one of the first punk rock bands with german lyrics and a prototype of the arising "Neue Deutsche Welle".

Here´s their single "Clever & Smart", recorded in 1979 at Rondo studio in Düsseldorf.

Male - Clever & Smart (1979)
(192 kbps, complete cover art included)

Mittwoch, 20. März 2019

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)

Donny Hathaway - Live (1972)

Donny Hathaway was one of the brightest new voices in soul music at the dawn of the '70s, possessed of a smooth, gospel-inflected romantic croon that was also at home on fiery protest material. Hathaway achieved his greatest commercial success as Roberta Flack's duet partner of choice, but sadly he's equally remembered for the tragic circumstances of his death — an apparent suicide at age 33.

His 1972 "Live" album is one of the most glorious of his career, an uncomplicated, energetic set with a heavy focus on audience response as well as the potent jazz chops of his group.

The results of shows recorded at the Troubadour in Hollywood and the Bitter End in New York, the record begins with Hathaway's version of the instant soul classic "What's Going On," Marvin Gaye's original not even a year old when Hathaway recorded this version. His own classic "The Ghetto" follows in short order, but stretches out past ten minutes with revelatory solos from Hathaway on electric piano. "Voices Inside (Everything Is Everything)" is another epic (14-minute) jam, with plenty of room for solos and some of the most sizzling bass work ever heard on record by Willie Weeks.

Any new Donny Hathaway record worth its salt also has to include a radical cover, and "Live" obliges nicely with his deft, loping version of John Lennon's "Jealous Guy."

The audience is as much a participant as the band here, immediately taking over with staccato handclaps to introduce "The Ghetto" and basically taking over the chorus on "You've Got a Friend." They also contribute some of the most frenzied screaming heard in response to any Chicago soul singer of the time (excepting only Jackie Wilson and Gene Chandler, of course). Hardly the obligatory live workout of most early-'70s concert LPs, "Live" solidified Hathaway's importance at the forefront of soul music.

Donny Hathaway - Live (1972)
(ca. 200 kbps, cover art included)

No link.

Calypso War - Black Music In Britain 1956-1958

Calypso was considered the people's newspaper in Trinidad, and these mid-'50s recordings chronicle the adaptation of Caribbean immigrants to the U.K. during the mid- to late '50s.
The excellent liner notes provide much detailed information on artists and the social context, the last batch of songs before Jamaican sounds took over and the next generation went dreadlocks Rasta in the '70s.

Homesickness is part of that equation, and a fair number of these tracks are remakes of older calypsos popular in Trinidad. "Not Me" is thinly veiled rewrite of "Man Smart, Woman Smarter," (the melody recalls a revved-up take on "Meet Da Boys on De Battlefront" by the Wild Tchoupitoulas) given a jivey reading by the dismissible, exaggerated crooner Ben Bowers — luckily he only has three tracks.

The Mighty Terror tightropes along the dodgy divide of sexism and machismo — the stay-home-and-mind-the-baby-while-I-go-off-in-the-world theme of "Brownskin Gal" is pretty irredeemable, but "Woman Police in England" is funny as hell in its own way. It's pretty revealing of cultural differences in attitude, and so is "Patricia Gone With Millicent," where Terror gets abandoned for another woman but seems more puzzled than vindictive about it. Terror is a strong singer who cuts through crisp, clean arrangements built around jazz guitar and bongos.

The "Heading North" commentary on racism (South African apartheid and U.S. civil rights heating up are the focus) sound naïve in retrospect, not the least for ignoring the U.K. But "T.V. Calypso" is a great social snapshot of the moment television became a fixture in modern life, s well as a source of status and family pressure. Lord Invader wrote "Rum and Coca Cola," and was fresh from a victorious, ten-year battle for royalties from the songs when he began recording in Britain. His calypsos are gently mellow, featuring flute and bongos, and at first seem confined to lightweight themes like "Prince Rainier" (the famous wedding to actress Grace Kelly) or "Mahalia, I Want Back My Dollar." "My Experience on the Rieperbahn" is a hilarious cultural collision as our innocent Invader gets confused by a transvestite encounter in Hamburg's red-light district. But "I'm Going Back to Africa" is a surprisingly pointed repatriation song with jazzy guitar and bongos, and Invader sounds genuinely angry singing "Teddy Boy Calypso," updating his own 1945 calypso to 1958 U.K. street violence.

It's Lord Ivanhoe who delves most often into hard social commentary here. "Africa Here I Come" is a pointed statement of pan-African consciousness (the end of the European colonial era in Africa looming on the horizon in the late '50s), while "New York Subway" is a deceptively mild-mannered critique about getting lost and cabdriver racism. "Lift the Iron Curtain" is a sincere plea with a sly dig at Britain ("I think the Russians are selfish/In a way, they are like the British/For no man can get inside/To see what Moscow has got to hide") and a chorus referencing Khrushchev and satellites.

It's an interesting, if not essential, collection, and valuable for documenting the last round of U.K. calypso creators before Jamaican sounds took over in the Caribbean community there.

(192 kbps, front & back cover included)

VA - I Wish I´d Written That Song -A Tribute To Colin Wilkie (Pläne)

The folk revival of the 1960s came to Germany through the playing of British-born singer/songwriter Colin Wilkie and his guitarist/vocalist wife Shirley Hart.

The composer of hundreds of songs and stories, Wilkie, spent 11 years as resident songwriter for SWF show Tellekolleg and seven years as host of his own weekly radio show. He passed on his unique fingerstyle approach to the guitar to influential German songwriter Franz Josef Degenhardt.

Wilkie's songs, which reflect on family, friends, and political and ecological themes, offer only a hint of his warm, intimate stage persona. Wilkie has recorded at a prolific rate. His more than 30 albums include 1970's "Sunflower Seed" (recorded with Hart, bassist Eberhard Weber, and pianist Milcho Leviev), 1972's "Morning" and 1974's "Outside the City" (reissued together as a compilation by the Pläne label in 2006), 1980's "Echoes of Old Love Songs", and 1996's "Empty Chairs".

Wilkie and Hart´s first album, released in 1965, was recorded with Scottish folksinger Alex Campbell. Musical theater has provided another outlet for Wilkie and Hart's talents. Their appearance as street singers in a production of John Arden's Life and Death at the Württemberg National Theater in Stuttgart helped to make the show so successful that it ran for several years. Wilkie's songs have been covered by a lengthy list of artists including the McCalmans, Werner Lämmerhirt, and Peter Ratzenbeck. An album of Wilkie's tunes interpreted by German singer/songwriters Hannes Wader, Lämmerhirt, and Degenhardt, "I Wish I'd Written That Song: A Tribute to Colin Wilkie", was released in 1996.


01 Manche Stadt - Hannes Wader (4:47)
02 The Incredible Bouncing Benny - Bill Ramsey (3:11)
03 Willow and Rue - Anne Wylie Band (6:34)
04 Snowy City Scenery - Ray Austin (3:50)
05 Saute Sans Regarder - Le Clou (3:24)
06 Emily-Anne - Reinhard May (5:38)
07 Down in Your Mines - Tony Ireland (4:01)
08 Weisser Sonntag - Franz Josef Degenhardt (4:11)
09 Jim Laker Took All Ten  - Julian Dawson (2:45)
10 Even Oak-Trees Fall - Joana (3:41)
11 Wüsste ich nur wie - Liederjan (3:17)
12 The National Seven - Hartmut Hoffmann´s Kleine Kapelle (5:11)
13 No Words - Werner Lämmerhirt (6:07)
14 First Flight Calypso - Yannick Monot (3:06)
15 Eppelein Van Gailingen - Shirley Hart (3:46)
16 One More City - Colin Wilkie & Peter Ratzenbeck (3:40)

VA - I Wish I´d Written That Song - A Tribute To Colin Wilkie
(192 kbps, front cover included)

VA - Folk Friends 2

This is the second part of the legendary "Folk Friends" recordings. This album documents a historical meeting of some of the best and most influential folk artists from England, Ireland Scotland, Germany and the USA.

All are playing solo and in various combinatins together. The album is not a usual sampler, but a unique session recording with Derroll Adams, Davey Arthur, Alex Campbell, Guy & Candie Carawan, Ramblin' Jack Elliott, John Faulkner, Finbar Furey, Dick Gaughan, Andy Irvine, Wizz Jones, Dolores Keane, Werner Lämmerhirt, Danny Thompson and Hannes Wader.

 The "Folk Friends" session was recorded between 16. - 28. October 1980 at Windmill "Fortuna"/Struckum and Tonstudio St. Blasien/Northeim by Günter Pauler.


1 Two Hundred Miles Away 4:03
2 The World Turned Upside Down 2:35
3 Seamen Three 3:21
4 Columbus Georgia 4:19
5 Born To Live With The Blues 4:01
6 The Father's Song 3:41
7 Yesterday's People 2:35
8 Take The Children And Run 3:17
9 Thousands Are Sailing To Amerikay 4:27
10 Es ist ein Schnee gefallen 2:46
11 Don't Think Twice It's All Right 3:40
12 Voices From The Mountains 1:48
13 Bloody Sunday 4:28
14 Siege Of A Nation 4:04
15 Lassie Lie Near Me 4:37
16 Me And Bobby McGee 3:00
17 The John MacLean March 4:10
18 Jamie Foyers 3:42
19 Green Grows The Laurel 3:23
20 The Waterford Waltz 2:53
21 Planet Without Plan 3:10

VA - Folk Friends 2
(256 kbps, front cover inlcuded)

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)

Television Personalities - Where´s Bill Grundy Now? (1978)

Television Personalities is an English post-punk group with a varying line up. The only constant member is singer/songwriter Dan Treacy.
The Television Personalities enjoyed one of the new wave era's longest, most erratic, and most far-reaching careers. Over the course of a musical evolution that led them from wide-eyed shambling pop to the outer reaches of psychedelia and back, they directly influenced virtually every major pop uprising of the period, with artists as diverse as feedback virtuosos the Jesus and Mary Chain, twee pop titans the Pastels, and lo-fi kingpins Pavement readily acknowledging the Television Personalities' inspiration.

The debut recording from Television Personalities bore their defining anthem, "Part-Time Punks," which they unleashed on an unsuspecting world in 1978, a single which remains as vital to the history of U.K. punk as the Buzzcocks' debut single, "Spiral Scratch."

"Where's Bill Grundy Now?" is a hilarious pop tune which exemplifies their Beatles/Kinks-esque sound. "Happy Families" and "Posing at the Roundhouse" comprise the B-side of this single, which could be considered to be the birth of the lo-fi movement without a qualm.

The single was reissued a year later by Rough Trade and again in 1992 on Overground. According to punk rock legend, the single was recorded on a studio budget of a little over 20 pounds. Essential and seminal to the indie rock, post-punk, and lo-fi movements of the following two decades.


A1 Part-Time Punks
A2 Where's Bill Grundy Now?
B1 Happy Families
B2 Posing At The Roundhouse
(320 kbps, cover art included)

Dienstag, 19. März 2019

Aparcoa - Chile (1975, Amiga, vinyl rip)

Aparcoa was a Chilean folk band founded in 1966.
Members were Julio Alegría, Felipe Canales, Miguel Córdova, Jaime Miqueles, Leonardo Parma, Rodrigo Zorrilla, Hugo Pirovic, Marcelo Fortín, Juan Carvajal, Juan Palomo.

The album "Chile" with political songs was released in 1975 on Amiga records.

01 - Chile
02 - Grandola, Vila Morena
03 - Los Jilgueros
04 - Alla Lejos Y Hace Tiempo
05 - El Banderon Americano
06 - Cuecas
07 - Los Machetes
08 - Mis Llamitas
09 - Plegaria Del Labrador
10 - Guitarra Enlunarada
11 - Las Ultimas Palabras

Aparcoa - Chile (Amiga, 1975)
(32o kbps, cover art included)

Montag, 18. März 2019

Hanns Stein & Cirilo Vila - Eisler Brecht Canciones (1971)

This is an album with classical songs by Hanns Eisler and Bertolt Brecht interpreted by the tenor Hanns Stein accompanied by Cirilo Vila on piano. It was released in 1971 on the label "Monofonico" in Santiago, Chile.
Hanns Stein was born in 1926 in Prague and exiled to Chile at the age of 12.
Cirilo Vila was born in Santiago, Chile, in 1937. He was the teacher of most Chilean art music composers from the 1970s to the 1990s.
Hanns Stein & Cirilo Vila - Eisler Brecht Canciones (1971)
(192 kbps, front & back cover included)

Franz Josef Degenhardt - Diesmal werd´ich nicht mit ihnen zieh´n - Friedenslieder (1987, vinyl rip)

Jenny Bauer told us in her wonderful Staff Benda Bilili concert review two days ago about her scepticism when listening to "Volksmusik". Here´s an artist who always cared for the traces of a democratic and critical tradtion in europan "Volksmusik".

Franz-Josef Degenhardt (born 3 December 1931 in Schwelm, Westphalia) is a German poet, satirist, novelist, and – first and foremost – folksinger/songwriter (Liedermacher) with decidedly left-wing politics. He is also a lawyer, bearing the academic degree of Doctor of Law.

After studying law from 1952 to 1956 in Cologne and Freiburg, he passed the first German state bar examination in 1956 and the second in 1960. From 1961 he worked for the Institute for European Law of the University at Saarbrücken, where he obtained his doctorate in 1966. Degenhardt joined the Social Democratic Party of Germany in 1961, but was forced out in 1971 because of his support for the German Communist Party.

From the early 1960s onward, in addition to practicing law, Degenhardt was also performing and releasing recordings. He is perhaps most famous for his song (and the album of the same name) Spiel nicht mit den Schmuddelkindern ("Don't Play With the Grubby Children," 1965), but has released close to 50 albums, starting with Zwischen Null Uhr Null und Mitternacht ("Between 00:00 and Midnight," 1963), renamed Rumpelstilzchen ("Rumpelstiltskin"); his most recent albums Krieg gegen den Krieg ("War against the War") and Dämmerung ("twilight") came out in 2003 and 2006. In 1968 Degenhardt was involved in trials of members of the German student movement, principally defending social democrats and communists. At the same time, he was – in his capacity as a singer-songwriter – one of the major voices of the 1968 student movement. On his 1977 album Wildledermantelmann he criticized many of his former comrades from that era for what he saw as their betrayal of socialist ideals and shift towards a social-liberal orientation. The album's title (roughly, "man with velour coat") mocks the style of clothing they had supposedly adopted.

Notably, the songs on Degenhardt's 1986 album Junge Paare Auf Den Bänken ("Young Couples on the Benches"), along with the song Vorsicht Gorilla ("Beware of Gorilla") on the 1985 album of the same name, are his translations into German of chansons by the French singer-songwriter Georges Brassens, spiritually perhaps one of his closest musical allies.

Degenhardt has also written several novels, most in a rather autobiographical vein, among others: "Zündschnüre" ("Slow Matches", 1972), "Brandstellen" ("Scenes of Fires", 1974), "Der Liedermacher" (1982) and "Für ewig und drei Tage" ("For Ever and Three Days", 1999).
Here´s an album released in 1987 called "Diesmal werd´ ich nicht mit ihnen zieh´n - Friedenslieder".

01 - Diesmal werde ich nicht mit ihnen ziehen
02 - Ja, das ist die Sprache der Mörder
03 - Wolgograd
04 - In den guten alten Zeiten
05 - Zündschnüresong
06 - Dies Land ist unser Land
07 - Denkbar ist aber immer noch
08 - Der anachronistische Zug oder Freiheit, die sie meinen
09 - Befragung eines Kriegsdienstverweigerers

Franz Josef Degenhardt - Diesmal werd´ich nicht mit ihnen zieh´n - Friedenslieder (vinyl rip, 1987)
(256 kbps, cover art included)

Sonntag, 17. März 2019

Os Mutantes - A Divina Comedia Ou Ando Meio Desligado (1970)

Though rarely heard outside their Brazilian homeland (especially during the first phase of their career), Os Mutantes were one of the most dynamic, talented, radical bands of the psychedelic era — quite an accomplishment during a period in which most rock bands spent quality time exploring the outer limits of pop music. A trio of brash musical experimentalists, the group fiddled with distortion, feedback, musique concrète, and studio tricks of all kinds to create a lighthearted, playful version of extreme Brazilian pop.

Three Brazilian teenagers start a garage band. They know nothing of music theory, have no equipment (they built their own guitar pedals and used tin cans as cymbals), but lots and lots of cannabis.

Though the existence of Os Mutantes is in itself unremarkable, what is mind-blowing is the top-notch quality of the music. These three teens, Rita Lee (vocals), Sergio Baptista (guitar), and Arnaldo Baptista (drums), while attempting to mimic their heroes in the states, were able to surpass them.

This was due to their inability to adequately imitate (due to their geographic isolation), and the band's unfettered creativity. For these reasons, their meld of otherworldly guitar noise, crisp harmonies, and propulsive drumming found no equal among American counterparts like the 13th Floor Elevators and the Electric Prunes. While these bands just picked up where Sgt. Pepper's left off, Os Mutantes made music that had no point of reference until almost 30 years later.

This album is one of their best, and it showcases the band's ability to morph genres into their own warped originality. The opener "Ando Meio Desligado" beats American psychedelic rock at its own game, combining a great hook with untamed guitar theatrics and sound effects. On "Meu Refrigerador Neo Funciona," Rita Lee does Janis Joplin while Sergio overdubs his patented weirdness. "Desculpe, Baby" is a deceptively simple but intricate ballad, while "Hey Boy" turns doo wop on its head, contorting it into a whole new form.
With each listen, "A Divina Comedia on Ando Meio Desligado" unveils new secrets, making it well worth the price of admission.

Os Mutantes - A Divina Comedia Ou Ando Meio Desligado (1970)
(320 kbps, cover art included)

Lee Wiley - Sings Songs By Rodgers & Hart (1940)

Her husky, surprisingly sensual voice and exquisitely cool readings of pop standards distinguished her singing, but Lee Wiley earns notice as one of the best early jazz singers by recognizing the superiority of American popular song and organizing a set of songs around a common composer or theme - later popularized as the songbook or concept LP. She was also a songwriter in her own right, and one of the few white vocalists with more respect in the jazz community than the popular one. Even more tragic then, that while dozens of inferior vocalists recorded LPs during the late '50s and '60s, Wiley appeared on record just once between 1957 and her death in 1975.

Lee Wiley pioneered the "songbook" concept, for which a singer exclusively interpreted the work of one composer.

Her Gershwin and Cole Porter projects of 1939-40 were major successes, as is the music on this album with songs by Rodgrs & Hart. In a fairly straight but strangely sensuous manner, Wiley sings eight songs by Rodgers & Hart while backed by a variety of all-star players associated with Eddie Condon, including pianist Joe Bushkin, trumpeters Max Kaminsky, Billy Butterfield and Bobb Hackett, tenor saxophonist Bud Freeman, and Ernie Caceres on baritone and clarinet.

Although many of these songs have been interpreted countless times since, few singers have reached the emotional peaks that Lee Wiley scaled in her versions of "A Ship Without a Sail," "Let's Fall In Love," "I've Got the World On a String," "Down With Love" and especially "Glad to Be Unhappy." This set belongs in every serious jazz collection.

The inside cover reads" " This little musicale was a lot of frolic in the making. Dick Rodgers, in the breathless middle of two new scores, dropped everything to help us work it out. Paul Whiteman lent us the best two man rhythm section in the business, Artie Shapiro and Stud Wettling, better known as the Rider. Bradford Gowans, who was building a rotor boat on the shores of an estuary near North Reading, Mass. forgot all about that and caught the Merchants back to write four of the orchestrations. For the other four Tommy Dorsey kindly lent us the services of Paul Wetstein, Jr., his brilliant young arranger. Lee sang the songs over and over. And finally we went to the studio and made the records. Let me tell you we had a good time I'm Sure you're going to enjoy it too. Ernie Anderson February, 1940."

These eight songs were published in 1940 on the Gala label on four 78 RPM discs.


1A Here in My Arms
1B Baby's Awake Now
2A I've Got Five Dollars
2B Glad To Be Unhappy
3A You Took Advantage of Me
3B A Little Bird Told Me So
4A As Though You Were There
4B Ship Without A Sale

Lee Wiley - Sings Songs By Rodgers & Hart (1940)
(320 kbps, front cover included)