Freitag, 24. Dezember 2010

Happy X-Mas - War Is Over (If You Want It)

Happy X-Mas to you all!
We want it!
R.I.P, John!

Samstag, 11. Dezember 2010

Various Artists - Als die Partisanen kamen (Berlin Underground 1979-83 )

In 1991, the Berlin-based Zensor label released a compilation called Als die Partisanen kamen . It contained a bunch of Berlin underground music which had appeared on the Zensor, Monogam, and Marat labels between 1979 and 1983.



01. Einstürzende Neubauten & Sentimentale Jugend - Wollt Ihr die totale Befriedigung (3:20)
02. Mania D - Track Four (3:27)
03. Frieder Butzmann - Valeska (2:55)
04. Rainy Day Woman - Die Heimkehr der Roten Brigaden (4:11)
05. Der tobende Luftkampf - Fieber (3:29)
06. Thomas Voburka - Black Box (2:37)
07. Einstürzende Neubauten - Für den Untergang (4:13)
08. Mona Mur - Eintagsfliege (4:02)
09. Frieder Butzmann - Waschsalon (3:53)
10. Die Haut - (Never going back to) Avenue (3:47)
11. Die Zwei - Einsamkeit (2:56)
12. Frieder Butzmann - Die Kleinen Tiere (1:07)
13. Mekanik Destrüktiv Kohmandöh - Im Land des ewigen Krieges (5:31)
14. Borsig - Hiroshima (4:03)
15. P1/E - 49 Second Romance (2:47)
16. Die Unbekannten - Casualties (2:16)
17. Konstantin - Sing mir ein kleines Arbeiterkampflied (3:28)
18. Django & Maria - Rock 'n' Roll is bigger than all of Us (2:43)
19. Michael Altfeld - Music for Toilets (2:14)

VA - Als die Partisanen kamen (Berlin Underground 1979 - 1983
(192 kbps, cover art inlcuded)

Holy Modal Rounders - Alleged In Their Own Time (1975)

The Holy Modal Rounders were almost the very definition of a cult act. This isn't a case of a group that would be described by such clichés as "if only they got more exposure, they would certainly reach a much wider audience." Their audience was small because their music was too strange, idiosyncratic, and at times downright dissonant for mainstream listeners to abide. What makes the Rounders unusual in this regard is that they owed primary allegiance to the world of acoustic folk -- not one that generates many difficult, arty, and abrasive performers.
"It wasn't until 1970 that we started Rounder Records but one of the reasons for the name was the Holy Modal Rounders. It was they who introduced us to Charlie Poole. Since we started, 'Rounders On Rounder' was one of the things we wanted to do the most. Another is a Ramblin' Jack Elliott record. It gets kind of confusing when both sets of Rounders are together since everybody's talking about the Rounders but it's not always clear about which set. We wanted to do a Stampfel and Weber album but Robin was there and he wrote Euphoria and was legendary, and Peter brought friend Luke Faust up and it grew and grew. Weber was kind of out of it most of the time, unfortunately. Well, it's finally here. We don't have much else to say right now, at least about this."
- The Rounder Collective


01 Low Down Dog
02 Don't Seem Right
03 New Reuben's Train
04 Voodoo Queen Marie
05 Chitlin' Cookin' Time In Cheatham County
06 Nova
07 Sally In The Alley
08 She's More To Be Pitied
09 Rocky Road
10 Across The Alley From The Alamo
11 Synergy
12 Red Rocking Chair
13 Random Canyon
14 Monday Morning
15 Shoot That Turkey Buzzard

Holy Modal Rounders - Alleged In Their Own Time
(224 kbps, complete cover art inlcuded)

Donnerstag, 9. Dezember 2010

The New Orleans Rhythm Kings - The Cradle Of Jazz

"The New Orleans Rhythm Kings" were a big influence on many of the white bands and musicians of the 1920s.

In 1920, Paul Mares and George Brunies were working on the Mississippi riverboat S.S. Capitol when it stopped in Davenport, Iowa, where they teamed with Leon Roppolo on clarinet. They eventually added Elmer Schobel on piano, Frank Snyder on drums, Alfred Loyacano on bass and Louis Black played banjo.

They got a gig at the Friar's Club in Chicago in 1922. At first they called themselves "The Friar's Society Orchestra", after the club the Friars Inn at 1834 Wabash Street at Van Buren in Chicago, but they changed their name to "The New Orleans Rhythm Kings" in 1923 after losing that gig.

Unlike Nick LaRocca, the leader of the "Original Dixieland Jazz Band", Paul Mares did not try to deny the African-American roots of Jazz. The New Orleans Rhythm Kings were heavily influenced by "King Oliver's Creole Jazz Band" and became the first group to put out a "racially mixed" Jazz record in 1923 with "Sobbin' Blues", featuring Jelly Roll Morton. Morton went on to record five more tunes with the band. "The New Orleans Rhythm Kings" were in existence from 1922 to 1925 when Paul Mares left the music business and went back to New Orleans to work at the family fur business. In 1934 and 1935 two recording sessions took place that revived the "New Orleans Rhythm Kings" name, but George Brunies was the only original memeber of the band to take part in the sessions.

Here´s a compilation of some of their fine recordings:

link dead

Montag, 29. November 2010

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)

Samstag, 27. November 2010

39 Clocks - DNS (single) (No Fun Records, NF 101, 1980)

This single is a killer track. A kickass lo-fi garage punk classic I played in my younger days on heavy rotation. Loved their Velvet-inspired style and their absurd lyrics: "I see Nixon in a bomber plane, drinking Cuba Libre".

It´s the first single from the German cult band "39 Clocks" and it appears in a different form, complete with driving alto sax line, on their subsequent LP "Pain It Dark".

This single was released on No Fun records in 1980.

39 Clocks - DNS (single, 1980)
(192 kbps, front cover included)

Chico Buarque - Construção (1971)

Chico Buarque's fifth album for Philips is a classic, where nearly all the songs became hits. Buarque was featured in an acoustic setting, almost completely aloof from the tropicália movement (the courageous orchestration of "Construção" is very reminiscent of the influential work by Rogério Duprat).

He delved into the Brazilian tradition of sambas and romantic or doleful songs, coming up with "Deus Lhe Pague" and "Construção," both having strong lyrics subliminally criticizing the military dictatorship; "Cotidiano," existentially thematic, revolving around the man-woman relationship routine; "Olha Maria" (written with Tom Jobim and Vinícius de Moraes), a sad separation farewell; "Samba de Orly," a reference to the French airport and city that became paradigms of the exiled Brazilians; "Valsinha," a beautiful love story; and other immortal songs in which the genius of the composer meets sensitively and reverently the heart of the Brazilian feel.

No link.

Samstag, 20. November 2010

Gary Clail - Another Hard Man EP

Gary Clail began his career in Bristol where he worked improvising raps on tapes released by On-U artists.

He was taken in by the label to work with Tackhead and the On U Sound System in the late '80s, resulting in a series of 12" releases from 1985-87 before his first full-length split release for Nettwerk, "Tackhead Tape Time" by Gary Clail & Tackhead.

In 1989, he had his true debut album in "Gary Clail & On-U Sound System", released by the On U Sound label. The album helped forge him a place in the Bristol electronic underground, and paved the way for his later releases on RCA, which feature a number of singles and EPs as well as one full-length, 1991's "Emotional Hooligan". He also released another full-length for Yelen Records in 1996, "Keep the Faith".
Here´s the "Another Hard Man EP", released  in 1996, produced by Adrian Sherwood. It was the first single from the "Keep The Faith" Album.

1. another hard man (radio version)
2. another hard man (album version)
3. another hard dub
4. sparse mix
5. what's that sound mix
6. what's that sound dub mix

Tracks 3 & 4 were remixed by Adrian Sherwood, tracks 5 & 6 were remixed by Gary Clail and Andy Montgomery.

No link.

Donnerstag, 11. November 2010

The Poppy Family - A Good Thing Lost 1968-73

Susan Pesklevits and Terry Jacks met in the band Powerline.

They later married and formed the Poppy Family in 1968. With guitarist Craig McCaw and percussionist Satwan Singh, the duo's third single, "Which Way You Goin' Billy," became a hit in the U.S. and their native Canada, selling over two million copies.

The group recorded three albums in the early '70s: "That's Where I Went Wrong" and "Which Way You Goin' Billy" in 1970 and "Poppy Seeds" in 1971.

Terry and Susan were divorced by 1973, however, and both began solo careers. Susan released "Dream" (1976), "Ghosts" (1980) and "Forever" (1982), but Terry became more successful when his "Seasons in the Sun" single went platinum in Canada (more than 150,000 units). His albums include "Seasons in the Sun" (1974), "Y'Don't Fight the Sea" (1976), "Pulse" (1983) and "Into the Past" (1989).

Beyond The Clouds
Free From The City
What Can The Matter Be?
Which Way You Goin', Billy?
Happy Island
There's No Blood In Bone
A Good Thing Lost
You Took My Moonlight Away
Shadows On My Wall
That's Where I Went Wrong
Where Evil Grows
I Was Wondering
Winter Milk
Good Friends?
I'll See You There
You Don't Know What Love Is
I Thought Of You Again
Another Year, Another Day
Evil Overshadows Joe
Endless Sleep

No link.

The Poppy Family - Which Way You Goin´ Billy? (1969)

The Poppy Family was a late 1960s and early 1970s Canadian pop music group, based in Vancouver, British Columbia. Susan Pesklevits and Terry Jacks met in the band Powerline. They later married and formed the Poppy Family in 1968.
"In the late summer of 1969 the Canadian record buying public chose to endorse The Poppy Family by establishing "Which Way You Goin' Billy?" as the biggest Canadian hit ever. 'Billy' successfully climbed to the No.1 spot on all radio stations across Canada. Having watched The Poppy Family from Vancouver, British Columbia, evolve as a recording group has been a satisfying and rewarding experience. The constant creative growth, both musically and lyrically, within the group is evident in the album "Which Way You Goin' Billy?".
The versatility of the group, from Terry Jacks' meaningful writing, to his wife Susan's beautiful and emotion-packed voice allow them to explore avenues of musical expression hitherto uncharted. All the while The Poppy Family retain their own sound so unique to themselves". (Fraser Jamieson, President London Records, Canada - November 17 1969).
Managed and produced by Terry Jacks, with featured vocalist Susan Jacks (tambourine/bean pod) and musicians Craig McCaw (guitar/sitar) and Satwant Singh (tablas/drums), the group recorded two albums.
At their career peak, Terry and Susan Jacks performed "Which Way You Goin' Billy?" on Bobby Darin's 1970 television variety special, "The Darin Invasion". The special also featured a young Linda Ronstadt performing her first solo hit, "Long Long Time". They also appeared on numerous other variety shows including "Rollin' On The River" with Kenny Rogers, the Bobby Vinton Show and The George Kirby Special.

The Poppy Family disbanded in 1973 when Susan ended their five and a half year marriage, the same year their solo albums were released - Terry's "Seasons in the Sun" and Susan's "I Thought of You Again". Terry Jacks scored an international No. 1 hit with Jacques Brel's "Seasons in the Sun". which earned him Juno awards for Male Vocalist of the year 1973 and 1974 and top selling single in 1973 and 1974. It still remains the best selling single ever released by a Canadian artist with sales of over 13 million worldwide. He was also charted with the singles "If You Go Away" (#45 1974) (another Brel cover, previously a minor hit for Damita Jo), "Concrete Sea" (#16 1972), "Christina" (#9 1975), "Rock'N Roll (I Gave You The Best Years Of My Life)" (#22 1975) (a bigger American hit by Mac Davis), and the Buddy Holly cover "I'm Gonna Love You Too" (#7 1973). He has since faded from the recording scene.

Susan Jacks went on to release three more solo albums and had a series of Juno nominated hits in Canada including "Anna Marie" (#20 1976), "All The Tea in China" (#93 1980), and "Tall Dark Stranger" as well as other hits such as "I Thought of You Again "(#7 1974), "You Don't Know What Love Is" (#3 1973) and "You're a Part of Me" (#41 1975) (later a Top 40 hit for Kim Carnes and Gene Cotton). In 1982, she moved to Nashville, Tennessee and, in addition to recording, became a staff songwriter for a Nashville publishing company. Several of her compositions have been recorded by Canadian artists, one of her songs being recorded on a Grammy nominated children's album. She recently returned to the Pacific Northwest and has resumed recording and live performances.

Album review:
While in recent years dozens of would-be hipsters have written about the dark undercurrents to be found in the music of the Carpenters, anyone looking for a truly great bummed-out soft rock experience needs to dig up the long out of print debut LP from Vancouver's Poppy Family. While producer, arranger, songwriter, and general straw boss Terry Jacks later found fame for his hit adaptation of Jacques Brel's "Seasons in the Sun," his greatest work was with his then-wife Susan Jacks and their group, the Poppy Family. Blending moody soft pop with light psychedelia, the group hit a rich vein of gorgeous melancholy that made sadness sound positively sensual (the album's token "upbeat" tune, "Happy Island," is significantly also one of the set's weakest moments). The album's two international hit singles, "Which Way You Goin' Billy?" and "That's Where I Went Wrong," are both tales of lovers on the run that sound as desperate as Del Shannon and as lonesome as Brian Wilson's worst nightmare, and such lost classics as "You Took My Moonlight Away" and "Beyond the Clouds" are every bit as strong, boasting clear but emotive vocals from Susan Jacks, brilliant if oddball Indian percussion from Satwan Singh, and melodramatic string arrangements from Graeme Hall. And the two side-closing "freakouts," "There's No Blood in Bone" and "Of Cities and Escapes," manage to be cheesy and powerfully effective at the same time. If the '70s were supposed to be about having a nice day, "Which Way You Goin' Billy?" shows the Poppy Family were one band waiting for a cloud to blot out all that annoying sunshine; at once kitschy and marvelously sincere, it's a great record worthy of rediscovery. (by Mark Deming,

Track listing:
1. "That's Where I Went Wrong" – 2:28
2. "Free From The City" – 2:15
3. "Beyond The Clouds" – 2:30
4. "A Good Thing Lost" – 2:00
5. "You Took My Moonlight Away" – 2:40
6. "There's No Blood In Bone" – 2:55
7. "Happy Island" – 2:45
8. "Which Way You Goin' Billy?" - 3:18
9. "Shadows On My Wall" - 2:25
10. "What Can The Matter Be?" - 2:17
11. "For Running Wild" - 2:14
12. "Of Cities And Escapes" - 3:45

Susan Jacks: vocals, percussion
Terry Jacks: guitar
Craig McCaw: guitar, sitar
Satwant Singh: tablas, bongos, percussion

No link.

Dienstag, 9. November 2010

Luciano Berio / Cathy Berberian - Recital I for Cathy / Folk Songs / Three Songs By Kurt Weill (1995, 3 Kurt Weill Songs)

Cathy Berberian, singer and wife of Luciano Berio, was one of music's true originals. Equally adept at Monteverdi and the wildest effusions of the avant-garde, her performances brought her husband's music to new and appreciative audiences, while permitting Berio to create some of his most gripping work at the same time.

Folk Songs is exactly what the title says - a collection of folk songs from around the world which gives Berberian the opportunity to demonstrate her ability to sing in different languages and styles. Recital 1 is something else again - a monologue for soprano that reveals the slow disintegration of her personality. It's a nervous breakdown in music. Berberian performs everything on this disc brilliantly.

"Recital I for Cathy" (1971) typifies his "collage" technique. Recital includes a Monteverdi aria, more or less straight, a mock-Baroque aria Berio had written in the Forties, various phrases from Mahler, Schubert, Verdi, Prokofieff, Purcell, Schoenberg, and others, all set against a swirly, scintillating background. Berio requires his ex to turn from one to another after as few as three notes. This sort of thing could easily become pointless, but Berio provides a dramatic situation. A mezzo rehearsing for a recital waits for her accompanist to show up and becomes unhinged, skittering from one item in her repertoire to another. The work becomes a modern equivalent of the operatic "mad scene," a toothsome duck soup to Berberian. She certainly knows how to act while she sings, although less so when she speaks or sprechstimms – that is, speaks on approximate pitches in a specified rhythm. Consequently, the work succeeds best when Berio gives her actual pitches. For me, however, the main attraction is Berberian, rather than the work, which strikes me as too easy. It's Berberian who gives it class.

"Folk Songs", from 1964, yet another collage, this time mixes settings written over roughly two decades together in one work. Purists will find the work misnamed. It includes folk tunes, fake folk, and pop – 11 in all – from the United States, France, Italy, Sicily, Sardinia, Armenia, and Azerbaijan. To me one of the most beautiful vocal works of the post-war era, Folk Songs uses a chamber instrumentation of flute, clarinet, harp, viola, cello, and percussion. It begins with a fiddler "playing himself in" as the singer begins "Black is the color of my true love's hair" and moves into "I wonder as I wander," both by John Jacob Niles. Simple though these tunes may be, they are artfully simple. Berberian brilliantly catches their flavor by turning herself into a concert version of "mountain soprano" Jean Ritchie, thinning out the tonal heft while remaining sweet and true. As in Recital I, largely traditional settings are put into avant-garde environments. Yet, the tunes keep their vernacular character. The Italian set (including Sicily and Sardinia) surprised me the most, since most of them sound Falla-Spanish to me. The Sardinian "Motettu de tristaru" and the French "La fiolairé" (from Canteloube's Chants d'Auvergne) receive the most extreme treatment. Berio, to his credit, throws the spotlight on the basic material, rather than on his contributions per se. Nevertheless, it remains, in its post-modern eclecticism, a resolutely contemporary, even prophetic work. Throughout, Berberian virtuosically changes her vocal colors to suit the music and the text. In the French "Rossignolet du bois," she becomes a young girl on the edge of first love. In the Italian "A la feminisca," she becomes possessed by Spanish duende. In a second song from Canteloube, where Berio essentially translates Canteloube's orchestra to chamber proportions, "Malurous qu'o uno fenno" (roughly, "Women! Ya can't live with 'em, ya can't live without 'em"), Berberian manages to dance through sass, cynicism, and merriment. One of the finest performances by a singer who routinely turned out great ones.

The disc ends with three songs by Kurt Weill, two of them classics: "Ballad von der sexuellen Hörigkeit" (ballad of sexual dependency) from Die Dreigroschenoper, "Le grand Lustucru" (Lustucru the Great) from Marie Galante, and "Surabaya Johnny" from Happy End. Berio, for some reason, orchestrated these. After all, Weill, a master of instrumental color, orchestrated them himself. Berio differs from Weill, essentially offering up more wholesome timbres than the originals. I prefer Weill's sourer sound, reeking of spilled whiskey, urinal cakes, and stale cigarettes. Berberian sings both German items in English, translating them herself. She provides credible lyrics. I prefer Blitzstein's version of the "Ballad," but at least Berberian avoids the trap academic translators fall into, essentially so concerned with literal meaning that they forget Brecht's zip and wit. Again, these tracks' reason for being comes down to Berberian's performance. She has carved out her own niche with these songs, apart from Lotte Lenya, Gisela May, and the lesser Ute Lemper. For one thing, she sings them without the throaty rasp. However, what puts her in the exalted company of Lenya and May is once again the fact that she is such a splendid singing actress.


1. Recital I For Cathy: Se I Languidi Miei Sguardi (Monteverdi)
2. Recital I For Cathy: Amor, Dov'e La Fe (Monteverdi)
3. Recital I For Cathy: 'Ah! He Hadn't Been There Before...'
4. Recital I For Cathy: 'Clarinet That's The Sound That Has Been Haunting Me...'
5. Recital I For Cathy: Avendo Gran Desio (Berio-Da-Lentini)
6. Recital I For Cathy: 'Who Hasn't Taken A Piece Out Of My Life?'
7. Recital I For Cathy: Musician Exchange: 'These 5 Men...'
8. Recital I For Cathy: Exc: Mahler, Delibes, Rossini, Etc
9. Recital I For Cathy: Calmo E Lontano: 'Libera Nos'
10. Folk Songs: Black Is The Colour...
11. Folk Songs: I Wonder As I Wander...
12. Folk Songs: Loosin Yelav...
13. Folk Songs: Rossignolet Du Bois
14. Folk Songs: A La Femminisca
15. Folk Songs: La Donna Ideale
16. Folk Songs: Ballo
17. Folk Songs: Motettu De Tristura
18. Folk Songs: Malurous Qu' O Uno Fenno
19. Folk Songs: Lo Fiolaire
20. Folk Songs: Azerbaijan Love Song
21. Song Of Sexual Slavery
22. Le Grand Lustucru
23. Surabaya Johnny

"Recital 1 For Cathy" was composed in 1971 and ecorded on September 19-25, 1972 in EMI Studios, London.
"Folk Song"s (composed in 1964) and "3 Songs by Kurt Weill" were recorded on December 21 & 23, 1968, in Webster Hall, New York City.

Luciano Berio / Cathy Berberian - Reictal I for Cathy / Folk Songs /Three Songs by Kurt Weill
(192 kbps, cover art inlcuded)

Freitag, 5. November 2010

Grace Slick & The Great Society - Live At The Matrix (1968)

Before joining Jefferson Airplane, Grace Slick sang lead and played various instruments for the Great Society, who were nearly as popular as Jefferson Airplane in the early days of the San Francisco psychedelic scene. Instrumentally, the Great Society were not as disciplined as Airplane. But they were at least their equals in imagination, infusing their probing songwriting with Indian influences, minor key melodic shifts, and groundbreaking, reverb-soaked psychedelic guitar by Slick's brother-in-law, Darby Slick. Darby was also responsible for penning "Somebody to Love," which Grace brought with her to Airplane, who took it into the Top Five in 1967. The Great Society broke up in late 1966 after recording only one locally released single; after Jefferson Airplane became stars, Columbia issued this stunning live album of the Great Society performing at San Francisco's Matrix Club in 1966 (also released as "Collector´s Edition").

This album did not break any sales-records, but it contains splendid and psychedelic performances of the later hits "White Rabbit" and "Somebody To Love". Grace Slick proved herself a talented singer: She attempted to imitate the sound of an electric guitar and developed a unique and forceful singing style. "Sally Go Round The Roses" with it's extended instrumental-passage, is an example of what would later come from groups like Iron Butterfly.

Grace has always said that "White Rabbit" was intended as a slap toward parents who read their children stories such as Alice in Wonderland (in which Alice uses several drug-like substances in order to change herself) and then wondered why their children grew up to do drugs. For Grace and others in the '60s, drugs were an inevitable part of mind-expanding and social experimentation. With its enigmatic lyrics, "White Rabbit" became one of the first songs to sneak drug references past censors on the radio. Even Marty Balin, Grace's eventual rival in the Airplane, regarded the song as a "masterpiece."

The historical importance of this genuine live-document can´t be overestimated.

No link.

Rebel Soca - When The Time Comes

Soca? Isn´t that the ultimate party music? If you close your eyes, you may see a dancefloor teeming with revelers who, hands in the air, gyrate ecstatically to the liquid pulse generated by a throbbing, hypnotic bass and on-the-four bass drum countered with off-center percussion accents. Racheting rhythm guitar and stabbing horns supercharge the beat even further, making hip-shaking, belly-rolling, waist-winding almost an involuntary act. But there is even more...

Literally, the term "soca" abbreviates "soul calypso" and came into currency during the 1970´s when calypso was streamlined in response to the disco-dance juggernaut spreading over the world. Calypso, of course, has had a long and venerable history in the Caribbean, with variants in nearly all English-speaking and some French-speaking islands. One can easily trace its origins to the 18th century but its roots stretch back to Africa. In many West African societies singers and poets have traditionaly been not only historians but also mouthpieces for the people. They speak, obliquely, through satire and parables and commentary on everyday events, to the leaders, who ignore such criticism and advice at their peril. In contrast to the smiling, tourist-pleasing image propaged during the 50s and 60s, the business of being a calypsonian was serious business. Although soca lyrics tend to be "party-hearty" celebrations of love and life, a significant percentage deal with more serious issues; calypso´s tradition of social commentary remains vital with today´s "Rebel Soca". A minority of culturally-conscious soca artist have adopted a pan-african perspecitve, incorporating elements of reggae, african music and other caribbean styles into their soca. "Rebel Soca" brings together some of the finest conscious soca tracks of the 70s and 80s which combine unbeatable dance rhythms and some of the sharpest political lyrics in world pop. Often their lyrics are confrontatinal, politically-oriented commentary - a focus for the concerns of oppressed people.

Rebel Soca - When The Time Comes
(mp3, 192 kbps, ca. 69 MB)

Donnerstag, 4. November 2010

Neil Young - Live at the Bottom Line, New York, May 16 1974

Three months after the 1974 opening of the New York club the Bottom Line, Neil Young gave a solo acoustic performance there that was among the more remarkable shows of his career. Even for an artist accustomed to throwing a new song or two into his concerts, this set was unusual: of the 11 songs, only one, "Helpless," had been released on record, with many of the others, including "Ambulance Blues," "On the Beach," "Roll Another Number," and "Pardon My Heart," later scattered among records like "On the Beach", "Tonight's the Night" and "Zuma". But it wasn't just the set list that made the show memorable. Usually reticent on-stage, Young was talkative and enjoyed a close interaction with the audience; he told stories, explained his feelings about his songs, even gave recipes. And he sang some of his strongest material of the mid-'70s.

Legend has it that Neil Young was at The Bottom Line to see Ry Cooder, and was so inspired by his gig that Neil followed with an off-the-cuff one-hour acoustic guest. Perhaps Neil had planned to play all along. Remember that Neil didn't tour as a solo act during 1974, though he did a brief and troubled tour with his on-again, off-again bandmates in CSNY.

This concert was released on the bootlegs "First Plane Outta Here" a.k.a. "Citizen Kane Jr. Blues".

No link.

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)

No link.

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.

No link.

Sonntag, 31. Oktober 2010

VA - Mojo Rock Steady

The term "reggae," often used to describe any music coming from Jamaica, is in reality a term that represents a whole canon of music that has grown, developed, and branched off from Jamaica's first native popular music, ska. Rock steady, the next form the island developed, is the precursor to the specific sub-genre of reggae, as well as the politically and culturally directed music that followed it called roots. In the rock steady era of the '60s and '70s, ska's blaring horns were minimized, and an electric bass and syncopated horn line carried the rhythm. The lyrics became more centered upon political and social concerns, especially the plight of Jamaica's black citizens. MOJO ROCK STEADY is an excellent introduction to this important era in the development of reggae music. Rhythmically and contextually, the songs contained herein represent important markers in reggae's growth. There are classic instrumental pieces like "Rockfort Rock" (originally titled "Psychedelic Rock" but renamed because a DJ from the Rockfort area of Kingston claimed it as his neighborhood's theme song), protean social protest songs from the Gaylads ("Africa") and the Bassies ("River Jordan"), and an example of one of reggae's lesser-known female vocalists, Denise Darlington ("Feel So Good"). You´ll find the tracklist in the comment.

Mojo Rock Steady (192 kbps)

Samstag, 30. Oktober 2010

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)
(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)

Neil Young - A Perfect Echo, Vol.6 (2 CD Soundboard Compilation)

And finally here´s volume 6 of this wonderful compilation. Thanks again to Braden!

Together with the first five volumes this makes an amazing six-volume (12 discs) treasure trove of great Neil live music including much of his wonderful output over a staggering period of almost 40 years - from all the way back in 1967 until 2006!

Disc 1: 1971-1999

Massey Hall, Toronto, ON 1/19/1971
1. There's A World
2. Bad Fog Of Loneliness
3. See The Sky About To Rain
9/14/74 Wembley Stadium, London England
4. Traces
5. Star Of Bethlehem
6. Love Art Blues
7. Don't Be Denied
8. Pushed It Over The End
02-06-1984, The Catalyst (Early Show), Santa Cruz, California w/ Crazy Horse
9. I Got A Problem
02-07-1984, The Catalyst (Late Show), Santa Cruz, California w/ Crazy Horse
10. Violent Side
9-25-1984, Austin City Limits TV Show, Austin, Texas w/ The International Harvesters
11. Amber Jean
01-13-1989, Brady Theatre, Tulsa, Oklahoma w/ The Restless
12. Wrecking Ball
13. Boxcar
1989 - 12/8/89 -
14. Fuckin’ Up
1997 Horde 8/1/97 Saratoga
15. Slip Away
Bridge, Mountain View, CA 10.31.1999
16. Cortez The Killer

Disc 12: 2004-2006

09-18-2004, White River Amphitheatre, Auburn, Washington, Farm Aid 2004 Solo
1. Pocahontas
2. Journey Through The Past
3. On The Way Home (piano version)
4. Cowgirl In The Sand
5. Birds
09-18-2005, Tweeter Centre, Tinley Park, Illinois, Farm Aid 2005 w/ The Prairie Wind Band
6. Walking To New Orleans
7. Southern Man
8. This Old Guitar
9. One Of These Days
Late Night With Conan O'Brien NBC Studios New York, November 2, 2005
10. The Painter
November 4th
11. No Wonder
12. When God Made Me
Saturday Night Live NBC Studios New York, New York, December 18th, 2005
13. It's A Dream
Farm Aid 21, Tweeter Centre Camden, New Jersey, September 30, 2006
14. After The Garden
15. Human Highway

No links.

Freitag, 29. Oktober 2010

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.
(192 kbps)

Pete Seeger - The Royal Albert Hall (03/07/78)

More than any other individual, Pete Seeger had conceived and fostered a tradition of protest song that drew from a number of cultural roots, had significant political consequence, and reshaped the forms and content of popular music.

This is a recording for the Chile solidartiy concert at the Royal Albert Hall, London, 1978.


You’ve Got To Walk That Lonesome Valley (trad.)
Victor Jara
Estadio Chile
The Wagoner’s Lad
Song Of A Strike
Photographer’s Ballad
Where Have All The Flowers Gone
If I Had A Hammer
(320 kbps, no cover)

Three Johns - The World By Storm (1986)

Far and away the best Three Johns album. Funnier, sharper, and more focused than "Atom Drum Bop", "The World By Storm" really lets the guitars rip, creating a more manic, tuneful wall of noise behind which the Johns rant and rave.

The record featured the three best singles the band ever recorded, "Atom Drum Bop" (this is not a mistake — there's no song by this title on the LP "Atom Drum Bop"), "Sold Down the River," and the scaborously funny "Death of the European" (with its John Lydon-like opening lines, "Big mouth/open wide/open up the pearly gates of freedom").

The lyrical concerns are the same as always — mindless, conspicuous consumption, empty-headed conservatism — but here the Johns sound more in control, and that begets a ferocity and urgency that makes this a compelling record. The Three Johns cult and Mekons fans lapped this up when it came out, but it was only available in America as an import (still is, as far as I know) and sank without a trace. Too bad, as it was one of the best records of 1986.

Three Johns - The World By Storm (1986)
(192 kbps)

Crosby, Stills, Nash & Young - Tribute To Neil Young (1970, Bootleg)

"Manic Depression" was one of those Italian labels that appeared at the end of the '80s selling hard-to-find live concerts on CDs for the first time. This was among the earliest CSNY CD bootlegs with a professionally designed cover and quite a nice selection of rarities all in very good sound.

The main part of this bootleg was a CSNY concert from June of 1970 that is supposedly at Lakehurst in New Jersey. It is a nice soundboard with very good to excellent sound.

The label wanted to showcase Neil Young's talents from the beginning and included early demos, work with his band The Squires and Buffalo Springfield. Whoever was the source offered pretty high quality tapes, the seven 1965 demos that Young will hopefully release on his archive set and even a couple of Buffalo Springfield acetates and demos.

Even Buffalo Springfield's performance at Monterey Pop, left off the official release, shows up here. This incomplete show has never been released even after 40 years. Only one track, For What It's Worth, was finally released in June 2007 on a Razor & Tie Monterey Pop collection.

The CSNY show has seven Young songs out of the show's 18. The Young medley of The Loner, Cinnamon Girl and Down By The River boasted his talent as guitarist and soloist. The 13-minute long Southern Man closed the show in fine hard rock tradition. With Neil Young, CSN gained a harder sound to offset their folky image.

Consider "Tribute To Neil Young" a fan's dream of what his archive release will be. This was a great start to the CD bootleg era. Thanks to the folks at "Manic Depression", whoever you are.
- The Little Chicken

Disc I
Track 101 Suite: Judy Blue Eyes (14.8MB)
Track 102 Blackbird (6.3MB)
Track 103 On The Way Home (7.1MB)
Track 104 Teach Your Children (8.2MB)
Track 105 Tell Me Why (8.0MB)
Track 106 The Loner Medley: The Loner/ Cinnamon Girl/ Down By The River (14.9MB)
Track 107 Black Queen (10.1MB)
Set II
Track 108 49 Bye-Byes/ For What It's Worth (10.9MB)
Track 109 Love The One You're With (5.5MB)
Track 110 As I Come Of Age (4.6MB)
Track 111 Pre-Road Downs (5.3MB)
Track 112 Long Time Gone (8.3MB)
Track 113 4 And 20 [live at Big Sur, April 1, 1969] (2.7MB)
Disc II
Track 201 Helplessly Hoping (8.1MB)
Track 202 Ohio (5.8MB)
Track 203 Southern Man (17.9MB)
Neil Young unreleased 1965 demos
Track 204 Sugar Mountain (3.7MB)
Track 205 Nowadays Clancy Can't Even Sing (4.0MB)
Track 206 Run Around Babe (3.6MB)
Track 207 Don't Pity Me Babe (6.8MB)
Track 208 I Ain't Got The Blues (3.6MB)
Track 209 The Rent Is Always Due (3.8MB)
Track 210 When It Falls It Falls Over You (3.5MB)
Buffalo Springfield
Track 211 Down To The Wire [1967 Gold Star acetate] (3.4MB)
Track 212 Do I Have To Come Right Out And Say It [1967 Gold Star acetate] (4.2MB)
There Goes My Babe [1966 demo; officially released on Buffalo Springfield boxset]
One More Sign [1966 demo; officially released on Buffalo Springfield boxset]
The Squires from 1963
Track 215 Sultan (3.4MB)
Track 216 Aurora (3.2MB)
Buffalo Springfield
[live at Monterey Pop Festival, June 17-18, 1967. Neil Young had left and was replaced by Doug Hastings who would later join Rhinoceros. David Crosby is said to have guested here.]
For What It's Worth [officially released by Razor & Tie, June 5, 2007]
Track 218 Nowadays Clancy Can't Even Sing (4.8MB)
Track 219 Rock 'n' Roll Woman (5.6MB)
Track 220 Bluebird (6.1MB)
Track 221 Guinevere [live at Big Sur, April 1, 1969] (6.3MB)

All other tracks are live at Lakehurst, New Jersey, June 30, 1970.

No link.

Mittwoch, 27. Oktober 2010

Lord Kitchener - King Of Calypso (1965)

Lord Kitchener (born Aldwyn Roberts) shares with Mighty Sparrow the title of the world's best known Calypso singer.

He began his career in Trinidad and won his first Road March award for singing in 1946. In 1948, Kitch emigrated to England in the company of singer Lord Beginner and newsreel footage of the time shows him singing "London Is the Place for Me."

In less than two years, he and Beginner were recording for EMI. Kitch enjoyed massive popularity in England. In the 1950s, he toured West Africa and enjoyed a big hit there with his single, "Nora."

Like many calypsonians, Kitch drifted toward soca and in 1978 hit the charts with "Sugar Bum Bum." Additonally noted for his hit single, "Give Me the Ting," he died February 12, 2000 at the age of 77.

Here is his album "King Of Calypso", released in 1965 on Melodisc.

Lord Kitchener - King Of Calypso (1965)
(192 kbps, front & back cover included)

Giora Feidman - In Jerusalem

Argentine-born and Israeli-based, Giora Feidman has become the leading interpreter and performer of Eastern European klezmer. Despite his classical training with the Israel Philharmonic Orchestra, Feidman's clarinet playing is unrestrainedly and emphatically eclectic.
Here´s his album "Feidman in Jerusalem" from 1994 with the Jerusalem Symphony Orchestra conducted by David Shallon.

Dienstag, 26. Oktober 2010

This Is Soca - 14 Massive Carnival Hits

There´s no question about it, the Caribbean is one of the musical hothouses of the world and this is due to the amazing diversity of musical styles at work there. Thanks to ist history, each island is its own little orchid house of musical cross-fertilizations. Reggae is the musical export of Jamaica, whilst Soca is the good time party-music burning out of Trinidad and the surrounding islands.

While Jamaicanreggae inclines to expressions of suffering and anger, Trinidadian music tends to irreverent satire and abandoned hedonism of Carnival, a two-month annual party of which Soca has become the driving force. To risk a broad generalization, Reggae, with its steady beat, tends to be earthbound, whilstSoca, with its carefree spring, seems airborne.

"This Is Soca" is a collection featuring Chinese Laundry, Superblue, Tambu and some other artist with some of the best soca songs ever out. Also, Andy Stephenson's great rework of Michael Jackson's "Billie Jean" (among other MJ songs) will make you laugh and move your body at the same time.

All Soca massiv... dis is de mad stomp!!

This Is Soca - 14 Massive Carnival Hits
(192 kbsp)

Mas´ Hysteria - 14 Massive Soca Carnival Hits

Temperature is still high, so it´s time for some more soca...

This irresistibly sun-drenched compilation includes some soca tunes from one of the world´s biggest street parties - Mas´ or Carnival.

01. Superblue - Bacchanal Time
02. Duke - Soca Have Me Tu Tul Bay
03. Mighty Sparrow - The More The Merrier
04. Black Stalin - Sundar
05. Barnett 'Preacher' Henry - Jump Up And Wave
06. Calypso Rose - Ju Ju Warrior
07. Gabby - Boots
08. Colin Lucas - Oh She Cassette
09. Chris Garoia - Chutney Bacchanal
10. Roaring Lion - Netty Netty
11. Nigel Lewis - Poowah
12. Grynner - Don't Push Me Rosie
13. Iwer George - Yes Iwer
14. Crazy - Paul, Yer Mudder Cum

Mas´ Hysteria - 14 Massive Soca Carnival Hits (192 kbps)

Country Joe & The Fish - The Collected Country Joe & The Fish 1965 - 1970

If you mention the name Country Joe & the Fish to Americans born in 1955 or earlier, chances are that they'll know the band you're talking about, at least to the degree that they know their most widely played and quoted song, "I Feel Like I'm Fixin' to Die Rag." The problem is, that particular song captured only the smallest sliver of who Country Joe & the Fish were or what they were about. One of the original and most popular of the San Francisco Bay Area psychedelic bands, they were also probably the most enigmatic, in terms of who they actually were, and had the longest and strangest gestation into becoming a rock band. And Joe McDonald may have written the most in-your-face antiwar, anti-military song to come out of the 1960s, but he was also one of the very few musicians on the San Francisco scene who'd served in uniform.

Country Joe & the Fish are well represented on this 19-track compilation that traces their development from a politically-oriented folk/jug band ensemble to a politically oriented rock and soul band. Most of the material comes from 1967, the band's high-water mark, and the centerpiece is the still-cutting "I-Feel-like-I'm-Fixin'-to-Die Rag."
No link.

Maniacs vs. Sarkiat - Don´t Climb The Pyramids

Cram an electric trio and seven egyptian musicians in a little room in the heart of Cairo for ten days and see what happens. The first steps of egyptian hard core? An oriental version of end-of -the millenium electric rock`n`roll? The rebirth of arabic pop muisc?

It`s a dream Alain Croubalian, from the Maniacs (based in Geneva), and Fathy Salama, leader of Sharkiat (means "coming from the east), wanted to bring to life. They felt, more than they exactly knew, the common ground where egyptian folk music, international pop, electronic sounds and independent rock could meet. And they made it happen.

After concerts in the Cairo Opera House and a tour of swiss underground clubs they recorded 10 songs in an old studio in Shobra, the heart of popular Cairo.

Escaping the usual cliches about oriental music isn`t easy. When talking about Egypt, you automatically think of sand, camels and pyramids. But Cairo is a busy urban city where 13 million people struggle for everyday life. Traffic is hell and the pop muisc is all electronic beats twisted in a mayheim of selfish pop. This encounter doesn`t really fit your usual world music standards, where exotism counts more than reality. Maniacs and Sharkiat agree and sincerely feel this "Don`t climb the pyramids" album is as authentic as music gets; at the same time a strange encounter. At the end of the recording sessions everybody looked at each other wondering: "It`s great music ! But what is it ?" Neither of us had heard such sounds collide excepts in our wildest fantasies. Today they are reality.

Up, Bustle & Out - Che Guevara ... A Dream Of Land And Freedom

With influences drawn from diverse sources all over the world — from Istanbul to Bolivia, Andalusia to North Africa — Up, Bustle and Out is one of the harder groups to pin down on the experimental breakbeat landscape. Hailing from the English town of Bristol, home also to Tricky and Massive Attack, Up, Bustle and Out comprises producers Rupert Mould and D. "Ein" Fell, who formed the group in the early '90s as an adjunct to their respective interests in non-Western musics, funk and soul, jazz, and experimental underground club styles like house, techno, ambient, and trip-hop.

Up, Bustle & Out take their romantic Latin dabblings to their most ambitious extreme with this limited 7-track CD, released to coincide with the 30th anniversary of the death of Cuban revolutionary Che Guevara. A must for those who appreciate good intellectual music dedicated to a man who will live in our memories for ever.
No link.

Swing Is Here - Small Band Swing 1935 - 1939

The mid-1930s were golden years for jazz. The music on this CD is quite exciting but much of it is issued here in incomplete fashion.

There are all four titles from Gene Krupa's Swing Band (a superb pickup group with trumpeter Roy Eldridge, clarinetist Benny Goodman and Chu Berry on tenor in additon to two Helen Ward vocals) but just three numbers from a session led by arranger Gene Gifford with trumpeter Bunny Berigan, six of the ten titles recorded by Mezz Mezzrow's bands during 1936-37 (featuring trumpeter Frankie Newton, Bud Freeman on tenor and a rare outing outside of the Jimmy Lunceford orchestra by trumpeter Sy Oliver), two jams by Frankie Newton in 1939 and seven songs from Wingy Manone.

Swing Is Here - Small Band Swing 1935 - 1939 (192 kbps)

Montag, 25. Oktober 2010

Laurel Aitken & Girlie - Scandal In A Brixton Market (1969)

Known as "the Godfather of Ska," Laurel Aitken was Jamaica's first real recording star. He was a pioneer in many other respects as well: he was one of the first artists ever to release a ska record, the first to work at promoting his music in the U.K., and one of the first to record for the seminal Island label, itself a major force in the international popularity of Jamaican music. Cutting his teeth on the sort of jump blues and boogie shuffles popular during the early days of American R&B, Aitken recorded numerous hits for a variety of labels over the years, enjoying his heyday during the '60s. His continued presence in the U.K. made him an elder statesman to the Two Tone ska revival movement of the punk era, and he continued to tour even into the new millennium.

"Scandal In A Brixton Market" was released in 1969 on the Pama label.


Side 1:
Laurel Aitken & Girlie: Scandal In A Brixton Market
Laurel Aitken & Girlie: Madame Streggae
Laurel Aitken: Stupid Married Man
Laurel Aitken: Tammering
Laurel Aitken: Have Mercy
Laurel Aitken: Night Cricket

Side 2: Laurel Aitken: Run Powell Run
Laurel Aitken: Teddy Bear
Laurel Aitken: Mr Soul
Laurel Aitken: Woke Up This Morning
Laurel Aitken & Rico Rodriguez: Babylon
Laurel Aitken & Rico Rodriguez: Stop The War In Vietnam

Laurel Aitken & Girlie - Scandal In A Brixton Market (1969)
(192 kbps)

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)

Paul Butterfield - Live - Unicorn Coffee House, Boston, MA

Paul Butterfield was the first white harmonica player to develop a style original and powerful enough to place him in the pantheon of true blues greats. It's impossible to overestimate the importance of the doors Butterfield opened: before he came to prominence, white American musicians treated the blues with cautious respect, afraid of coming off as inauthentic.

Not only did Butterfield clear the way for white musicians to build upon blues tradition (instead of merely replicating it), but his storming sound was a major catalyst in bringing electric Chicago blues to white audiences who'd previously considered acoustic Delta blues the only really genuine article. His initial recordings from the mid-'60s — featuring the legendary, racially integrated first edition of the Paul Butterfield Blues Band — were eclectic, groundbreaking offerings that fused electric blues with rock & roll, psychedelia, jazz, and even (on the classic East-West) Indian classical music.

As members of that band — which included Michael Bloomfield and Elvin Bishop — drifted away, the overall impact of Butterfield's music lessened, even if his amplified harp playing was still beyond reproach. He had largely faded from the scene by the mid-'70s, and fell prey to health problems and drug addiction that sadly claimed his life prematurely. Even so, the enormity of Butterfield's initial impact ensured that his legacy was already secure.

Here´s a Paul Butterfield Blues Band bootleg, recorded life at the Unicorn Coffee House, Boston, MA in spring 1966

Set 1:

01 Look Over Yonders Wall
02 Born In Chicago
03 Love Her With A Feeling
04 Walking Blues
05 Don't Say No To Me
06 One More Heartache
07 Work Song

Set 2:

08 Thank You Mr. Poobah
09 Serves You Right To Suffer
10 Got A Mind To Give Up Living
11 Walking By Myself
12 Baby Please Don't Go
13 World Is In An Uproar
14 Got My Mojo Working

Paul Butterfield - harp, vocals
Mike Bloomfield - guitar
Elvin Bishop - guitar
Mark Naftalin - keyboard
Jerome Arnold - bass
Billy Davenport - drums

Paul Butterfield - Live - Unicorn Coffee House, Boston
(320 kbps, cover art included)

Nick Gravenites & Michael Bloomfield - My Labors (1969)

Unless you're familiar with Chicago blues of the 1960s, or from the San Francisco Bay area, the name Nick Gravenites may not be a familiar one. That's because Gravenites has been an important and unfortunately sparsely recorded behind-the-scenes blues player for many years. More people are likely to know Gravenites for the dozens of great songs he wrote: "Born in Chicago" (Paul Butterfield), "Buried Alive in the Blues" (Janis Joplin), "East-West," "Work Me Lord," "Groovin' Is Easy," "Bad Talkin' Bluesman," and literally hundreds of others.

Gravenites' compositions have been recorded by Butterfield, Joplin, the Electric Flag, Elvin Bishop, Charlie Musselwhite, Big Brother and the Holding Company, James Cotton, Otis Rush, Jimmy Witherspoon, David Crosby, Quicksilver Messenger Service, Tracy Nelson, Blue Gravy, Howlin' Wolf, Roy Buchanan, Pure Prairie League, and others.
He's also made quite a name for himself as a producer, working on albums by Otis Rush, James Cotton, Michael Bloomfield, Janis Joplin and others. Gravenites' sessionography is extensive; he's performed on more than 45 albums as a singer, guitarist, songwriter, or bandleader.
"My Labors" is a strong major-label debut that the Chicago-born San Francisco bluesman was unable to capitalize on. Most of the tracks are from the same session that produced "Live at Bill Graham's Fillmore West" by Mike Bloomfield. Gravenites, an exceptional songwriter and decent singer, benefits from the presence of the amazing Bloomfield. He elevates the fierce "Moon Tune" to dizzying heights with two dazzling, lengthy solos. Quicksilver Messenger Service backs former producer Gravenites on several studio tracks.

Nick Gravenites & Michael Bloomfield - My Labors (1969)
(320 kbps, complete art work inlcuded)

Samstag, 23. Oktober 2010

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.

No link.

Calypso Pioneers - 1912-1937

This anthology is devoted to classic calypso and presents 16 formative songs from 1912-1937.

The music is still emerging from a confluence of American dance band sounds, African and Afro-Latin rhythms, plus Caribbean social situations and influences.

As carnival became an entrenched celebration within the Caribbean community, the songs composed to be performed during that time came to be known as calypso.

The anthology includes early performances by such calypso heroes as Atilla The Hun, Wilmouth Houdini, Phil Madison, Julian Whiterose and Sam Manning. Vocal styles, instrumental backing, lyrics, arrangements and production are quite unsophisticated and uneven on the early cuts, but a sound and unified approach began to appear in the middle section and is quite evident by the final numbers.

Calypso Pioneers - 1912-1937 (192 kbps, front & back cover included)

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)

Freitag, 22. Oktober 2010

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?

No link.

Skip James - Devil Got My Woman (1966)

Among the earliest and most influential Delta bluesmen to record, Skip James was the best-known proponent of the so-called Bentonia school of blues players, a genre strain invested with as much fanciful scholarly "research" as any.

Skip James made his original reputation with 17 recordings that he cut during February 1931, when he was 28. Although fluent on both the guitar and (to a lesser extent) the piano, James was most notable for his storytelling lyrics, his haunting high-pitched voice, and his distinctive interpretations of the Delta blues.
James was rediscovered 33 years after his early recordings, in time to appear at the 1964 Newport Folk Festival. He was quite active during 1964-1966, making the music on this solo album (his last record) three years before his death in 1969. One can easily hear the influence that Skip James' music had on the then flourishing folk music movement, and he still sang his country blues with great intensity.

Skip James - Devil Got My Woman (1966)
(192 kbps, cover art included)

Donnerstag, 21. Oktober 2010

Ari Up - Rest In Peace! - The Slits Debut 12" (Island, 1979)

ARI UP (SLITS) - On stage 1977
Ari Up, member of the Slits, died on Wednesday at age 48. Up’s stepfather, the Sex Pistols’ John Lydon, announced her death from a “serious illness” on his website. Up, a.k.a. Arianna Forster, formed the Slits with Palmolive (Paoloma Romero) and Viv Albertine when she was just 14, and the band’s mix of punk, reggae, and politics made them trailblazers. Meanwhile, the Slits’ last video, “Lazy Slam,” has been released posthumously according to Up’s wishes.
There’s no denying the importance of the Slits, especially their 1979 album "Cut". The group’s dizzy blend of dub rhythms, post-punk artiness, punk attitude and unpracticed enthusiasm was thrilling and unique, both when it first came out and 30 years later as well. On top of the glorious clatter and bounce of the music were Ari Up’s vocals. Yes, they may have wandered, they may have grated at times, but her style was perfect for the band and perfect for the times.

After "Cut", both the band and Up went through all kinds of changes that led to some interesting music at times - espcially her work with the Adrian Sherwood-produced, avant-garde reggae group the New Age Steppers.

Up’s death this week at the tragically young age of 48 gives us pause, and spurs us to remember just how influential, and fun, the Slits were at their peak.

To honour Ari Up we post the debut 12″ release from The Slits on Island records in 1979 with the wonderful tracks "Typical Girls" and "Grapevine".

01. Typical Girls / Brink Style
02. I Heard It Through The Grapevine / Liebe And Romanze

The Slits - Debut 12 Inch (Island, 1979)
(128 kbps, cover art included)

Rest in peace!

Children Of September

The PinkPudelCrew is lucky to present the film "Children Of September" next tuesday, (October, 26) at "Größenwahn", Kinzigstr. 9, 10247 Berlin.

"Children Of September" is a documentary film about the military putsch in Turkey on 12th September 1980 from the view of five eyewitnesses.

Five young people, four cities (Berlin, Copenhagen, Zurich and Paris). Everyone of them was born in a different region of Turkey. What their biographies have in common is the fact that their families had gone through the violence of the putsch on 12th September 1980.

How do the children who hanging on to their families apron strings had to emigrate to those countries live today? Are they, as were their parents, involved in politics? Do they have some special characteristics which make them the “Children of September”?

One of the directors and one of the protagonists will take part at the screening and invite you to a discussion about the topic and the film. The entry is free and you are welcome!

Montag, 18. Oktober 2010

Johnny Cash - The Sun Demos & Outtakes

Though Johnny Cash went from total unknown to Number 1 charting artist (“I Walk The Line”) during his time with Sun Records, it’s easy to forget that it all happened pretty quick and he was only with the label for two years, from 1955 to 1957, before he moved on to greener pastures at Columbia Records. The music that he made during this time, however, is truly timeless and in its grit and fatalism marked a new kind of country music with songs more than embracing sadness and loss, songs that turned a cold, brooding eye on the stark realities of life and love.
Before massive fame and excess and later producers got their hands on Cash’s songs and sound and tricked up the accompaniments and arrangements, for the most part it was just Johnny and the Tennessee Two, Luther Perkins on guitar and Marshall Grant on upright bass with added drums and maybe piano or pedal steel. This collection of demos and more polished and complete outtakes—which should be named “Some Sun Demos & Outtakes” because there are quite literally hundreds of hours of extant recordings from the time—is a priceless snapshot of a pivotal period in the history of popular music. Artwork is included.


1. Wide Open Road (Cry, Cry, Cry)
2. Rock & Roll Ruby
3. You're My Baby
4. Get Rhythm
5. I Walk The Line
6. Train Of Love
7. One More Ride
8. Folsom Prison Blues
9. Wide Open Road (Cry, Cry, Cry)
10. Goodnight Irene
11. My Treasure
12. I Love You Because
13. Leave That Junk
14. Country Boy
15. Come In Stranger
16. Oh Lonesome Me
17. You're The Nearest Thing To Heaven
18. Don't Make Me Go
19. Give My Love To Rose
20. The Ways Of A Woman In Love
21. Thanks A Lot
22. Fools Hall Of Fame
23. I Just Thought You'd Like To Know
24. I Forgot To Remember To Forget
25. Always Alone
26. The Story Of A Broken Heart

No link.

Willie Dixon - "The Quiet Knight" - Live Chicago, January 24, 1974

Willie Dixon's life and work was virtually an embodiment of the progress of the blues, from an accidental creation of the descendants of freed slaves to a recognized and vital part of America's musical heritage. That Dixon was one of the first professional blues songwriters to benefit in a serious, material way — and that he had to fight to do it — from his work also made him an important symbol of the injustice that still informs the music industry, even at the end of the 20th century. A producer, songwriter, bassist, and singer, he helped Muddy Waters, Howlin' Wolf, Little Walter, and others find their most commercially successful voices.
He probably wrote some of the most common known blues songs. To name a few, most of them included here: "Spoonfull", "Little Red Rooster", "Hoochie Coochie Man", "Down in the Bottom", "Back Door Man" & "Wang Dang Doodle".

His songs have become standards for blues players of all stripes and generations and you could argue that bands like Led Zeppelin and the Rolling Stones wouldn’t have existed as they did if it wasn’t for the great big Chicago bass player. He is to blues what George Gershwin is to jazz.

Here´s a classic, exellent sounding Blues show of the great Willie Dixon with his Allstar Band, broadcasted by WXRT-FM Chicago & recorded by Bob Craig to reel.

01-Intro Boogie
02-Crazy ´bout my Baby
03-Rock Me
04-I don´t trust nobody(when it comes to my Girl)
05-29 Ways
06-Wang Dang Doodle
07-Hoochie Coochie Man
08-Little Red Rooster
09-I think I got the Blues
10-My Baby
12-Closing Boogie
No link.