Dienstag, 30. September 2014

GDR Subculture, Vol. 3: "Bleibe im Lande und wehre dich täglich - Streiflichter auf die DDR-Rockszene" - Radio-Broadcast about "DDR Rock" (26.09.1989, Musicbox, Swiss)

The radio-broadcast "Bleibe im Lande und wehre dich täglich -  Streiflichter auf die DDR-Rockszene" from "Musicbox", a Swiss radio programm, is a very interesting document reporting about the GDR music scene in the year of the fall of the wall.
 Broadcasted 25 years ago, the feature combines music and interviews with memebers from bands like Big Savod, Tausend Tonnen Obst, Herr Blum, Die Anderen and Herbst in Peking. The musicians talk about the situation in the GDR music scene, about making compromises with the established system, about music between East and West, about politics and the ongoing changes in the GDR society.

Thanks to Tape Attack for this intimate impressions from the GDR music scene in the year 1989.

"Bleibe im Lande und wehre dich täglich - Streiflichter auf die DDR-Rockszene" (26.09.1989)
(192 kbps)

Donnerstag, 18. September 2014

Louis Killen - Ballads & Broadsides (Topic, 1965)

A dynamic singer of great individuality and integrity, Louis Killer has long been regarded as one of the most influential musicians of the mid-Twentieth century British folk revival.

Born and raised in the heart of the industrial North East of England of Irish descent, Killen grew up in a musical family and carne early to a love of folk music. In 1958 he founded "Folk Song and Ballad, Newcastle" - one of the first folk clubs in Britain. He recorded two EPs for Topic in 1962 - and Northumbrian Garland. The following year he participated in the Trade Union sponsored "Centre 42" concerts, which led to an invitation from A L Lloyd to contribute to the important themed collections "The Iron Muse", "Farewell Nancy" and "Tommy Armstrong of Tyneside".

Louis Killen's first full-length solo recording, "Ballads & Broadsides", was published in 1965. The recording sessions look place in Bill Leader's Camden Town flat, when Killen was just thirty and had been a professional musician for two years. The album is a classic; one of the first solo recordings from Killen's generation of revivalists and has been an important influence on younger singers for over four decades.

01 Young Edwin in the Lowlands
02 As we were a-saìling
03 The flying cloud
04 All things are quite silent
05 One may morning
06 The cock
07 The bramble briar
08 Thorneymoor woods
09 The banks of sweet Primeroses

Louis Killen: vocals, concertina

Louis Killen - Ballads & Broadsides (1965)
(ca. 192 kbps, cover art included)

Montag, 8. September 2014

Marianne Faithfull‎– The Seven Deadly Sins

If you're looking for the angelic Marianne Faithfull of "As Tears Go By", or the angry diva of "Broken English", or the lusher but piercingly acute imagery of her work with Angelo Badalamenti, you will not find it here. What you will find, though, is a fully orchestrated work that she has been selling out the house with in Europe - a parable of commerce called "The Seven Deadly Sins", with the Vienna Radio Orchestra and Dennis Russell Davies conducting.

These are the songs of Kurt Weill, composer, and Bertolt Brecht, lyricist. This work, it would seem, is a perfect match of voice timbre and sound wished for by the composer. The husky and weary voiced Faithfull does these songs as they were intended to be done, her voice a beautiful match in tone and color. It is the heavy and somber tone of the music that blends so perfectly with her voice here.

Weill's music tends toward a formality and somberness that shadows the concerns of the songs. Here Brecht's lyrics tell the moribund story of a girl placed on a tour by her family to earn money for their luxury; her voice reflects the weariness that becomes the ideal vehicle for her travails and lacerations. According to the tabloids, if they are to be believed, Marianne has spent her life researching this work. She displays that rare intelligence that allows all "misfortunes" to be converted to her benefit. There is a detachment that allows one to be intimately involved with, but not consumed by this type of work. This is her best work in quite some time. She deserves all the accolades that come her way as a serious singer who can pull off the piece. A wonderful disc from one whose live presence we must count as miraculous considering what she has lived through.     (allmusic.com)


10Alabama Song2:54
11The Ballad Of Sexual Dependency2:37
12Bilbao Song5:04
13Pirate Jenny4:47

Marianne Faithfull‎– The Seven Deadly Sins
(192 kbps, cover art included)     

Sonntag, 7. September 2014

Jacob Miller - Tenement Yard

Jacob Miller's debut solo album gives one a vivid idea of Miller's standing back in 1978.
The album features classics like "Tenement Yard", "Tired fe Lick Weed in a Bush," and the seminal "Forward Jah Jah Children."

"Roman Soldiers of Babylon" is on a par with these classics, while "Dread, Dread" is nearly of the same caliber.

Yet this is Jacob Miller we're talking about, so there's also lighter material, including the singer's fabulous 1976 Song Festival entry "All Night Til Daylight," the sparkling "Suzie Wong," a chirpy cover of War's smash "Why Can't We Be Friends," and a phenomenal cultural take on Otis Redding's masterpiece "(Sittin' on The) Dock of the Bay."

This album still remains a fabulous introduction to Miller's oeuvre that beautifully showcases Miller's heavier and lighter sides, and for its time it was a revelation.
Dreada Dread2:55
Tenament Yard2:35
Suzie Wong2:31
Every Day With You Girl2:15
Dock Of The Bay3:05
Tired Fe Lick Weed In A Bush2:59
Truth Has Come Again2:50
All Night Till Daylight3:15
Forward Jah Jah Children3:13
Why Can't We Be Friends3:30
Roman Soldiers Of Babylon
(192 kbps)

Justin Hinds & The Dominoes - Corner Stone (Treasure Isle)

Throughout a crucial period that bore witness to the emergence of ska and its later mutations into rocksteady and finally reggae, Justin Hinds was among the most successful recording artists on the Jamaican music scene, his sweet tenor spotlighted on hundreds of Duke Reid-produced singles between 1963 and 1972.

Born on May 7, 1942 in the St. Ann's area, Hinds' greatest music was later created in the company of his backing vocalists the Dominoes, a duo comprising Dennis Sinclair and Junior Dixon. They first recorded at Reid's Treasure Isle studios in late 1963, a debut session that yielded the hit "Carry Go Bring Come" in just one take.

Between 1964 and 1966, Hinds was Reid's most popular artist, and during this period alone he recorded some 70 singles backed by session aces Tommy McCook and the Supersonics; among his biggest ska hits were "King Samuel," "Jump Out of the Frying Pan," "The Ark" and "Rub Up Push Up."

Around 1966, Hinds made the transformation to rocksteady, and the hits kept coming. Over the next several years, he released smash after smash, including "The Higher the Monkey Climbs," "No Good Rudy," "On a Saturday Night," "Here I Stand," and "Save a Bread." He and Reid parted company in 1972, with the latter dying three years later; Hinds then began working with producer Jack Ruby, a collaboration which resulted in the 1976 LP "Jezebel". Two years later, he also teamed with producer Sonia Pottinger for a series of singles including "Rig-Ma-Roe Game" and "Wipe Your Weeping Eyes." After 1984's "Travel with Love", however, the reclusive Hinds essentially went into retirement, leaving Jamaica only rarely.

He did return to recording, albeit sporadically, with a final studio effort in 1992, "Know Jah Better", and then a decade later with a live album "Let's Rock Live". Another concert album, 2003's "Live at the Grassroots", featured Hinds backed by roots revivalists John Brown's Body.

Justin Hinds succumbed to cancer two years later, passing away quietly at his Jamaican home on March 16, 2005.


Carry Go Bring Come
Rub Up Push Up
Corner Stone
Here I Stand
Over The River
The Higher The Monkey Climbs
Teach The Youth
Hey Mama
Fight Too Much
If It's Love You Need
Mighty Redeemer
Save A Bread
On A Saturday Night
Say Me Say
Once A Man
Carry Go Bring Come Version 2

Justin Hinds - Corner Stone (Treasure Isle)
(192 kbps, front cover included)

Ruth Brown - Black Is Brown And Brown Is Beautiful (1969)

They called Atlantic Records "the house that Ruth built" during the 1950s, and they weren't referring to the Sultan of Swat. Ruth Brown's regal hitmaking reign from 1949 to the close of the '50s helped tremendously to establish the New York label's predominance in the R&B field. Later, the business all but forgot her — she was forced to toil as domestic help for a time — but she returned to the top, her status as a postwar R&B pioneer (and tireless advocate for the rights and royalties of her peers) recognized worldwide.

Young Ruth Weston was inspired initially by jazz chanteuses Sarah Vaughan, Billie Holiday, and Dinah Washington. She ran away from her Portsmouth home in 1945 to hit the road with trumpeter Jimmy Brown, whom she soon married. A month with bandleader Lucky Millinder's orchestra in 1947 ended abruptly in Washington, D.C., when she was canned for delivering a round of drinks to members of the band. Cab Calloway's sister Blanche gave Ruth a gig at her Crystal Caverns nightclub and assumed a managerial role in the young singer's life. DJ Willis Conover dug Brown's act and recommended her to Ahmet Ertegun and Herb Abramson, bosses of a fledgling imprint named Atlantic. Unfortunately, Brown's debut session for the firm was delayed by a nine-month hospital stay caused by a serious auto accident en route to New York that badly injured her leg. When she finally made it to her first date in May 1949, she made up for lost time by waxing the torch ballad "So Long" (backed by guitarist Eddie Condon's band), which proved to be her first hit.

Brown's seductive vocal delivery shone incandescently on her Atlantic smashes "Teardrops in My Eyes" (an R&B chart-topper for 11 weeks in 1950), "I'll Wait for You" and "I Know" in 1951, 1952's "5-10-15 Hours" (another number one rocker), the seminal "(Mama) He Treats Your Daughter Mean" in 1953, and a tender Chuck Willis-penned "Oh What a Dream," and the timely "Mambo Baby" the next year. Along the way, Frankie Laine tagged her "Miss Rhythm" during an engagement in Philly. Brown belted a series of her hits on the groundbreaking TV program Showtime at the Apollo in 1955, exhibiting delicious comic timing while trading sly one-liners with MC Willie Bryant (ironically, ex-husband Jimmy Brown was a member of the show's house band).

After an even two-dozen R&B chart appearances for Atlantic that ended in 1960 with "Don't Deceive Me" (many of them featuring hell-raising tenor sax solos by Willis "Gator" Jackson, who many mistakenly believed to be Brown's husband), Brown faded from view. After raising her two sons and working a nine-to-five job, Brown began to rebuild her musical career in the mid-'70s. Her comedic sense served her well during a TV sitcom stint co-starring with MacLean Stevenson in Hello, Larry, in a meaty role in director John Waters' 1985 sock-hop satire film Hairspray, and her 1989 Broadway starring turn in Black and Blue (which won her a Tony Award).

There were more records for Fantasy in the '80s and '90s (notably 1991's jumping Fine and Mellow), and a lengthy tenure as host of National Public Radio's Harlem Hit Parade and BluesStage. Brown's nine-year ordeal to recoup her share of royalties from all those Atlantic platters led to the formation of the nonprofit Rhythm & Blues Foundation, an organization dedicated to helping others in the same frustrating situation. In 1993 Brown was inducted into the Rock and Roll Hall of Fame and 1995 saw the release of her autobiography, Miss Rhythm. Brown suffered a heart attack and stroke following surgery in October 2006 and never fully recovered, passing on November 17, 2006.

Here´s her 1969 album "Black Is Brown And Brown Is Beautiful".

Ruth Brown - Black Is Brown And Brown Is Beautiful (1969)
(192 kbps)

Samstag, 6. September 2014

King Size Ska - Original Jamaican Instrumental Ska Sounds 1964-1966 (Trojan)

This album is a collection of original Jamaican instrumental ska sounds, recorded from 1964 to 1966.
This compilation collects some excellent ska tunes, in particular "El Torro" and "The Cat" by Roland Alphonso. Baba Brooks trumpet never sounded better as it does on "First Session", check it out. Well done, Trojan!

Trojan Records was founded in 1967 by Chris Blackwell and Lee Gopthal, as an Island Records subsidiary. The first releases were licensed from Duke Reid's Treasure Isle label, and the company took its name from Reid's sound system - The Trojan. In the 60s and 70s Trojan did a major effort in spreading Reggae over the UK, licensing Jamaican releases as well as pushing their own UK acts.

1 Roland Alphonso -El Torro
2 Baba Brooks & His Recording Band -King Size
3 Granville Williams Orchestra -Hi Life
4 Roland Alphonso -On The Move
5 Sammy Ismay & Baba Brooks Band- Cocktails For Two
6 Raymond Harper & Carib Beats- No Other Love
7 Roland Alphonso -Women Of The World
8 Baba Brooks & His Recording Band- Faberge
9 Granville Williams Orchestra -Old McDonald
10 Roland Alphonso -Nothing For Nothing
11 Tommy McCook & The Supersonics- Riverton City
12 Val Bennett & His Selected Group -Atlas
13 Roland Alphonso -Jungle Bit
14 Baba Brooks & His Recording Band -First Session
15 Granville Williams Orchestra-Popeye Ska
16 Roland Alphonso The Cat
17 Roy Richards & Baba Brooks Band, The Contact
18 Raymond Harper & Carib Beats, The Amour
19 Roland Alphonso Guantanamera
20 Carib Beats, The J.J. Special
21 Granville Williams Orchestra-Honky Tonk (Ska)
22 Roland Alphonso -Song For My Father
23 Baba Brooks & His Recording Orchestra -The Scratch
24 Granville Williams Orchestra -Tear Up
25 Cluett Johnson Orchestra Hot Nosh

King Size Ska - Original Jamaican Instrumental Ska Sounds 1964-1966  (Trojan)

(192 kbps, front cover included)

Freitag, 5. September 2014

The Black Ark Presents - Rastafari Liveth In The Hearts Of Everyone Itinually

Photobucket"Rastafari Liveth..." is a very dread collection, with heavy Rasta vibes throughout. Many of these tracks can't be found anywhere else, making this a valuable collection for serious Lee Perry fans. This album follows the pattern of a lot of Lee Perry releases, choosing to chronicle a series of singles and offering first the A, then the B side. The effect is not as mind-numbing and clinical as one might think.

These songs are from the prime of Perry's conscious phase, right during his flirtation with Rastafari. The lyrics are strong and the beats are strident and military, more reminiscent of some of King Tubby's work than a lot of what leaked from The Black Ark. Many of the usual suspects contribute vocals here, including Devon Irons and Watty Burnett.

Highlights include Clive Hylton's meditative "Judgement Day", Devon Irons' heavy duty "When Jah Comes", and the startling "Forward With Jah Orthodox", a menacing nyabinghi number calling for a new order in Jamaica. For those looking for a Lee Perry starting point, there are better records. For the converted, it´s tough to getenough andthis will be a welcome addition to the pile.


01. Ethiopian Land - Peter & Paul Lewis
02. Dub Land - The Upsetters
03. Rise And Shine - Watty & Tony
04. Shining Dub - The Upsetters
05. What A War - Watty Burnett
06. What A Dub - The Upsetters
07. 23rd Psalm - Junior Delgado & Big Youth
08. Judgement Day - Clive Hylton
09. Well Judged Dub - The Upsetters
10. Forward With Jah Orthodox - Mystic
11. Orthodox Dub - The Upsetters
12. Come Along - The Bluebells
13. Dub Along - The Upsetters
14. 4 And 20 Dreadlocks - Evan Jones
15. Dreadlocks Dub - The Upsetters
16. When Jah Comes - Devon Irons
17. When Jah Dubs - The Upsetters

The Black Ark Presents - Rastafari Liveth... (192 kbps)

The Revolutionary Dub Warriors - State Of Evolution

Through the late eighties and early nineties new alternative cultures had been steadily expanding which had more in common with the more hard-nosed counter-culture movements of the sixties than the impending explosion of cyber-related lifestyles. Specific within the new counter-cultures was the notion of travelling, being always on the move in order to resist the seemingly pervasive control and therefore the more intrusive features of an increasingly information hungry technocracy.
For a reason that will require the more enquiring mind of a seasoned social anthropologist, new contrasting musics became to be associated with the new travellers, free festivals, eco-warriors etc. These "new" music’s were rave, ambient and dub. Possibly because of the break-neck speed of what was known as rave, chill-out alternatives were a must!

The Revolutionary Dub Warriors were formed in 1991 in the Reading area by some of the originators of the free festival scene whose prime musical interest was reggae. Their contemporaries were the like of the Megadog and Whirl-y-Gig outfits, Zion Train, Dreadzone and the Orb. The interest in bass and space were the only rules, which governed their sounds.

(192 kbps, cover art included)

Jack Kerouac & Steve Allen - Poetry for the Beat Generation (1959)

"Poetry for the Beat Generation" marked Jack Kerouac's debut as a recording artist. Strangely enough, it was the by-product of a disastrous first show by Kerouac in an engagement at the Village Vanguard during December of 1957.

For the second performance, Kerouac's friend Steve Allen provided the accompaniment at the piano, with results so impressive that it would lead Kerouac to a short but dazzling career as a recording artist. The first result was this album, which came at the suggestion of either Allen or his friend, producer Bob Thiele, who was working for Dot Records at the time. The record was cut in a single session and a single take for each piece.

Allen's graceful piano opens the recording and Kerouac comes in, reading "October in the Railroad Earth" for seven minutes, off of a roll of paper in front of him. Kerouac's reading are in a class by themselves, and separate from Allen - the two performances co-exist and weave together without ever really joining, and the result is a peculiar form of jazz; Kerouac did his thing, Allen did his, and the result was a spellbinding performance, and it was musical, despite Kerouac's seeming monotone reading, which never slowed or otherwise interacted with Allen's piano - his voice dances to its own beat, with Allen embellishing and working around him; in the process, you get visions of various facets of Kerouac's work and personality, in extended pieces such as "October in the Railroad Earth" and short, piercing brilliant exclamations such as "Deadbelly" and "Charlie Parker."

The resulting album, cut in March of 1958, was one of the crowning achievements in recording of the 1950s. But it so appalled Randy Wood, the president of Dot Records, with its meandering narrative and daring language and subject matter, that the release was canceled, with Wood denouncing the recording in the trade papers as tasteless and questionable. Somewhere over 100 promotional copies of the Dot album (catalog number 3154) had gotten out to disc jockeys and reviewers, however, thus making it one of the rarest LPs in the label's entire history. Thiele finally left the company over the dispute and he reclaimed the master tape - it was on the Hanover label, formed with Allen (who was virtually a pop-culture institution at the time), that "Poetry for the Beat Generation" finally reached the public in June of 1959. It's still worth a listen now every bit as much as it was in 1959, and perhaps even more so.        

A1October In The Railroad Earth7:09
A3Charlie Parker3:45
A4The Sounds Of The Universe Coming In My Window3:17
A5One Mother0:49
A6Goofing At The Table1:45
A7Bowery Blues3:56
B2Dave Brubeck0:31
B3I Had A Slouch Hat Too One Time6:12
B4The Wheel Of The Quivering Meat Conception1:55
B5McDougal Street Blues3:23
B6The Moon Her Majesty1:36
B7I'd Rather Be Thin Than Famous0:37

Jack Kerouac & Steve Allen - Poetry for the Beat Generation (1959)  
(128 kbps, cover art included)

Dienstag, 2. September 2014

Eric Andersen - 'Bout Changes 'n' Things (1966)

'Bout Changes 'n' Things is an album by folk singer Eric Andersen, released in 1966.

On his second album, Andersen took considerable strides toward finding his own voice as a writer, and establishing himself as a noted singer/songwriter. The record featured several songs that would endure among his most renowned compositions.

The pretty "Violets of Dawn" was an obvious candidate for a hit record if it was given a folk-rock arrangement, though it never was a hit, in spite of several artists trying. "Thirsty Boots," inspired by the '60s civil rights movement, is one of the better known social commentary folk tunes of the period, although it wasn't that typical of Andersen's repertoire. "Close the Door Lightly When You Go" was one of Andersen's best bittersweet romantic tunes, and covered to good effect by Fairport Convention and the Dillards. At other points, Andersen still sounded a good deal like early Bob Dylan, but on the whole he was outgrowing that early persona, nonetheless often sounding like a gentler and more romantic counterpart to Dylan, with a more conventionally pretty voice.

While Debbie Green added second guitar to a couple of songs and Harvey Brooks played electric bass on a couple of others, the album was otherwise just Andersen with his guitar and harmonica, which in 1966 was becoming an old-fashioned way of doing things among contemporary songwriters. Perhaps for that reason, the entire album was redone with electric arrangements and resequenced (although with the exact same 12 songs), and the results were released as Andersen's next album, "'Bout Changes & Things Take Two".                


  1. "Violets of Dawn" – 3:50
  2. "The Girl I Love" – 3:00
  3. "That's All Right Mama" (Arthur Crudup) – 2:28
  4. "Thirsty Boots" – 5:55
  5. "The Hustler" – 4:02
  6. "Cross Your Mind" – 4:57
  7. "I Shall Go Unbounded" – 6:14
  8. "Champion at Keeping Them Rolling" (Ewan MacColl, Traditional) – 2:43
  9. "Hey Babe, Have You Been Cheatin'" – 3:08
  10. "Blind Fiddler" – 5:12
  11. "Close the Door Lightly When You Go" – 3:30
  12. "My Land Is a Good Land" – 2:58
Eric Andersen - 'Bout Changes 'n' Things (1966)
(192 kbps, cover art included)