Samstag, 31. Mai 2014

Sun Ra - The Singles (2 CDs)

Had the chance to see a wonderful Sun Ra concert this week with bandleader Marshall Allen.
Of all the jazz musicians, Sun Ra was probably the most controversial. He did not make it easy for people to take him seriously, for he surrounded his adventurous music with costumes and mythology that both looked backward toward ancient Egypt and forward into science fiction. In addition, Ra documented his music in very erratic fashion on his Saturn label, generally not listing recording dates and giving inaccurate personnel information, so one could not really tell how advanced some of his innovations were. It has taken a lot of time to sort it all out (although Robert L. Campbell's Sun Ra discography has done a miraculous job). In addition, while there were times when Sun Ra's aggregation performed brilliantly, on other occasions they were badly out of tune and showcasing absurd vocals.

Sun Ra consistently maintained he came from another planet - and his taste in clothes and harmonies lent some credence to the claim - but he also felt he could connect with a broad terrestrial audience, which is why he continually released singles on his Saturn label. Some of these singles were his trademark space-jazz, but most of them were more down-to-earth-doo-wop, blues, R&B vocals, swing standards, novelty songs and big-band dance numbers. Yet they all had the Sun Ra touch, which made them weird and worldly all at once.

Back in the mid-'50s, bandleader Sun Ra decided to get his music to his audience through a more direct process by starting his own label, Saturn Records. Equal parts creative futuristic vision and small-time Southern R&B bandstand hustle, these 45s were pressed in unbelievably small quantities (sometimes in runs of only 50 copies), making them the holy grail of Sun Ra collectibles. The collection of singles runs a neat 30-year time-frame and features everything from Sun Ra with an embryonic form of his Arkestra doing backup duties behind doo-wop groups and R&B slopbucket singers like 'Space Age Vocalist' Yochannon to wild-ass sonic experiements from the late '70s into the early '80s that would have atmospherically fit on any of his avant-garde albums. Pieced together for this release from the contributions of private collectors around the world -- and sonically cleaned up far beyond the audio capabilities of the original vinyl they were pressed on -- these 49 three-minute opuses will alternately confuse, astound, confound, delight, and illuminate Sun Ra fans of all stratas of involvement. A major piece of puzzle that is the man, now in place.
Sun Ra - The Singles CD 1
Sun Ra - The Singles CD 2
(192 kbps, front cover included)

Freitag, 30. Mai 2014

Alton Ellis - Sunday Coming (1970, Studio One)

Alton Ellis is one of the best Jamaican vocalists to have emerged during the ska and rocksteady periods in the '60s. His singing prowess remained intact through the reggae, dancehall, and ragga years as well, proving that his uniquely soulful delivery and impeccable phrasing could transcend reggae's many changes.

Recording with his preferred producer Clement Dodd, Ellis cut "Sunday Coming" around 1969-1970 at Dodd's legendary Brentford Road studio. Most likely backed by the producer's Sound Dimension band (featuring the great Jackie Mittoo as arranger and organist), Ellis offers up a typical set of originals and choice covers from the day's charts. On the handful of tracks Ellis co-wrote with Dodd, breezy medium-tempo cuts like "It's True" and "The Picture Was You" particularly stand out; the buoyant soul-based rocksteady beats, occasional jazz chords, and sweet harmonies all seem to be part of a musical setting in which Ellis thrived.

The point is substantiated by great Ellis performances on similarly disposed covers like the Guess Who's "These Eyes," Blood, Sweat & Tears' "You Make Me So Very Happy," and the Junior Walker hit "What Does It Take (To Win Your Love)." Ellis also shows some musical flexibility with his funky James Brown-inspired jam "Alton's Groove" and the fine roots reggae track "Reason in the Sky"; he even proves his contemporary relevance on two impressive tracks from 1994, including the updated rocksteady cut "Joy in the Morning" and a digitally enhanced number entitled "The Winner." This disc is one of Ellis' best and comes highly recommended to newcomers and reggae enthusiasts alike.

Alton Ellis - Sunday Coming
(320 kbps, front cover included)

Mittwoch, 28. Mai 2014

Dave Van Ronk - Gambler´s Blues (1965)

Guitarist, singer, songwriter, and native New Yorker Dave Van Ronk inspired, aided, and promoted the careers of numerous singer/songwriters who came up in the blues tradition.

"Not infrequently I am taken to task for the manner in which I approach my material," folk singer and guitar player Dave Van Ronk (1936-2002) wrote in the liner notes to Ballads, Blues, and a Spiritual. A white New Yorker singing traditional Southern black songs, he distinguished himself from others who adopted this repertoire by imitating the way he heard black musicians perform. "Although I can appreciate the ‘white approach’ to Negro folksongs and enjoy the work of many of its adherents, I still reserve the right to sing these songs in the style to which I am accustomed, partly because of habit, and partly, I confess, because I feel that my way is the ‘right way'."

Dave Van Ronk - Gambler´s Blues (1965)
(192 kbps, cover art included)

Dienstag, 27. Mai 2014

Blind Gary Davis - Harlem Street Singer

Recorded during a three hour session at the Jersey Jazz Studio of the legendary engineer Rudy Van Gelder on August 24, 1960, Gary Davis laid down 12 of his most impassioned spirituals for "Harlem Street Singer".

You get 44 minutes of soul survival stuff here, and any blues buff ought to own it. The more casual fan may have to listen a few times to really like Gary's vocals, but his guitar work is fun from the first chord. The recording quality is excellent.

Starting off the session with a version of Blind Willie Johnson's "If I Had My Way I'd Tear That Building Down," here renamed "Samson and Delilah," Davis is in fine form. His vocals are as expressive as Ray Charles' while similar in richness to Richie Havens' work.

"Harlem Street Singer" features his inspired country blues fingerpicking as well. Many moods color the selections, from the gentle "I Belong to the Band" to the mournful "Death Don't Have No Mercy," only to be followed by the joyous shouting of "Goin' to Sit Down on the Banks of the River." Overall, the collection should be considered essential listening for fans of country blues or gospel.


1. Samson And Delilah (If I Had My Way)
2. Let Us Get Together Right Down Here
3. I Belong To The Band
4. Pure Religion
5. Great Change Since I Been Born
6. Death Don't Have No Mercy
7. Twelve Gates To The City
8. Goin' To Sit Down On The Banks Of T
9. Tryin' To Get Home -traditional-
10. Lo, I Be With You Always
11. I Am The Light Of This World
12. Lord, I Feel Just Like Goin' On

Sonntag, 25. Mai 2014

Odetta - The Tin Angel (1954)

"Although the 1993 CD version of this album is credited to Odetta and titled The Tin Angel, it's actually a reissue of a Fantasy LP credited to Odetta & Larry, which bore the slightly different title The Tin Angel Presents Odetta & Larry. That original LP had 13 tracks recorded in 1953 and 1954, some of them live at the Tin Angel club in San Francisco, with Larry Mohr contributing some banjo and harmony and lead vocals, though Odetta was the more prominent presence. This source of confusion duly noted, this is pretty much an Odetta album in most respects, as she takes a considerably larger part of the vocal duties on a set of traditional folk material including such standards as "John Henry," "Rock Island Line," and "Old Cotton Fields at Home," as well as some blues and spirituals, plus a good version of Woody Guthrie's "The Car-Car Song." Odetta's stirring vocal style is pretty fully formed on this, the first group of her recordings in wide distribution, as is her ability to emit bluesy grunts, as you can hear on "John Henry." Mohr's vocals (he takes unaccompanied lead on "Old Blue") and banjo are comparatively bland, but they're not much of a distraction from Odetta, who's definitely the main feature." (

Posted Image

Track Listing:
01 - John Henry - 3:09
02 - Old Cotton Fields At Home - 3:59
03 - The Frozen Logger - 2:53
04 - Run, Come See Jerusalem - 2:07
05 - Old Blue - 2:36
06 - Water Boy - 3:40
07 - Santy Ana - 2:18
08 - I Was Born About 10,000 Years Ago - The Biggest Thing - 2:48
09 - The Car-Car Song - 1:28
10 - No More Cane On The Brazos - 2:20
11 - Pay Day At Coal Creek - 3:03
12 - I've Been 'Buked And I've Been Scorned - 2:47
13 - Rock Island Line - 1:47

Odetta - The Tin Angel (1954)
(192 kbps, front cover included)

Samstag, 24. Mai 2014

Franz Josef Degenhardt - Junge Paare auf Bänken - Franz Josef Degenhardt singt Georges Brassens (1986)

The songs on Degenhardt's 1986 album "Junge Paare Auf Den Bänken" ("Young Couples on the Benches") are his translations into German of chansons by the French singer-songwriter Georges Brassens, spiritually perhaps one of Degenhardts closest musical allies.

Georges Brassens ( 22 October 1921 – 29 October 1981), was a French singer-songwriter and poet.
Brassens was born in Sète, a town in southern France near Montpellier.
Now an iconic figure in France, he achieved fame through his elegant songs with their harmonically complex music for voice and guitar and articulate, diverse lyrics; indeed, he is considered one of France's most accomplished postwar poets.
He has also set to music poems by both well-known and relatively obscure poets, including Louis Aragon (Il n'y a pas d'amour heureux), Victor Hugo (La Légende de la Nonne, Gastibelza), Jean Richepin, François Villon (La Ballade des Dames du Temps Jadis), and Guillaume Apollinaire, Antoine Pol (Les Passantes).

During World War II, he was forced by the Germans to work in a labor camp at a BMW aircraft engine plant in Basdorf near Berlin in Germany (March 1943). Here Brassens met some of his future friends, such as Pierre Onténiente, whom he called Gibraltar because he was "steady as a rock." They would later become close friends.
After being given ten days' leave in France, he decided not to return to the labour camp. Brassens took refuge in a slum called "Impasse Florimont," in the 14th arrondissement of Paris, where he lived for several years with Jeanne Planche, a friend of his aunt. Planche lived with her husband Marcel in relative poverty: without gas, running water, or electricity. Brassens remained hidden there until the end of the war five months later, but ended up staying for 22 years.

This album was recorded january 1986 in 'Musikstudio M 1, Studio Hamburg', Germany, with
Franz Josef Degenhardt (translation of the George Brassens lyrics, lyrics track 10, vocals,guitar), Lech Wieleba (bass), Jan Reimer (guitar), Steve Baker (harp), produced by Jimmy Bowien, engineered by Gert Hauke.


1. Junge Paare auf Bänken (Les amoureux des bancs publics)
2. Marinette
3. Ich mach mich ganz klein (Je me suis fait tout petit)
4. Mit einer Hacke auf der Schulter (Pauvre Martin)
5. Das Testament (Le Testament)
6. Margot (Brave Margot)
7. Vorsicht Gorilla (Le Gorille)
8. König Großkotz (Le Roi)
9. Weltkrieg Nr. 1 (La guerre de 14 - 18)
10. Au pere eternel (für George Brassens)

Franz Josef Degenhardt - Paar auf Bänken  
(192 kbps, front cover included)

The Fugs - It Crawled into My Hand, Honest (1968, vinyl rip)

PhotobucketHaving attained a professional rock-band sound on "Tenderness Junction", the Fugs seemed determined to further expand their arrangements (aided, perhaps, by a major-label budget) on "It Crawled into My Hand, Honest".

Indeed, the album is ridiculously eclectic. There's stoned psychedelic folk-rock ("Crystal Liaison"); cry-in-your-beer country music with vehemently satirical or surrealistic lyrics ("Ramses II Is Dead My Love," "Johnny Pissoff Meets the Red Angel"); grand, sweeping classical orchestration ("Burial Waltz"); a Gregorian chant about "Marijuana"; down-home gospel with lyrics that no preacher would dare enunciate ("Wide Wide River," with the line: "I've been swimming in this river of shit/More than 20 years and I'm getting tired of it"); and, almost buried along the way, the kind of tuneful, countercultural folk-rock Tuli Kupferberg contributed to earlier albums ("Life Is Strange"). Choral backup vocals abound, and the mere presence of a half-dozen outside arrangers testifies to how much the group's attitude toward exploiting the studio had developed since the bare-bones ESP albums.

Generally, the songs (most written by the core trio of Sanders, Kupferberg, and Weaver) are more concerned with deft poetry and humor than political statements, although the customary social satire and calls for sexual freedom and drug use are present in diminishing degrees.


Although side one is five discrete tracks, side two is a side-long cut-and-paste of tracks varying in length from three seconds to four minutes, the stylistic jump-cuts similar to those employed by the Mothers of Invention in the same era. It's an impressive and, usually, fun record, but it's also less-lyrically cogent and powerful than their early albums. One senses that the Fugs' personality and individuality were ultimately somewhat muted by the more ambitious production values and frequent use of external musicians and arrangers.

The Fugs - It Crawled into My Hand, Honest (1968, vinyl rip)
192 kbps, cover art included

Franz Josef Degenhardt - Der Senator erzählt (1968)

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


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

From the early 1960s onward, in addition to practicing law, Degenhardt was also performing and releasing recordings. He is perhaps most famous for his song (and the album of the same name) "Spiel nicht mit den Schmuddelkindern" ("Don't Play With the Grubby Children," 1965), but has released close to 50 albums, starting with "Zwischen Null Uhr Null und Mitternacht" ("Between 00:00 and Midnight," 1963), renamed "Rumpelstilzchen" ("Rumpelstiltskin"); his most recent albums "Krieg gegen den Krieg" ("War against the War") and "Dämmerung" ("Twilight") came out in 2003 and 2006.

In Germany, the "Volksmusik" (folk music) has been instrumentalized in the Third Reich by the Nazis. Following the war, there were decades of embarrassment and shyness about singing folk songs.

Franz-Josef Degenhardt refers to this phenomenon in his song '"Die alten Lieder" released on the LP "Wenn der Senator erzählt ..." from 1968. The first words are: "Wo sind Eure Lieder, Eure alten Lieder? Fragen die aus andern Ländern, wenn man um Kamine sitzt."... "Tot sind unsere Lieder, unsere alten Lieder. Lehrer haben sie zerrissen, kurzbehoste sie zerklampft. Braune Horden totgeschrien, Stiefel in den Dreck gestampft."

Franz Josef Degenhardt - Der Senator erzählt (1968)
(192 kbsp)

The Fugs - Refused To Be Burnt Out (Live In The 80s)

This release chronicles the return of the Fugs to the performance stage, which ironically began in 1984 at the height of Ronald Reganmania.
However, if "Refuse To Be Burnt-Out" proves anything, the lesson is that it might be possible to take a freak out of the ‘60s … but you can never take the ‘60s out of a freak.
The ‘80s Fugs features original members Tuli Kupferberg and Ed Saunders -- who have updated their sound without ever compromising their message. Compiled from several performances, "Refuse To Be Burnt-Out" is fairly evenly split between classics - such as "CIA Man", "How Sweet I Roamed" and the sing-a-long favourite "Wide, Wide River" - as well as material penned especially for this reunion.
Of particular note is a sublime "Fingers Of The Sun" -- a no nukes anthem originally located on the 1968 "Tenderness Junction" release. The newer compositions remain ever loyal to the ‘idealistic realities' that became running motifs throughout the Fugs history.
Primary among these is the Kupferberg title "If You Want To Be President" which takes a poke at Regan's popular success with particular emphasis on the '82 fiasco in the Falkland Islands.

The albums title track is a new composition which author Ed Saunders dedicates to the memory of Fugs who are no longer with us. As only he can, the words manifest indelible images effortlessly telling the tale on multiple levels.

The Fugs - Refused To Be Burnt Out (Live In The 80s)
(192 kbps, ca. 92 MB)

Sonntag, 18. Mai 2014

Amandla! The mix-cd.

Some years ago the dj collective "Zero G Sound" made a wonderful mix-cd called "Amandla!". They built a nice and groovy mix of different kind of african music styles.

Here´s the tracklist of this mix:

02-Orchestra Baobab - Boulamine
03-Super Eagles - Aliou Gori-Mami
04-Abdel Gadir Salim All-Stars - Alhagi
05-Alemayehn Eshete - Eskegizew Bertchi
06-Clint Eph Sebastian - Jane
07-Jimmy Solanke - Eja Ka Jo
08-Fela Kuti - Highlife Time
09-Orchestre de la Paillote - Kandia Blues
10-Ze Manel - Na Kaminho Di Luta
11-Ernest Ranglin - Ala Walee
12-Ogyatanaa Band - Disco Africa
13-Oscar Sulley - Buhom Mashie
14-Thomas Mapfumo - Hondo
15-Tiken Jah Fakoly - Francafrique
16-Daara-J - Number One
17-X-Plastaz - Msimu Kwa Msimu
18-Reggie Rockstone - Eye Mo De Anaa
19-Felal Kuti - Shakara
20-Baba Maal & Taj Mahal - Trouble Sleep.mp3

For your listening pleasure you can download the mix (mp3, 192 kbps, ca. 108 MB, cover art included, please burn it without gaps between the tracks!):

Zero G Soundsystem - Amadla!
(192 kbps, front & back cover included)

Samstag, 17. Mai 2014

Sun Ra - The Futuristic Sounds Of Sun Ra (1961)

Sun Ra's only release for the Savoy label is a gem. Recorded in October of 1961, this is probably the first recording the Arkestra made after arriving in New York. As such, you're dealing with a smallish Arkestra (seven main instrumentalists, joined by vocalist Ricky Murray on "China Gate") that's still playing the boppish, highly arranged music characteristic of the Chicago years (1954-1961).

Ra sticks to acoustic piano for the entire session, but various percussion instruments are dispersed throughout the band, giving a slightly exotic flavor to some of the tunes. John Gilmore plays bass clarinet on a couple tunes (as well as some great tenor solos), and Marshall Allen's flute playing is excellent, as always.

This album was produced by Tom Wilson, who also produced the first Sun Ra LP, "Jazz by Sun Ra" (1956) for the Transition label, later reissued by Delmark as "Sun Song" (Wilson later went on to sign the Mothers of Invention to Verve and "electrified" Bob Dylan). With the exception of "The Beginning," all the tunes are very accessible. This is one to play for the mistaken folks who think the Arkestra did nothing but make noise. Excellent.


A1 Bassism
A2 Of Wounds And Something Else
A3 What's That
A4 Where Is Tomorrow
A5 The Beginning
A6 China Gates
Vocals – Ricky Murray

B1 New Day
B2 Tapestry From An Asteroid
B3 Jet Flight
B4 Looking Outward
B5 Space Jazz Reverie

Sun Ra - The Futuristic Sounds Of Sun Ra (1961)
(256 kbps, cover art included)

Freitag, 16. Mai 2014

Ewan MacColl & Dominic Behan - Streets Of Song (1959)

For nearly 60 years, Ewan MacColl, an activist and left-wing socialist, expressed his views as a playwright, social activist, songwriter and performer. During the course of his lifetime he composed a body of work that ranks among the best in the British folk genre. Among the songs he wrote that others recorded and made famous are "Dirty Old Town" (Rod Stewart, the Pogues), "Freeborn Man" (The Pogues), and his Grammy Award-winning song "The First Time Ever I Saw Your Face," a hit single for Roberta Flack in 1971, and which he wrote for his longtime collaborator and life partner, Peggy Seeger.

From the sleeve notes:

"Childhood memories of City Streets from Glasgow, Salford and Dublin
The Oral Lore of Children

In listening to this recording, one will find three distinct types of oral children's lore. First there are the items which have little or no restrictions of national boundary. Some of the pieces recited and sung in this recording are known throughout the English-speaking world, originating, perhaps, in the British Isles and spreading out from there to all of the many countries culturally and linguistically affected by the British and their far-flung empire. Who, in the English-speaking world, for example, has not heard one or another version of the singing-game The Farmer Wants a Wife (heard in a Dublin Irish version on this recording), or Poor Mary Sat A-Weeping (from Salford on this recording). You may know these pieces by other names, and in forms differing quite radically from those presented on this recording, but it will require little imagination or insight to realise the relationship of the versions you know to those presented here.

A second category of pieces found in this recording are those which appear to have strictly national boundaries, being known either only in the British Isles or, perhaps, only in a single country or national group. Such pieces are frequently related to festivals or events which are purely national in character and incidence, or are so dependent upon purely national events or references as to make them almost meaningless outside of the national boundary of the country in which, they may be found. Such pieces include the holiday song Christmas is Coming (item number 67, from Dublin, but known throughout the British Isles), and the Scottish jibe, Wha saw the tattle howkers (item number 62, from Glasgow, but known in other parts of Scotland) among numerous others.

The third category consists of those pieces of a purely local nature, existing almost exclusively in a single community, town or county, but rarely found elsewhere. The reasons for such limitation of tradition are similar to those given for the second category mentioned above, but with considerably more localised references or language. Such piece include Up The Mucky Mountains (item number 64) and Jessie Stockton (item number 68), both from Salford, and Cheer up, Russell Street (item number 56) from Dublin. Into this last category must also go those pieces which are the creative efforts of a moment, in use for only a short period of time, and fading into the world of lost traditions almost before they were born. Occasionally such-pieces fall into the collector's lap, but the collector (at best, just an accident in time, in such instances) has no way of sorting out these pieces from those which are more than just mere ephemera.

The record contains an even 100 pieces of diverse examples of children's lore. Here will be found game songs, nonsense rhymes and ditties, counting games, ball-bouncing games and rhymes, skipping-rope pieces, jibes, taunts, oaths, street ballads, seasonal songs, and insults. What is the origin of these pieces? For most of them we cannot even begin to speculate on the question of origins.

Some few can be pinpointed to historical occurrences and personages King Henry, King Henry (item number 12), tells of the affairs of love of a well-remembered English monarch. Others are the breakdown of older traditional ballads and tales; I know a woman, she lives in the woods (item number 23), obviously derives from the ballad The Cruel Mother (Child 20). Some like items 4, 56 and 59, are children's parodies of recent creations, including music hall and popular songs. Most of the pieces are created out of happenings and sights of everyday life. Because of the universality of their subject matter they might arise anywhere or at almost any time so it is an impossible task to do much more than guess at their origins.

First, we are introduced to the cultural milieu with which we are dealing. Poverty, a proud working-class inheritance, slum conditions, and the everyday, mundane things and occurrences affecting the individuals concerned. Next, we are presented with the oral products of that environment, set off against a train of thought concerning those products, not of the children living, playing and reciting those pieces of lore, but of two adult bearers of this urban tradition whose sensitivity to the setting is expressed in terms of mature afterthought. The opportunity presented by this recording to study the whys and wherefores of urban childhood traditions is the next best thing to working in the field with the children themselves.

One fascinating problem suggested by working with children's lore, and, even more specifically, with the lore of working-class children, is the question of class boundaries of such lore. Of this question, Dominic Behan has written:

"It can — so far as kids are concerned — be made only by children who own so little other rights to amusement that they must sing and make up songs about themselves and the places they inhabit; tenement house schools, neighbours, and, most and biggest of all, their playground — the streets. Maybe this is not quite true, maybe other classes of folks' children make up other classes of songs. All I can say is if they do, I have never heard them."

"So much for the songs: what of the games? Are they 'class' bound? Do they belong to certain people or are they the property of all? Once again, I don't know. Once again I will guess, and say all".

The challenge has been issued. It is the duty of folklorists, sociologists, and psychologists to take it up and answer the question. An attempt to do so from a library chair will prove futile; the data are insufficient and largely undocumented in most of the existing works on children's lore. By utilizing the existing tools of each discipline we can expect to arrive at a satisfactory conclusion. We are fortunate in dealing with children's lore, to be working in an area which appears to have no beginning or end in time, and while some scholars have bemoaned the dying of oral tradition (such claims have been made for the past century, though I for one prefer to think of traditions changing and evolving rather than dying), none will be so rash as to deny the very vital nature of children's songs and games. There is no question of the existence of sufficient material for study.

Kenneth S. Goldstein"
A1 Introduction And Oaths
A2 Singing Games And Ring Games
A3 Skipping Rope, Ball Bouncing And Counting Rhymes
B1 Chants, Cheers An Election Ditties
B2 Seasonal Songs And Dhants
B3 Rhymes And Taunts
B4 The Day's End
(256 kbps, front cover included)

Mittwoch, 14. Mai 2014


We will be back in some days.


Donnerstag, 8. Mai 2014

Ernst Busch - Oktobersturm - Aufbau (Aurora, 1967) (In celebration of Victory Day)

To celebrate the 69th "Victory Day" we present another "Aurora" release with Ernst Busc recordings. Victory Day is celebrated on May 8, to mark the date when the World War II allies formally accepted the unconditional surrender of the armed forces of Nazi Germany, thus ending the war in Europe. The day is celebrated in Russia on May 9.

It was first inaugurated in the fifteen republics of the Soviet Union, following the signing of the surrender document late in the evening on 8 May 1945 (after midnight, thus on 9 May, by Moscow Time). The Soviet government announced the victory early on 9 May after the signing ceremony in Berlin.

This day is still celebrated to commemorate the 28 000 000 (according to various estimates) children, parents, spouses and friends killed in Soviet Union during II World War for independence from Nazi Germany.

"Oktobersturm - Aufbau" is another set of two EPs and an informative booklet with 44 pages about the songs and their historic context. It is the second of two editions of Buschs "Chronik in Liedern, Balladen und Kantaten aus der ersten Hälfte des 20. Jahrhunderts" honouring the 50th anniversary of the "Great Socialist October Revolution". The tracks were recorded between September 1966 and September 1967 under the direction of Adolf Fritz Guhl.


Lied der Gefangenen
Im Kerker zu Tode gemartert
Brüder, zur Sonne, zur Freiheit

Russisches Bauernlied
Linker Marsch

Tschapajews Tod 
Von Land zu Lande 
Die Rote Armee marschiert 
Der heimliche Aufmarsch 

Der Zukunft entgegen 
Das Lied vom Vaterland

Ernst Busch - Oktobersturm - Aufbau (Aurora, 1967)
(320 kbps, cover art included, vinyl rip)