Freitag, 14. Dezember 2018

MC 5 - Live Detroit 1968/69

Alongside their Detroit-area brethren the Stooges, MC5 essentially laid the foundations for the emergence of punk; deafeningly loud and uncompromisingly intense, the group's politics were ultimately as crucial as their music, their revolutionary sloganeering and anti-establishment outrage crystallizing the counterculture movement at its most volatile and threatening. Under the guidance of svengali John Sinclair (the infamous founder of the radical White Panther Party), MC5 celebrated the holy trinity of sex, drugs, and rock & roll, their incendiary live sets offering a defiantly bacchanalian counterpoint to the peace-and-love reveries of their hippie contemporaries. Although corporate censorship, label interference, and legal hassles combined to cripple the band's hopes of mainstream notoriety, both their sound and their sensibility remain seminal influences on successive generations of artists.               

This album features more live material by The MC5. It was recorded at Detroit's Unitarian Church in 1968 and at Westfield High School in 1969. Tunes include "Come Together," "I Want You Right Now," "Come on Down," "Looking at You," and three others.   


1 Intro / Come Together 5:27
2 I Want You Right Now 5:51
3 I Believe 3:17
4 Come On Down 12:31
5 It's A Man's Man's Man's World 5:18
6 Looking At You 3:43
7 Fire Of Love 3:11

(320 kbps, cover art included)

Guts Pie Earshot - Distorted Wonderland

GUTS PIE EARSHOT was an experimental anarcho-punk band with cello/drums/bass and a female vocalist from Germany that started in 1993. Later, the band turned into an instrumental cello/drum duo, which is still active today. It is surely one of the most unusual modern bands who music-wise vaguely have something to do with punk/ hardcore and in the same time breakbeat/ techno.

...and yet the music conjures up entire new universes in the mind's eye - or ear


A1 Reflection
A2 Sonic You
A3 Several Parts Of Life
A4 Sum
B1 Clean
B2 Feedback
B3 Me Grain
B4 Enemy Today
B5 Run From The Shadow (Live)

Guts Pie Earshot - Distorted Wonderland
(320 kbps, front cover included)

Donnerstag, 13. Dezember 2018

Harry Belafonte - Belafonte On Campus (1967)

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.

It can be hypothesized that Harry Belafonte's career as a singer of folk songs ended with this album. Launching into a four-year drought, he would not have another exceptional album for RCA Victor until 1971's "Calypso Carnival". The theme for the album was spurred by Belafonte's popularity on college campuses in the mid-'60s. College audiences in the '60s were to folk singers what armed forces recruits were to big band singers and comedians during World War II: sure things. The liner notes estimate that during his most recent tour, Belafonte played to a quarter of a million American students at forty colleges.

The selections on the album are ones he sang on the tour, and Belafonte deftly combines songs from folk tradition with new works by rising singer-songwriters. Of the latter, Gordon Lightfoot's "The Hands I Love" (featuring the delicate guitar work of Al Schackman) and Tom Paxton's "Hold On to Me Babe" stand out as memorable. Even Paxton's "The Last Thing on My Mind" is given an offbeat treatment, more as a gospel rocker than a tender ballad. Bill Eaton, more in his element than with the relatively quaint, alien music of the West Indies, created the kind of sound Belafonte thrived on: new ways to sing familiar songs. Lonnie Donegan's skiffle anthem "Don't You Rock Me Daddy-O" becomes more of a bluesy shuffle on "Sail Away Ladies," and Leadbelly's work song "Take This Hammer" is transformed into an entirely new song, now titled "Roll On, Buddy." The results of these upending of traditional arrangements could have been disastrous, but for Harry Belafonte during the Summer of Love, they were still working.

(192 kbps, cover art included)

Mittwoch, 12. Dezember 2018

Odetta - Sings Folk Songs (1963)

One of the strongest voices in the folk revival and the civil rights movement, Odetta was born on New Year's Eve 1930 in Birmingham, AL.
Odetta's most productive decade as a recording artist came in the 1960s, when she released 16 albums, including "Odetta at Carnegie Hall", "Christmas Spirituals", "Odetta and the Blues", "It's a Mighty World", and "Odetta Sings Dylan".
In December 2008, she died of heart disease in New York.       

"Odetta Sings Folk Songs" is an Odetta album first released in 1963, produced by Mickey Crofford. It was her second release on her new label, RCA Victor and is out of print. It peaked at number 75 on the Billboard Pop Albums charts.

  1. "900 Miles" – 3:10
  2. "Blowin' in the Wind" (Bob Dylan) – 4:09
  3. "Maybe She Go" – 1:54
  4. "I Never Will Marry" – 1:55
  5. "Yes I See" – 2:53
  6. "Why'n Oh Why" – 2:05
  7. "Shenandoah" – 3:46
  8. "The Golden Vanity" – 4:02
  9. "Roberta" – 3:07
  10. "Anthem of the Rainbow" – 4:07
  11. "All My Trials" – 3:32
  12. "This Little Light of Mine" (Harry Loes) – 3:03
Odetta - Sings Folk Songs (1963)
(192 kbps, front cover included)

Dienstag, 11. Dezember 2018

VA - Brüder, zur Sonne, zur Freiheit - Arbeitermusik der Weimarer Republik in Originalaufnahmen (1982)

"La Marseillaise", "Internationale", "Brüder zur Sonne, zur Freiheit" - everybody knows some titels of this collection.

This album collects 13 carefully restorated original recordings of labour movement songs, recorded in the 20s and 30s of the last century in the Weimar Republic.

Most of the interpreters are today forgotten, like the "Doppelquartett des Deutschen Freidenkerverbandes" with the song "Ein Sohn des Volkes...".


A1La Marseillaise2:36
A4Russischer Trauergesang2:50
A5Marsch der Roten Armee2:44
A6Roter Gardemarsch der Mailänder Arbeiter2:55
A7Bandiera Rossa3:23
B1Brüder, zur Sonne, zur Freiheit2:23
B2Wir sind die erste Reihe2:27
B3Die Maßnahme - 1. Teil: Gespräch des Händlers mit dem jungen Genossen3:18
B4Die Maßnahme - 2. Teil: Song von Angebot und Nachfrage3:12
B5Marsch der Eisernen Front3:15
B6Ein Sohn des Volkes will ich sein und bleiben3:37
B7Laßt uns wie Brüder treu zusammenstehn / Das Aufgebot3:19

Brüder, zur Sonne, zur Freiheit - Arbeitermusik der Weimarer Republik in Originalaufnahmen
(192 kbps, ca. 58 MB)

Montag, 10. Dezember 2018

Abbey Lincoln - That´s Him! (1957)

Anna Marie Wooldridge (August 6, 1930 – August 14, 2010), known by her stage name Abbey Lincoln, was an American jazz vocalist, songwriter, and actress, who wrote and performed her own compositions. She was a civil rights advocate during the 1960s.

"That´s Him!" was her second recording, and her first for Riverside. The album finds her accompanied by quite an all-star roster: tenor saxophonist Sonny Rollins, trumpeter Kenny Dorham, pianist Wynton Kelly, bassist Paul Chambers, and drummer Max Roach.

Even this early, she was already a major jazz singer with a style of her own. Lincoln was careful from this point on to only interpret lyrics that she believed in. Her repertoire has a few superior standards (including several songs such as "I Must Have That Man!" and "Don't Explain" that are closely associated with Billie Holiday) plus Oscar Brown, Jr.'s "Strong Man" and Phil Moore's "Tender as a Rose"; she takes the latter unaccompanied. "Don't Explain" is slightly unusual in that Paul Chambers is absent and Wynton Kelly makes an extremely rare appearance on bass. All three of Abbey Lincoln's Riverside albums are well worth the listen.          

Abbey Lincoln - That´s Him! (1957)
(320 kbps, cover art included)

Sonntag, 9. Dezember 2018

Jean Ritchie and Doc Watson - At Folk City (Folkways, 1963)

Jean Ritchie was born into a large and musical family in Viper, Kentucky in 1922. The Ritchie family was very much a part of the Appalachian folk tradition, and had committed over 300 songs (including hymns, traditional love songs, ballads, children's game songs, etc.) to its collective memory, a tradition that Ritchie has drawn on (as well as preserved and maintained) for the entire length of her performing career. She grew up in a home where singing was intertwined with nearly every task, and the beautiful, ephemeral nature of these mountain songs and fragments was not lost on her. After graduating from high school, Ritchie attended Cumberland Junior College in Williamsburg, Ky., moving on to the University of Kentucky, where she graduated in 1946. She accepted a position at the Henry Street Settlement in New York City and soon found her family's songs useful in reaching out to the children in her care. Her singing, although she never had a strong pop sort of voice, was perfect for the old ballads, especially when she accompanied herself on lap dulcimer, and the ancient modal melodies of her family felt fresh and airy in her hands. Ritchie soon found herself in demand in the New York coffeehouses, and her official career in music began. After hearing some casually recorded songs by Ritchie, Jac Holzman, who was just starting up Elektra Records, signed her to the label, eventually releasing three albums, "Jean Ritchie Sings" (1952), "Songs of Her Kentucky Mountain Family" (1957) and "A Time for Singing" (1962) at the height of the folk revival. Although she never reached the household name status of Peter, Paul & Mary, Joan Baez, Judy Collins or the Kingston Trio, Ritchie maintained her Appalachian authenticity, and her subsequent albums worked to preserve the rich folk tradition of the Southern Appalachians.

A1Storms Are On The Ocean
A2So Dig My Grave
A3Spike-Driver Blues
A4Soldiers Joy
A5Don't Mind The Weather
A6Hiram Hubbard
A7Sugar On The Floor
B1Where Are You Goin'
B2Pretty Polly
B3Willie Moore
B4What'll I Do With The Baby-O?
B5Cripple Creek
B6Wabash Cannonball
B7The House Carpenter
B8Amazing Grace

Jean Ritchie & Doc Watson - At Folk City (1963)
(320 kbps, cover art inlcuded)

Samstag, 8. Dezember 2018

Ape, Beck & Brinkmann - Regenbogenland (1982)

Ape, Beck & Brikmann were founded in 1979 by Fred Ape, Klaus Beck and Peter Brinkmann together with the sound engineer Klaus-Werner Wollnowski. The group quickly became one of the flagships of the German alternative folk rock scene. Their political lyrics were mainly written by Fred Ape.

With over 100,000 sold copies, their song "Rauchzeichen" (1979), based on the "Prophecy of the Cree", became a secret hit in the growing alternative scene. Nowadays, it is one of the best knows songs focusing on ecological problems, and is published in germen school books. 

All the activities of the 1980s West German left wing and alternative scene were accompanied by the music of  bands like Ton Steine Scherben, Cochise and - of course - Ape, Beck & Brinkmann: The demonstrations against nuclear power plants, against the "Startbahn West" in Frankfurt, against the "Volkszählung" ("census") in 1983 and for women´s emancipation.
Now, 30 years later, these songs may sound utopian and naive. But why should we not hope that war and hunger will be abolished at some point? And not so much has changed since these days and there is still a lot to do to show solidarity and enjoy life. We are not alone.

The Album "Regenbogenland" was released in 1982 on the Folk Freak Label.

3.Das Haus3:43 
4.Der Schlag2:07 
5.Das letzte Paradies2:09 
6.Endlich ein Liebeslied4:06 
7.Wir sind noch wahre Pioniere3:33 
8.Global 20013:25 
9.Auf der Flucht erschossen3:07 
10.Wounded Knee4:10 
(192 kbps, cover art included)

Miriam Makeba - Appel à l´Afrique (1974)

Legendary South African singer and activist Miriam Makeba (born 1932) rose to international fame during the 1960s, attracting a wide following through concert appearances and recordings. Although capable of great vocal versatility in a variety of languages and settings, including jazz and blues, Makeba became best-known for singing in her native dialect, distinguishable by explosive, clicking sounds formed with the epiglottis in the back of the throat.

Like many politically-minded black South Africans, Miriam Makeba spent several decades in exile during the apartheid era. Following the 1961 Sharpville Massacre, where dozens of people - including several of her relatives - were shot to death while protesting the new pass laws, Makeba broke her silence on the evils of apartheid rule. The South African government responded by revoking her citizenship and permanently refusing to let her return to her homeland. It was really the government's loss, though: Makeba was a widely regarded international celebrity, and in the face of such bitter treatment by the Afrikaaners, she became one of the most effective public speakers in opposition to apartheid rule. At the end of the decade, Makeba returned to Africa, but instead of her mother country, Makeba moved to Guinea, where she and her husband Stokley Carmichael sought refuge from political persecution in the United States. In Guinea, Makeba hooked up with some of West Africa's greatest musicians, including the likes of Sekou Diabate and Famouro Kouyate. She recorded about thirty songs for the government-sponsored Syliphone label.

This album features recordings from her concert at the Palais de Peuple in Conakry, Guinea.

1. Kilimandjaro
2. Kadeya Deya
3. Measure the valley
4. Sekou famake
5. Kulala
6. Malaika
7. U. Shaka
8. Tonados de media noche
9. Djinguinira
10. Malcolm X
11. Tutu maramba
12. I phin dlela

Miriam Makeba - Appel à l´Afrique (1974)
(192 kbps, cover art included)

Elizabeth Cotten - Live

Elizabeth Cotten was among the most influential guitarists to surface during the roots music revival era, her wonderfully expressive and dexterous finger-picking style a major inspiration to the generations of players who followed in her wake.
Cotten was born in Chapel Hill, North Carolina in the early weeks of 1893; after first picking up the banjo at the age of eight, she soon moved on to her brother's guitar, laying it flat on her lap and over time developing her picking pattern and eventually her chording. By the age of 12 she was working as a domestic, and three years later gave birth to her first child; upon joining the church, she gave up the guitar, playing it only on the rarest of occasions over the course of the next quarter century. By the early 1940s, Cotten had relocated to Washington, D.C., where she eventually began working for the legendary Charles Seeger family and caring for children Pete, Peggy and Mike.

When the Seegers learned of Cotten's guitar skills a decade later, they recorded her for Folkways, and in 1957 she issued her debut LP, "Folksongs and Instrumentals". The track "Freight Train," written when she was 12, became a Top Five hit in the U.K., and its success ensured her a handful of concert performances. The great interest in her music spurred her to write new material, which appeared on her second album, "Shake Sugaree". As Cotten became increasingly comfortable performing live, her presentation evolved, and in addition to playing guitar she told stories about her life and even led her audiences in singing her songs; over the years, she recalled more and more tunes from her childhood, and in the course of tours also learned new material. Cotten did not retire from domestic work until 1970, and did not tour actively until the end of the decade; the winner of a National Endowment for the Arts National Heritage Fellowship Award as well as a Grammy — both earned during the final years of her life — she died on June 29, 1987.

No dates are given for this live disc, although according to the liners, "this album is a sampler of performances during her ninth decade" (which would be roughly the early 1970s to the early 1980s). She does some of the most popular items from her repertoire over the course of this 50-minute recording, including "Freight Train," "Shake Sugaree," and "Oh Babe, It Ain't No Lie" (which was covered by the Grateful Dead). There's plenty of storytelling between the numbers, and audience participation on some of the choruses during the songs.

Hai & Topsy Frankl - Wi ahin sol ich gejn?

Heinrich Frankl, called Hai, was born in Charlottenbrunn (Seleucia) on February 14, 1920. Beginning in 1930 he lived with his parents in Wiesbaden-Biebrich. In 1939, just before the war began, Hai Frankl emigrated to Lahäll near Stockholm (Sweden) and studied painting in Stockholm.
Hai’s father, Dr. Erich Frankl and his wife Elli (née Schachtel in Charlottenbrunn /Silesia on August 12, 1896) were deported on June 10, 1942, to Lublin and Majdanek – respectively to Sobibor – and murdered. Their daughter Hermine (born in Sophienau /Silesia on March 9, 1922) was able to reach Pyrford, England in a children’s transport and later moved to the USA.
Hai and his wife Gunny (née Wahlstroem) called Topsy, became known as the Folk-Duo “Hai and Topsy”. They toured West Germany in the 1960s and 1970s, singing songs from the labour movement as well as Yiddish folk songs.
They released the album "Wi ahin sol ich gejn?" in 1993 on the Wundertüte label.

Hai died on January, 13, 2016 - thanks a lot for all the wonderful music you gave us!

Hai & Topsy Frankl - Wi ahin sol ich gejn?
(256 kbps, cover art included)

Freitag, 7. Dezember 2018

Ruts - Penetration - BBC Radio 1 Live in Concert

With their unique blend of raucous punk rock laced with reggae and dub, the Ruts were one of the most exciting bands to emerge from Britain's late-'70s scene. Their career was cut cruelly short by the death of their singer in 1980, but still the group released six crucial singles and a seminal album in their short lifetime, while the surviving members soldiered on as Ruts D.C. 

They were also a powerful force within Britain's Rock Against Racism movement, ensuring a political legacy at least as vital as their music. On classic tunes like "Babylon's Burning" and "In a Rut," the band delivered rough-and-ready punk rock as strong as any of their peers in the first wave of U.K. punk, but "Jah War" showed they were similarly expert with reggae rhythms and dubwise production, and "Staring at the Rude Boys" showed they could blend punk sounds and West Indian themes, honoring each side equally.

Penetration is a punk rock band from County Durham, England formed in 1976. They re-formed in 2001 with several new members. Named after the Stooges song of the same name the band were formed in late 76 in Ferryhill County Durham by three friends Pauline Murray, Robert Blamire and Gary Smallman after seeing the Sex Pistols play in Manchester. They played their first gig in October 76 at the Middlesborough Rock Garden and played their first London gig at the famous Roxy Club in January 77 supporting Gen X.
Their debut single, "Don't Dictate", is now acknowledged as a classic punk rock single and their debut album, "Moving Targets" (1978), is still widely admired.

This concert was originally recorded for the BBC 7th July 1979 at the Paris Theatre and broadcasted the same month. The Ruts songs have been bootlegged on vinyl as "I Ain't Sofisticated" and "Shine On Me: Paris Theatre, London 7th July 1979".


1 The Ruts - Your Just A ... 3:02
2 The Ruts - It Was Cold 4:16
3 The Ruts - I Ain't Sofisticated 2:29
4 The Ruts - Dope For Guns 2:15
5 The Ruts - Sus 3:27
6 The Ruts - Babylon's Burning 2:43
7 The Ruts - Jah Wars 3:05
8 The Ruts - Criminal Minds 1:46
9 The Ruts - In A Rut 4:37
10 Penetration - Danger Signs 2:37
11 Penetration - Lovers Of Outrage 3:59
12 Penetration - She Is The Slave 3:18
13 Penetration - Come Into The Open 2:54
14 Penetration - Movement 3:14
15 Penetration - Nostalgia 3:58
16 Penetration - Free Money 4:12
17 Penetration - Stone Heroes 3:45
Ruts - Penetration - BBC Radio 1 Live in Concert
(320 kbps, cover art included)

Donnerstag, 6. Dezember 2018

Itzhak Perlman - Tradition - Itzhak Perlman Plays Popular Jewish Melodies

"Tradition", originally released in 1987 and reissued in 2003 as part of EMI's Perlman Edition, reveals Itzhak Perlman's deep affection for the popular music of his childhood in Israel. This retrospective album of songs from the Yiddish musical theater, many of which were made popular in the mid-twentieth century by such singers as Joseph Rosenblatt, Mordechai Hershman, and Jan Peerce, is filled with the melancholy and yearning they expressed in their recordings.

Perlman's performances are clearly informed by memories of these vocalists, and his frequent use of the G string certainly evokes a plaintive, cantorial tenor. The majority of the program is devoted to slow, emotional songs in minor keys, and with rare exception, the tone is nostalgic and subdued, unlike Perlman's later Klezmer album, "In the Fiddler's House". The sorrowful melody of "Oif'n Pripetchik brennt a feier'l" will be most familiar to listeners from its use in the film Schindler's List, though this arrangement is more elaborate and artful. Dov Seltzer's polished orchestrations subtly suggest the lush style of the 1940s, yet borrow little from that era's studio sound. The Israel Philharmonic Orchestra, under Seltzer's direction, presents a dark but resonant background for Perlman's passionate solos, and bright energy in the disc's few exuberant passages.


A Yiddishe Mamme 6:47
As Der Rebbe Elimelech Is Gevoyrn Asoi Freylach 5:51
Reyzele 4:09
Oif'n Pripetchik Brennt A Feier'l 4:05
Doyna 3:39
Rozhinkes Mit Mandelen 5:37
Oif'n Weyg Steyt A Boim 5:26
A Dudele 4:51
Vi Ahin Soll Ich Geyn? 4:51

Itzhak Perlman - Tradition - Itzhak Perlman Plays Popular Jewish Melodies
(320 kbps, cover art included)

Mittwoch, 5. Dezember 2018

The Mamas And The Papas - If You Can Believe Your Eyes And Ears (1966)

In the spring of 1966, "If You Can Believe Your Eyes and Ears" represented a genuinely new sound, as fresh to listeners as the songs on "Meet the Beatles" had seemed two years earlier. Released just as "California Dreaming" was ascending the charts by leaps and bounds, it was the product of months of rehearsal in the Virgin Islands and John Phillips' discovery of what one could do to build a polished recorded sound in the studio - it embraced folk-rock, pop/rock, pop, and soul, and also reflected the kind of care that acts like the Beatles were putting into their records at the time. "Monday, Monday" and "California Dreamin'" are familiar enough to anyone who's ever listened to the radio, and "Go Where You Wanna Go" isn't far behind, in this version or the very similar rendition by the Fifth Dimension. But the rest is mighty compelling even to casual listeners, including the ethereal "Got a Feelin'," the rocking "Straight Shooter" and "Somebody Groovy," the jaunty, torch song-style version of "I Call Your Name," and the prettiest versions of "Do You Wanna Dance" and "Spanish Harlem" that anyone ever recorded.

If the material here has a certain glow that the Mamas & the Papas' subsequent LPs lacked, that may be due in part to the extensive rehearsal and the exhilaration of their first experience in the studio, but also a result of the fact that it was recorded before the members' personal conflicts began interfering with their ability to work together. The work was all spontaneous and unforced here, as opposed to the emotional complications that had to be overcome before their next sessions.


"Monday, Monday" (John Phillips) – 3:28
"Straight Shooter" (J. Phillips) – 2:58
"Got a Feelin'" (J. Phillips, Denny Doherty) – 2:53
"I Call Your Name" (John Lennon, Paul McCartney) – 2:38
"Do You Wanna Dance" (Bobby Freeman) – 3:00
"Go Where You Wanna Go" (J. Phillips) – 2:29 Side two
"California Dreamin'" (J. Phillips, Michelle Phillips) – 2:42
"Spanish Harlem" (Jerry Leiber, Phil Spector) – 3:22
"Somebody Groovy" (J. Phillips) - 3:16
"Hey Girl" (J. Phillips, M. Phillips) – 2:30
"You Baby" (Steve Barri, P. F. Sloan) – 2:22
"The 'In' Crowd" (Billy Page) – 3:12

The Mamas And The Papas - If You Can Believe Your Eyes And Ears (1966)
(320 kbps, cover art included)

Dienstag, 4. Dezember 2018

Asian Dub Foundation - Naxalite - Culture Move EP (1998)

Asian Dub Foundation formed in 1993 as an outgrowth of the documentary Identical Beat, a film shot at London's Farringdon Community Music House, the site of a series of summer workshops designed to teach Asian children the essentials of music technology. In charge of the workshops were tutor Aniruddha Das and youth worker John Pandit, also a noted DJ; with one of their students, a 15-year-old Bengali rapper named Deedar Zaman, they soon formed a sound system that they called the Asian Dub Foundation. After each adopted an alias -- bassist/tabla player Das became Dr. Das, Pandit became Pandit G, and Zaman became Master D -- they gradually evolved into a working band with the 1994 addition of former Higher Intelligence Agency guitarist Steve Chandra Savale, an innovative performer known for tuning his strings to one note like a sitar, turning up the distortion unit, and playing his instrument with a knife, earning him the nickname "Chandrasonic." Emerging in the midst of considerable anti-Asian violence throughout Britain, the Foundation's early demos landed them a contract with Nation Records, and they recorded their debut EP, Conscious, in 1994.

Channeling influences ranging from punk to ambient music to Bengali folk songs, Asian Dub Foundation quickly gained a strong fan base not only among clubgoers but also among the anti-fascist movement, who applauded the group's vocal stand against racism.

Here´s their EP "Naxalaite - Culture Move" from 1998.

01. Naxalite (Main Mix)
02. Culture Move (Pusher Sound Mix)
03. Free Satpal Ram (Russell Simmins Remix)
04. Culture Move (Urban Decay Remix)
05. Culture Move (Silver Haze Mix)

Asian Dub Foundation - Naxalite - Culture Move EP (1998)
(320 kbps, cover art included)

Montag, 3. Dezember 2018

The Fugs - Tenderness Junction (1968)

The Fugs began their career as a gaggle of post-beat era bohemians whose talents were as poets and activists first, musicians second, but after recording a handful of unexpectedly successful albums for Folkways and ESP, the group found themselves signed to Reprise Records, and had to face the prospect of becoming a genuine, professional rock & roll band.

"Tenderness Junction" was The Fugs' first album for Reprise, and also unveiled a new lineup, with founders Ed Sanders, Tuli Kupferberg, and Ken Weaver joined by three capable young rock & rollers, guitarist Danny Kortchmar (aka Danny Kooch), bassist Charles Larkey, and multi-instrumentalist Ken Pine.

While the early Fugs albums often made a virtue of the limited abilities of the musicians on hand, "Tenderness Junction" proved they could add a bit of polish and firm up their sound without losing touch with what made them memorable; the music is strong and expressive without being unnecessarily flashy, and Sanders clearly enjoyed having more reliable accompanists for his pastiches on various musical conventions, such as blues ("Knock Knock"), doo wop ("Wet Dream"), country ("War Song"), and traditional English folk ("Fingers of the Sun").

The Fugs also made the most of Reprise's pledge not to censor the group's material by including a recording of their appearance at an anti-war event in Washington D.C., in which they conducted an exorcism of the Pentagon in the midst of a "Grope for Peace."

"Tenderness Junction" puts greater focus on the extended poetics of "The Garden Is Open" and the five-part "Aphrodite Mass" over short, funny songs like "Slum Goddess," "CIA Man," or "I Couldn't Get High", presumably because they could, and they had collaborators with the chops to make them work musically, but this also makes this album less immediately engaging than the Fug´s earlier works. Still, it's musically ambitious while still allowing Sanders, Kupferberg, and Weaver to sound like themselves, and it's the rare album where chaos and discipline both get their moment in the spotlight and bring out the best in one another.      


Side 1:
1 Turn On / Tune In / Drop Out
2 Knock Knock
3 The Garden Is Open
4 Wet Dream
5 Hare Krishna

Side 2:
1 Exorcising The Evil Spirits From The Pentagon October 21, 1967
2 War Song
3 Dover Beach
4 Fingers Of The Sun
5 Aphrodite Mass (In 5 Sections) 

The Fugs - Tenderness Junction (1968)
(256 kbps, cover art included)

Meistersinger & Ihre Kinder - Meistersinger & Ihre Kinder (1978)

Nuremberg's most valuable contribution to the polit-rock scene was the group Ihre Kinder:
A german rock band from the late 1960s and early 1970s, considered a pioneer of german rock music, because they were one of the first modern rock groups singing in german language.
Their music contained elements of classic rock, folk and jazz rock, their lyrics were politically aware.

After the decline of the band the keyboarder and singer Sonny Henning formed a horrible soul pop-rock band named Powerful Tramps, before regaining some musical sense as Meistersinger & Ihre Kinder, a quintet that recorded two albums in the late seventies.

A1 Mit dem Kopf durch die Wand 3:10
A2 Zustand Nr. 10 6:00
A3 Könnte ich Fliegen 3:35
A4 Tohuwabohu 3:45
A5 Das Wort zum Montag 3:55
B1 Bär sucht Honig 4:35
B2 Im Paradies ist die Hölle los 3:30
B3 Erinnerung 3:45
B4 Schlechte Zeiten 6:55

Meistersinger & Ihre Kinder - Same (1978)
(320 kbps, cover art included)

Joan Baez - Essen, Grugahalle - 17. March 1973 (FM Source)

The most accomplished interpretive folksinger of the 1960s, Joan Baez has influenced nearly every aspect of popular music in a career still going strong. Baez is possessed of a once-in-a-lifetime soprano, which, since the late '50s, she has put in the service of folk and pop music as well as a variety of political causes.

Fluent in Spanish as well as in English, she has also recorded songs in at least six other languages. She is regarded as a folk singer, although her music has diversified since the counterculture days of the 1960s and now encompasses everything from folk rock and pop to country and gospel music. Although a songwriter herself, Baez is generally regarded as an interpreter of other people's work, having recorded songs by the Allman Brothers Band, the Beatles, Jackson Browne, Leonard Cohen, Bob Dylan, Violeta Parra, Woody Guthrie, The Rolling Stones, Pete Seeger, Paul Simon, Stevie Wonder and many others. In recent years, she has found success interpreting songs of modern songwriters such as Ryan Adams, Josh Ritter, Steve Earle and Natalie Merchant. Her recordings include many topical songs and material dealing with social issues.

Subjected to racial slurs and discrimination in her own childhood because of her Mexican heritage and features, Joan Baez became involved with a variety of social causes early in her career, including civil rights and nonviolence. She was sometimes jailed for her protests. Joan Baez married David Harris, a Vietnam draft protestor, in 1968, and he was in jail for most of the years of their marriage. They divorced in 1973, after having one child, Gabriel Earl.

Here´s a full concert bootleg of the show Joan Baez played at Grugahalle, Essen, Germany on March 17th of '73 (FM broadcast source).

Here you can read a concert review in german language: "Die heilige Johanne mit der Gitarre"e

01 - Farewell Angelina
02 - I Shall Be Released
03 - Earth Angel
04 - Handsome Jonny
05 - Kumbaya My Lord
06 - You Ain't Goin Nowhere
07 - To Bobby
08 - Lovesong To A Stranger
09 - Joe Hill
10 - All My Trails
11 - The Night They Drove Old Dixie Down
12 - Sag Mir Wo Die Blumen Sind
13 - Plaisir D'amour
14 - Yesterday
15 - Imagine
16 - Let It Be
17 - We Shall Overcome

Joan Baez - Essen, Grugahalle, 17. March 1973
(192 kbps, cover art included)

Peggy Seeger - Early In Spring (1962)

The half-sister of Pete Seeger and the widow of Ewan MacColl, singer/songwriter Peggy Seeger continued her family's long history of championing and preserving traditional music, most notably emerging as a seminal figure in the British folk song revival of the 1960s. Peggy Seeger is considered by many to be the female folksinger, responsible for the continuous upswing of folk music popularity. It is a fitting title, considering Peggy was living and breathing folk music since before she was born.

She plays banjo and sings on this 1962 Topic Label EP. The four songs are 'courting songs'.


A1. Madam I Have Come To Court You
A2. When I Was In My Prime
B1. So Early, Early In The Spring
B2. The Chickens They Are Crowing

Peggy Seeger - Early In Spring (1962)
(ca. 170 kbps, cover art included)

Samstag, 1. Dezember 2018

Stephanie Haas - YOUKALI (1996)

"Youkali" is a wonderful album by Stephanie Haas with songs by Vojtech Saudek, Susanne Erding-Swiridoff, Friedrich Holländer and Kurt Weill. The album was recorded with support of Susan Wenckus, Roswitha Troitzsch, Alexandru Ianos and Christoph Haas.

This is an English translation for "Youkali":

"It was almost to the end of the world
That my wandering boat
Straying at the will of the waves
Led me one day
The isle is very small
But the kind fairy that lives there
Invites us
To take a look around
Is the land of our desires
Is happiness, pleasure
Is the land where we forget all our worries
It is in our night, like a bright rift
The star we follow
It is Youkali
Is the respect of all vows exchanged
Is the land of love returned
It is the hope
That is in every human heart
The deliverance
We await for tomorrow
Is the land of our desires
Is happiness, pleasure
But it is a dream, a folly
There is no Youkali
And life carries us along
Tediously, day by day
But the poor human soul
Seeking forgetfulness everywhere
Has, in order to escape the world
Managed to find the mystery
In which our dreams burrow themselves
In some Youkali
Is the land of our desires
Is happiness, pleasure
Is the land where we forget all our worries
It is in our night, like a bright rift
The star we follow
It is Youkali
Is the respect of all vows exchanged
Is the land of love returned
It is the hope
That is in every human heart
The deliverance
We await for tomorrow
Is the land of our desires
Is happiness, pleasure
But it is a dream, a folly
There is no Youkali

But it is a dream, a folly
There is no Youkali"


Vojtech Saudek

Susanne Erding-Swiridoff
Einmal, Liebste
Küste, das Meer

Kurt Weill
Le Roi d'Aquitaine
Le grand Lustucru
Les filles de Bordeaux
Nannas Lied

Friedrich Holländer
Wenn ich mal tot bin

Kurt Weill

Stephanie Haas - YOUKALI (1996)
(320 kbps, cover art included)