Donnerstag, 31. Juli 2014

Harun Farocki is dead - Rest in peace!

Renowned German filmmaker and video artist Harun Farocki died on Wednesday at 70-years-old. Galerie Ropac confirmed the artist’s passing to the German magazine Monopol.The gallery has represented Farocki since 2007.
Born in 1944 in present day Czechoslovakia, but what was then part of Germany, the artist make over 90 films during his lifetime. He studied at the German Academy of Film and Television from 1966 to 1968, developing a unique documentary style that was deeply critical of the media and ways in which images have shaped contemporary life and ideology.
From 1974 to 1984 Harocki served as the editor of Munich-based film journal Filmkritik. He moved to California during the 1990s where he taught at UC Berkeley. Farocki began greater engagement with the art world in the 2000s. He took part in Documenta 12, presenting Deep Play (2007), which broke down footage from the 2006 World Cup, held in Germany, across 12 monitors.
He has enjoyed solo museum shows at Berlin’s Hamburger Bahnhof, the Tel Aviv Museum of Art, New York’s MoMA, Cologne’s Museum Ludwig, and London’s Tate Modern, among others.
Aside from Galerie Ropac, Farocki is represented by Galerie Barbara Weiss in Berlin and Greene Naftali Gallery in New York.
Maybe you want to check out some of his films on the wonderful Arsenevich blog.

Montag, 28. Juli 2014

Max Hansen - Perlen der Kleinkunst


Max Hansen was born in Mannheim, Germany, but was raised by his step parents in Munich. His mother was a Danish Actress, Eva Haller, his father's name was von Waldheim.

In his school days, he already sang at the Opera House, so he earned the nickname "The Little Caruso" ("Der kleine Caruso"). Later he studied Music and Voice and got a job at the "Simplizissimus Cabaret" in Munich. From 1914 he played operettas in Vienna and became a good friend of Franz Lehár. After that he worked in Berlin at the Metropole Theater and became there a superstar of operettas, revues, cabaret and radio.

He began acting in five silent films, from 1926 to 1928. His first talkie was "Wien, du Stadt der Lieder" (1930) ("Vienna, City of Song") (1930). In 1932 he played opposite Gitta Alpar in "Die - oder keine" (1932) ("She, or Nobody").

His career was brought to an abrupt end because of his Jewish origin but this was only a pretext. He attracted anger of the Nazis above all since he ridiculed Adolf Hitler as homosexual in his hit "Warst Du schon mal in mich verliebt?" in 1932.

Hansen went to Vienna in 1933 and continued to play in theaters. Only before the affiliation of Austria with the Deutsche Reich Hansen moved to Copenhagen. From there he appeared in scandinavian theaters and found work in the Sweden film business. In addition he wrote several songs under the pseudonymous "Sylvester".
In 1951 Max Hansen returned to Germany for occasional stage engagements but he didn't shoot films any longer.
He died in Copenhagen, Denmark in 1961.

Here´s a fine compilation with 40 tunes by Max Hansen:

Max Hansen - Perlen der Kleinkunst CD 1
Max Hansen - Perlen der Kleinkunst CD 2
(192 kbps, cover art included)

Sonntag, 27. Juli 2014

Word, Brass & Steel - Same (1976)

The disco group Wood, Brass & Steel recorded a selftitled album for Turbo/All Platinum Records, the label of Sylvia and Joe Robinson, in 1976.

The album spawned a pair of minor hits in the form of "Always There" (a Ronnie Laws cover that did well in the U.K.). Bassist Doug Wimbish and guitarist Skip McDonald played a lot of music together, in clubs and colleges around New York, New Jersey, Connecticut and Massachusetts.

Three years after that, Skip and Doug teamed up with Keith LeBlanc and they became the house band for the Robinsons’ new label, Sugar Hill Records. The trio subsequently played on seminal early rap hits such as The Message and White Lines (Don’t Do It) with Grandmaster Flash.
Later they relocated to the U.K. and formed Tackhead as well as Fats Comet with Adrian Sherwood.   


My Darling Baby4:00
Theme Song3:00
Working On A Dream3:04
Say What You Want To Say3:37
Same Ol' Me3:25
My Lady3:25
Without You6:30
Welcome To The Party3:30
Always There5:25

Word, Brass & Steel - Same (1976)       
(320 kbps, front cover included)       

Freitag, 25. Juli 2014

Nina Simone - Pastel Blues (1965)

Pastel Blues is a studio album by Jazz singer/pianist/songwriter Nina Simone (1933–2003). It was recorded in 1964 and 1965 in New York City and released in 1965 by Philips Records. The name Pastel Blues is somewhat deceiving because the songs on the album incorporate different musical styles besides the blues, such as jazz, soul and folk music.

If this is blues, it's blues in the Billie Holiday sense, not the Muddy Waters one. This is one of Nina Simone's more subdued mid-'60s LPs, putting the emphasis on her piano rather than band arrangements.

It's rather slanted toward torch-blues ballads like "Strange Fruit," "Trouble In Mind," Billie Holiday's own composition "Tell Me More and More and Then Some," and "Nobody Knows You When You're Down and Out."
Simone's then-husband, Andy Stroud, wrote "Be My Husband," an effective adaptation of a traditional blues chant.

By far the most impressive track is her frantic ten-minute rendition of the traditional "Sinnerman," an explosive tour de force that dwarfs everything else on the album.     

A1Be My Husband
A2Nobody Knows You When You're Down And Out
A3End Of The Line
A4Trouble In Mind
A5Tell Me More And More And Then Some
A6Chilly Winds Don't Blow
B1Ain't No Use
B2Strange Fruit

Nina Simone - Pastel Blues (1965)
(256 kbps, cover art included)         

Luis Mariano - Le Chanteur de Mexico

Mariano Eusebio González y García (13 August 1914 – 14 July 1970), also known as Luis Mariano, was a popular tenor of Spanish Basque origin who achieved celebrity in 1946 with « La belle de Cadix » (« The Beautiful Lady of Cadix ») an operetta by Francis Lopez. He appeared in the 1954 film Adventures of the Barber of Seville and Le Chanteur de Mexico (1957) and became popular in France as well as his native Spain.

Luis Mariano was born in Irun, Spain on 13 August 1914, the son of a garagiste and taxi-driver and showed interest in singing as a child. His family moved to France at the start of the Spanish Civil War and settled in Bordeaux where he studied at the Conservatoire, and also sang in cabarets.
Jeanne Lagiscarde, who was in charge of the classical department of a record store in Bordeaux, took Mariano under her wing, and gave up her job to nurture his talent in Paris. To earn a living, he sang in stage shows and appeared in films, starting with 'L'escalier sans fin' in 1943. That year he auditioned for the role of Ernesto in Don Pasquale, and sang in the opera at the Palais de Chaillot and later at the Théâtre des Variétés, with Vina Bovy, recording excerpts from the opera. He also left many recordings of popular song and operetta.

He continued to appear in other films from 1946, including a singing role in Napoléon and a film adaptation of Lehar's Der Zarewitsch.
In his encyclopedia Gänzl describes Mariano as a "svelte singing idol of French operetta of the post-war stage and screen". Mariano died in Paris in 1970.
His music is featured prominently in the 1996 Belgian film Le huitième jour in which he is played by Laszlo Harmati during scenes employing magical realism.

Luis Mariano - Le Chanteur de Mexico
(256 kbps, front cover included)

Leroy Smart - Let Everyman Survive (1979)

Leroy Smart (born 1952, Kingston, Jamaica) is a reggae singer and producer. He was orphaned at the age of two. He was raised at Maxfield Park Children's Home and educated at Alpha Boys School, where he studied singing, drums and dancing.

Smart recorded his first single, "It Pains Me" in 1969 for a producer called Mr. Caribbean. In 1970 he recorded "Ethiopia" for Joe Gibbs, and the first version of one of his most famous songs, "Pride & Ambition", with producer Gussie Clarke. His breakthrough would come in 1973 with "Mother Liza", produced by Jimmy Radway, which topped the local singles chart, and led to "Pride & Ambition" also becoming a big local hit. After working with Bunny Lee for several years, he recorded another of his best-known songs, "Ballistic Affair" at Channel One, in 1976, and began producing himself in 1977. Smart has continued recording and remains popular, with over 35 albums to his name. He is regarded as one of Jamaica's most outrageous and colourful characters.
Smart appeared in the film Rockers along with contemporaries such as Gregory Isaacs and Jacob Miller.

In 1979, Leroy Smar joined up with producer Alvin "GG" Ranglin to bring out two albums, "Showcase Rub A Dub" and "Let Everyman Survive". It becomes abundantly clear from the ten numbers on this album that besides singing talent, Leroy also possesses original ideas and the ability to convert them into flowing texts.

1Sugar In My Coffee
2Jah Is At Hand
3I Still Pray
4If You Want My Love
5Live Up Right
6Let Everyman Survive
7Collie Give Me Wisdom
8You Are Mine
9Black And White
10You Never Need Me

Leroy Smart - Let Everyman Survive
(192 kbps, front cover included)

Mittwoch, 23. Juli 2014

VA - Cowboy Songs On Folkways

The album features a richly varied set, from Leadbelly to Woody Guthrie, drawn from the vast Folkways archives and dating from the early 40s to the 60s.

VA - Cowboy Songs On Folkways
(192 kbps, front cover and linernotes included)

Dienstag, 22. Juli 2014


Jillem, thanks a lot for all your musical gifts, we miss you and your wonderful blog! Hope to see your blog again soon!

The Legendary Sir Lancelot - Calypso of the West Indies and Ballads of the Caribbean

Chances are that unless you're an old movie buff, you've never heard of Sir Lancelot. Beginning in 1940, however, and for the next 16 years until Harry Belafonte came along, he was the most popular calypso singer in the world and a singing star in the United States. Belafonte himself has described Sir Lancelot as a major influence on his own work and career, and as his inspiration.

Born Lancelot Victor Edward Pinard in Cumuto, North Trinidad, the son of a government official, he began singing at the age of six in a one-hour recital. By the time he was finished with high school, his voice had matured into a perfect tenor instrument, but music didn't seem to be available to him as a career choice - rather, his father sent him to New York to study medicine. By sheer chance, he was heard singing and invited to try a two-week engagement at the Village Vanguard, which turned into a year-long booking. In 1941, he went out west to play engagements at colleges in California and Oregon, and following a concert in Los Angeles, Sir Lancelot was contracted to make his first screen appearance, in the Pat O'Brien/Janet Blair vehicle Two Yanks in Trinidad. This appearance, in turn, led to his being booked on tours of Mexico, South America, and the Caribbean.

His first credited film appearance was in the atmospheric Val Lewton chiller "I Walked with a Zombie", where his songs provided ironic commentary on the action of the movie. He later played a dramatic role in Lewton's "The Ghost Ship" and "Curse of the Cat People"; "Eve Knew Her Apples", starring Ann Miller, "To Have and Have Not" with Humphrey Bogart and Lauren Bacall, and "Brute Force" starring Burt Lancaster. He was well-known enough by then to play characters simply known as "Sir Lancelot" in pictures as different as the comedy "Linda Be Good" and "The Unknown Terror".

Sir Lancelot's singing appearances on radio and television, on shows hosted by Ray Anthony, Ed Sullivan, and Dinah Shore (where he sang the praises of sponsors Ford, Elgin watches, Coca-Cola, and Borden's Milk, and often got more fan mail than Shore herself) planted the seeds of the calypso boom that led the way to Belafonte's rise to fame at the end of the '50s. In 1955, he left the United States for an extended tour of Europe and the Middle East, but returned to Hollywood three years later to appear in "The Buccaneer", a big-budget widescreen historical drama starring Yul Brynner and directed by Anthony Quinn. He continued singing and recording, and made occasional television appearances as late as 1968, when he turned up in a non-singing role in an episode of The Andy Griffith Show, and continued to record at least through 1973.

The album "Calypso of the West Indies and Ballads of the Caribbean" is a Caribbean music treasure, 14 songs from Trinidad, Puerto Rico, Barbados, Haiti, Cuba, and Martinique, sung in Sir Lancelot's pleasing, rich tenor voice, in high spirits and boundless joy, backed by everything from a simple guitar to a steel band. Recorded between 1946 and 1973, in surprisingly good sound (only 1946's "Ugly Woman" - track 12 - sounds compressed, transferred off of a 78 rpm disc). The 1958 tracks (tracks 1 - 9, recorded in Hollywood) feature the Mac Niles Caribe Carnival Band, Steel Drummers, and Singers, and the repertory includes the originals "Jump in the Line" and "Tied-Tongue Mopsy," classics like "Run Joe," "Matilda," and "Jamaica Farewell". Amazingly, the 1973 vintage track, "Double Indemnity" (track 10 - as charming and delightful as the movie of that name is dark and depressing), shows Lancelot's voice in astonishingly good shape, and hardly different at all from its 1946 incarnation.

The Legendary Sir Lancelot - Calypso of the West Indies and Ballads of the Caribbean
(192 kbps, no cover art included)

Montag, 21. Juli 2014

Mighty Ryeders - Help Us Spread The Message

A funky treasure from the 70s - a record that hardly made waves at the time, but which has lived on strongly for years - thanks to a great sample history and key interest from generations of groove diggers! Coming on like a black hippie missionary cult (a belief bolstered by the cover photo of the band sitting atop several globes featuring each of the continents), the Ryeders' sole album is chock full of killer creative tracks mixing funk, soul and boogie-disco arrangements.


Mighty Ryeders have a sound that's clearly influenced by Earth Wind & Fire - funk with a good dose of jazz, often done with some righteous undercurrents in the lyrics - but their groove is also a bit more rough-edged too, sharing some funky 45-levels of excitement, and showing a great ear for sharply jazzy changes! This last aspect has really helped the group's sound stay fresh over the years - and the album's a treasure trove of killer cuts - from the famous "Evil Vibrations" (sampled by De La Soul on "A Rollerskating Jam Named Saturday"), right on down through other gems like "The Mighty Ryeders", "Let There Be Peace", "Lovely", "Help Us Spread The Message", "Fly Away With Me", "Sar Children", and "I've Really Got The Feeling".

Mighty Ryeders - Help Us Spread The Message
(192 kbps, small cover included)

Sonntag, 20. Juli 2014

VA - Stimmen des 20. Jahrhunderts - 1933 - Der Weg in die Katastrophe

It happened 70 years ago: The attempt on Hitler’s life on 20 July 1944, was the seventeenth known occasion that someone had tried to kill the NS-dictator Adolf Hitler.
Unlike other attempts however this, the 20 July Bomb Plot, was the most intricate, and involved plans for a new Germany following the successful accomplishment of the mission.

"On this day in 1944, Hitler cheats death as a bomb planted in a briefcase goes off, but fails to kill him.

High German officials had made up their minds that Hitler must die. He was leading Germany in a suicidal war on two fronts, and assassination was the only way to stop him. A coup d'etat would follow, and a new government in Berlin would save Germany from complete destruction at the hands of the Allies. That was the plan. This was the reality: Colonel Claus von Stauffenberg, chief of the army reserve, had been given the task of planting a bomb during a conference that was to be held at Berchtesgaden, but was later moved to Hitler's "Wolf's Lair", a command post at Rastenburg, Prussia. Stauffenberg planted the explosive in a briefcase, which he placed under a table, then left quickly. Hitler was studying a map of the Eastern front as Colonel Heinz Brandt, trying to get a better look at the map, moved the briefcase out of place, farther away from where the Fuhrer was standing. At 12:42 p.m. the bomb went off. When the smoke cleared, Hitler was wounded, charred, and even suffered the temporary paralysis of one arm - but he was very much alive. (He was even well enough to keep an appointment with Benito Mussolini that very afternoon. He gave Il Duce a tour of the bomb site.) Four others present died from their wounds.

As the bomb went off, Stauffenberg was making his way to Berlin to carry out Operation Valkyrie, the overthrow of the central government. In Berlin, he and co-conspirator General Olbricht arrested the commander of the reserve army, General Fromm, and began issuing orders for the commandeering of various government buildings. And then the news came through from Herman Goering - Hitler was alive. Fromm, released from custody under the assumption he would nevertheless join the effort to throw Hitler out of office, turned on the conspirators. Stauffenberg and Olbricht were shot that same day. Once Hitler figured out the extent of the conspiracy (it reached all the way to occupied French), he began the systematic liquidation of his enemies. More than 7,000 Germans would be arrested (including evangelical pastor Dietrich Bonhoeffer), and up to 5,000 would wind up dead—either executed or as suicides. Hitler, Himmler, and Goering took an even firmer grip on Germany and its war machine. Hitler became convinced that fate had spared him—"I regard this as a confirmation of the task imposed upon me by Providence"—and that "nothing is going to happen to me... [T]he great cause which I serve will be brought through its present perils and...everything can be brought to a good end." -

Remembering this event, we feature a co-production of the "Deutsches Historisches Museum Berlin" and the "Deutsches Rundfunkarchiv" with audio documents from the year 1933: The year Adolf Hitler became dictator of Nazi Germany which lead to the catastrophe of the Second World War and the Holocaust. The Holocaust was a deliberate and systematic extermination of European Jews during World War II. As the Allied Powers fought Nazi Germany's domination of Europe, Adolf Hitler's henchmen were carrying out a mass annihilation of the Jews in Europe at their numerous concentration camps. The total number of Jews murdered during this genocide has been estimated to be nearly 6 million. Besides European Jews, there were many other groups targeted for destruction. They included the handicapped, mentally ill, Gypsies, Jehovah's Witnesses, homosexuals and political dissidents.


0115.01.1933Ansprache von Reichskanzler Kurt von Schleicher auf einer Kundgebung des Deutschen Reichskriegerbundes 3'17"
0230.01.1933Reportage vom Fackelzug der SA- und der Stahlhelmformationen vor der Berliner Reichskanzlei3'18"
0304.03.1933Amtseinführung des amerikanischen Präsideten Franklin D. Roosevelt 2'34"
0421.03.1933Reportage vom "Tag der Nation" in Potsdam 4'50"

23.03.1933Reichstagssitzung: Verabschiedung des "Ermächtigungsgesetzes"
05Reichstagspräsident Hermann Göring 1'51"
06Adolf Hitler: Regierungserklärung 3'16"
07Otto Wels (SPD-Fraktionsvorsitzender) 2'38"
08Adolf Hitler: Erwiderung auf die Rede von Otto Wels3'40"
0901.04.1933Aufruf zum Boykott jüdischer Geschäfte: Sprechchöre; Joesph Goebbels (Reichspropagandaminister)1'04"
1005.04.1933Reportage von einer Polizeiaktion im Berliner Scheunenviertel3'52"
1110.05.1933Reportage von der Bücherverbrennung auf dem Berliner Opernplatz 2'15"
121933Werbung für Kienzle-Uhren: "Deutsch ist die Uhr, deutsch ist der Klang"3'50"
1311.09.1933Kundgebung der Vaterländischen Front in Wien mit Bundeskanzler Engelbert Dollfuß 3'22"
1420.09.1933Rundfunkansprache von Ernst Röhm, Stabschef der SA1'06"
1530.09.1933Reportage aus dem Konzentrationslager Oranienburg (bei Berlin)4'10"
1630.09.1933Ansprache von Reichsjustizkommisar Hans Frank in Leipzig auf einer Tagung des Nationalsozialistischen Juristenbundes3'05"
1711.11 1933Aufruf von Reichspräsident Paul von Hindenburg zur Volksabstimmung am 12. November 19331'36"
1815.11.1933Ansprache von Reichspropagandaminster Joseph Goebbels anlässlich der Eröffnung der Reichskulturkammer in der Berliner Philharmonie 3'43"
1916.11.1933Kommentar von Radio Wien zur Volksabstimmung in Deutschland am 12. November 19331'42"
2019.11.1933Ansprache von Theodor Adrian von Renteln, Präsident des DIHT, auf einer Tagung des Reichsstandes des deutschen Handels in Braunschweig2'32"
2112.12.1933Reportage von der Eröffnung des Reichstages in der Berliner Krolloper1'58"
2216.12.1933Leipziger Reichstagsbrandprozess: Schlusswort des Angeklagten Georgi Dimitroff
(mit Einsprüchen von Senatspräsident Wilhelm Bünger)
2320.12.1933Ansprache von Reichssendeleiter Eugen Hadamovsky anlässlich der Eröffnung der drei Großsender Berlin, München und Stuttgart2'12"
241933"Ein Reich ist uns entstanden". Ein Hörbild von Kurt Klawitter3'25"

VA - Stimmen des 20. Jahrhunderts - 1933 - Der Weg in die Katastrophe
(256 kbps, front cover included)

Samstag, 19. Juli 2014

Pete Seeger - Waist Deep In The Big Muddy And Other Love Songs (1967)

One of Pete Seeger's most well-known protest albums - he provoked a storm of controversy when CBS censors would not allow the singer/songwriter to perform "Waist Deep in the Big Muddy," a Vietnam parable based on an actual incident that occurred during World War II when a soldier who couldn't swim drowned when his commanding officer forced him to ford a river without knowing how deep it was, on The Smothers Brothers Comedy Hour - "Waist Deep in the Big Muddy and Other Love Songs" is intriguing for other reasons as well.

Just two years after Seeger supposedly threatened to take an axe to the power supply during Bob Dylan's electric set at the 1965 Newport Folk Festival, side one of this album features Seeger and his acoustic guitar backed by electric guitarist Danny Kalb (of the Blues Project) and a rockish rhythm section. (The opening "Oh Yes I'd Climb" adds a middle-of-the-road string section for good measure!) The electric instruments are actually most tasteful in their integration, if not downright wimpy. You'll be hard-pressed to actually hear the bass player most of the time.

Side two is more traditional for Seeger, strictly acoustic material including a couple of traditional songs interspersed among some less-than-subtle protest material, including "My Name Is Liza Kalvelage," its lyrics taken almost verbatim from a television news story about San Jose housewives picketing a nearby napalm storage yard, and "Those Three Are on My Mind," about the murders of civil rights workers in Mississippi in 1963. Overall, this is probably a better album than the similar "Dangerous Songs!" from 1966, with a higher number of trenchant observations and a little less finger-pointing.  - Stewart Mason, allmusic   


1Oh Yes I'd Climb (The Highest Mountain Just For You)4:06
2Seek And You Shall Find7:50
3The Sinking Of The Reuben James2:42
4Waist Deep In THe Big Muddy2:54
5Last Night I Had The Strangest Dream2:51
6Down By The Riverside3:13
7Nameless Lick0:56
8Over The Hills1:38
9East Virginia2:34
10My Name Is Lisa Kalvelage3:57
11My Father's Mansion's Many Rooms2:24
12Melodie D'Amour1:51
13Those Three Are On My Mind3:02
Unreleased Bonus Tracks:
14Come All Ye Fair And Tender Ladies3:59
15Los Quatros Generales2:57

Pete Seeger - Waist Deep In The Big Muddy And Other Love Songs (1967)
(256 kbps, cover art included)     

Freitag, 11. Juli 2014

VA - The Gospel Sound (2 CDs)

"This recording documents the changes in Afro-American religious music over a forty-year period. This collection is powerful, filled with vitality, integrity and direct personal communcation.

The best in gospel music from the mid-forties to the late fifties contained moving spirituals by Mahalia Jackson, Marion Williams, The Staple Singers and many other great gospel artists.

Gospel is one of the dominant sounds of our times. In one form or another, gospel has reformed our listening expectations.

The tension between beats, the almost subliminally anticipated climac are straight out of the church. The dance steps that ushered in a new physical freedom were copied form the church dance, the shout. The sit-ins soothed by hymns, the freedom marches powered by shouts, the "brother and sister" fraternity of revolution: the black gospel church gave us all these." - From the liner notes

VA - The Gospel Sound pt 1
VA - The Gospel Sound pt 2
(192 kpbs, front cover included)

Donnerstag, 10. Juli 2014

Buffalo Springfield - The Missing Herd

Buffalo Springfield was a North American rock band renowned both for its music and as a springboard for the careers of Neil Young, Stephen Stills, and Richie Furay. Among the first wave of North American bands to become popular in the wake of the British invasion, the group combined rock, folk, and country music into a sound all its own.

They were very diverse, encompassing all of the country, rock, folk, pop, and psychedelic influences in a strange and unique blend, and while they only were together for a period of about 2 years total, produced many all-time classic tracks and jams.

Here is an excellent bootleg compilation (1 disc of live tracks, 1 disc of outtakes & rarities), titled "The Missing Herd", which was compiled to be a companion to the officially-released 4-CD Buffalo Springfield Box Set, released in 2001.


1-1Nowadays Clancy Can´t Even Sing (Demo)3:00
1-2Do I Have To Come Right Out And Say It (Alt)3:08
1-3"Raga 1" (Unreleased)1:29
1-4My Kind Of Love (Alt)2:33
1-5Down To The Wire (Alt)2:33
1-6Mr. Soul (Alternative Mix)2:40
1-7Bluebird (Extended Mix)9:11
1-8Sell Out (Demo)2:36
1-9For What It´s Worth2:57
1-10Nowadays Clancy Can´t Even Sing3:33
1-11Rock`N´Roll Woman4:06
1-13A Child´s Claim To Fame2:00
1-14Merry Go Round (45, Alt. Mix)2:07
1-15Uno Mundo (45, Alt. Mix)2:06
1-1649 Reasons (Demo)2:32
1-17Road Of Plenty (Barn Rehearsals 1988)4:22
1-18"Stills Boogie" (Barn Rehearsals 1988)3:29
1-19Bluebrid (Extended Mix, Alt)9:30
2-2Go And Say Goodbye2:40
2-3Mr. Soul6:27
2-5Pay The Price5:32
2-6Nobodys Fool4:11
2-7My Kind Of Love4:21
2-8Good Time Boy3:32
2-9For What It's Worth3:30
2-10Rock`N´Roll Woman4:13
2-11A Child´s Claim To Fame2:36
2-12Nowadays Clancy Can´t Even Sing4:50
2-13Uno Mundo2:32
2-14For What It´s Worth3:30
2-15Blue Bird12:13
2-16Epilogue: On The Way Home2:14

CD1: (68:15min)
Tracks 1-8: Studio outtakes.
Tracks 9-13: International Pop Festival, Monterey, CA, USA, 18th June 1967.
Tracks 14-19: Studio outtakes.

CD2: (72:37min)
Tracks 1, 8, 9: Long Beach Arena, Long Beach, CA, USA, 05th May 1968
Tracks 2-7: Teen And Twenty Club, Huntington Beach, CA, USA, 11th&12th August 1967
Tracks 10-15: Market Hall, Dallas, TX, USA, 20th April 1968
Track 16: Fillmore Auditorium, San Francisco, CA, USA, December 1967           

Buffalo Springfield - The Missing Herd pt 1
Buffalo Springfield - The Missing Herd pt 2
(192 kbps, cover art included)

Dienstag, 8. Juli 2014

Dave Van Ronk - Sunday Street (1976)

This album, originally released in 1976, may or may not be, as annotator (and former Dave Van Ronk guitar student) Elijah Wald claims, "Dave's greatest single album" (frankly, Van Ronk has made so many albums for so many fly-by-night labels that it is hard to endorse so sweeping a statement), but it is certainly a very good one.

Van Ronk had made various efforts in recent years to accommodate pop and rock music on his albums, but this one was a return to his usual repertoire of folk-blues tunes and jazz and ragtime transcriptions for guitar, with one Joni Mitchell song ("That Song About the Midway") and an original, the title song, thrown in.

And it was a solo album on which Van Ronk sang and accompanied himself on acoustic guitar. Thus, it approximated what a good set in a club by this artist would sound like, minus the singer's witticisms, of course. Van Ronk never hid his influences, but he never sounded exactly like them, either, and on this album he was very much himself. Maybe it is his greatest single album; it is certainly one of his most representative.   

Dave Van Ronk - Sunday Street (1976)
(192 kbps, cover art included)

Freitag, 4. Juli 2014

Kurt Weill - 1900 - 1950 - Berliner Requiem

The focus of this album falls on the "Berliner Requiem" of 1928, together with two a capella choral pieces, "Legende vom toten Soldaten" and "Zu Potsdam unter den Eichen", which fall in the vicinity of the "Requiem". The four songs to texts by Walt Whitman give an impression - not merely in musical terms - of the way the "American" Weill grappled with the subject of war and death, this time form the perspecitve of one who "stayed at home" and helplessly confronted the Second World War. The album opens with the large-scale "Recordare", a religious view of the same subject, and is counter-balanced by the concluding "Kiddush". The latter work is the only piece on this album which does not directly deal with the problems of war and peace, but its meditative and religious stance can be taken as symbolic of peace.

The vocal works on this live recording cover a period of twenty-four years. During this time not only the circumstances of Weill´s life but his very musical language changed whith almost unimaginable radicality. At first an "avant-garde" composer in the early 1920s, a spiritual confrère of Schoenberg and Hindemith, Weill underwent an simplification and popularization in his musical style which, in scale, is probalby unique in the history of music.

1. Recordare, Op. 11 (1923)
2. Legende vom toten Soldaten (1929)
3. Zu Potsdam unter den Eichen (1928)
Berliner Requiem (1928):
5. Ballade vom ertrunken Mädchen
6. Marterl (Grabschrift)
7. Erster Bericht über den unbekannten Soldaten unter dem Triumphbogen
8. Zweiter Bericht uber den unbekannten Soldaten unter dem Triumphbogen
9. Grosser Dankchoral

Four Walt Whitman Songs (1942/47):
10. Oh Captain! My Captain!
11. Beat! Beat! Drums!
12. Dirge for two veterans
13. Come up from the feilds, father
14. Kiddush (1946)

Recorded at Robert-Schumann-Saal, Düsseldorf, March, 24, 1990, with Jürgen Wagner (tenord), Wolfgang Holzmair (baritone) and the Robert-Schumann-Kammerorchester conducted by Harmut Schmidt (1 - 9) and Marc-Andreas Schlingensiepen (10 - 14).

Kurt Weill - Berliner Requiem
(192 kbps, front cover included)

Donnerstag, 3. Juli 2014

Ton Steine Scherben - IV ("Die Schwarze")

West Berlin was, for obvious reasons, a city where many political rock bands developed during the late sixties and early seventies.
The most important artists of this movement were Ton Steine Scherben, along with Lokomotive Kreuzberg. The guiding forces of the band were Ralph Mobius aka Rio Reiser and Ralph Steitz aka R.P.S. Lanrue who first played together in the quartet Degalaxis in 1965. In 1967 Mobius was involved in the foundation of an early beat-rock-opera attempt named "Robinson 2,000". That year Mobius and Steitz also formed a theatre and music group named Hoffmann's Comic Theater. Kai Sichtelmann and Wolfgang Seidel aka Wolf Sequenza also joined this group in 1969 and 1970 respectively. A single "Macht Kaputt Was Euch Kaputt Macht" coupled with "Wir Streiken" was released in 1970.

After this, Hoffmann's Comic Theater changed its' name to Ton Steine Scherben. The single sold surprisingly well and the band appeared on German TV. This, and their constant, aggressive political agitation, quickly established them as leading proponents of the Berlin counter culture. Their concerts often resulted in riots and house occupations. After a concert in Basel, the band promptly organised a demonstration against political injustice in Switzerland. The Swiss authorities honoured this action by declaring the band 'persona non grata'. The band's debut LP appeared in September 1971 on their own David Volksmund label. With very aggressive music and lyrics, partly recorded live at Alte Mensa, the band earned their reputation as the first new wave/punk band in Germany.

A member of the group's living commune once finished a television-broadcasted public discussion by splitting the studio's table with an axe. Wolf Sequenza left the band at the end of 1971. In the late seventies he resurfaced with Conrad Schnitzler, making experimental electronic music. The band's next work was "Keine Macht Für Niemand", a double album which covered a much larger musical span than the debut. Jorg Schlotterer and Jochen Petersen contributed to the album. Indeed, this was a fine collection of progressive political rock, quite different to Floh de Cologne's style. After an early 1972 tour, the band temporarily withdrew from live appearances and in 1973 the only life-sign was (the reinforced) Hoffmann's Comic Theater record for children, entitled "Herr Fressack" (Rothkehlchen 1) (1973). In the Spring of 1974 they attempted a live come-back with mixed results. The audiences expected the band to be aggressive leaders of a desired, forthcoming political revolution, but were met by a band outrageously dressed in satin and velvet, who poured out glitter from the stage. However, after rethinking their stage presentation, Ton Steine Scherben was again met by acclaim. The next album, "Wenn den Nacht am Tiefsten" (1975), was another double one, taking 12 months to complete and including a lot of different musical styles. Their lyrics this time were more resigned. Along with its predecessor, this was their highest achievement.


For me, their fourth album, simply called "IV" or "Die Schwarze" always was an absolute favourite - maybe the best rock album in german language. It is still a mysterious recording, with deep lyrics and a kind of strange, psychedelic, melancholic and avantgarde sounds, sometimes compared to The Clash´s "Sandinista".

"Alles ist viel und viel ist nichts - luftig zu dir."

Ton Steine Scherben - IV part 1
Ton Steine Scherben - IV part 2
(192 kbps, cover art included)

Mittwoch, 2. Juli 2014

Velvet Underground - The Psychopath´s Rolling Stones

A lot of the Velvet Underground fans are saying this is the one VU bootleg to get if I had to get just one.
"The Psychopath's Rolling Stones" is just as odds-n-ends as those excellent "Ultra Rare Trax" CDs and even as random as the official "Peel Slowly and See" box set itself, but it has got some incredible numbers & versions I've never heard elsewhere.
Let's start with the definitive live version of "Run Run Run" -- for me, the most underrated Velvets song of all time and one that's easily in my Top 5 along with the other ones we all love. This one's a long version from February 8th, 1969 in New Hampshire, and as the back cover says, "features some remarkable guitar work.
The solos (Reed's?) are just blistering -- the song is transformed into the latter 2/3rds of "European Son" while still maintaining its bounce and chugga-chugga drive.
Also revelatory is the demo version of "Chelsea Girl" recorded in those famous hotel sessions, just Lou and Nico and a beat-up old tape deck. That's my favorite song on her first record, and this version's better.
Other hotties of note are a fire-breathing Cleveland 1967 "Guess I'm Falling In Love" (with vocals and another killer solo) and the 1966 tin pan alley studio outtake "Sheltered Life".
And what 70s-era bootleg wouldn't be complete without a hidden track not by the featured artist? This one's got one and a half: a warbling, half-insane live version of Nico doing "The End", and a choogling 1920s-era jump blues called "Bootleggin' Blues" from someone certainly not from the lower east side.
This collection is heavy on the first two VU records, so if the rough, sodom-and-gomorrah Velvets are your thing and you're pretty sure Yule's a fool, this digital platter of scorching obscurities is your ticket to hog heaven.
1. Star Spangled Banner (2:06)
2. White Light/White Heat (4:33)
3. I'm Waiting For My Man (4:07)
4. All Tomorrow's Parties (5:14)
5. Run Run Run (8:48)
6. Guess I'm Falling In Love (4:11)
7. Venus In Furs (5:02)
8. Black Angel's Death Song (2:53)
9. I Can't Stand It (8:01)
10. Sheltered Life (2:51)
11. Vernissage (0:58)
12. Real Good Time Together (2:34)
13. Chelsea Girl (3:12)
14. Pale Blue Eyes (5:59)
15. I'll Be Your Mirror (2:37)
16. The End (8:06)
17. "Bootlegging The Bootleggers"

1 : listed as "unreleased track, shortlisted as the intro to the 1993 concerts but later rejected" / 2, 3 : Max's Kansas City, Summer 1970 / 4 : Valleydale Ballroom, November 4,1966 / 5 : Hilltop Festival, August 2, 1969 / 6 : Gymnasium, April 1967 / 7 : End Of Cole Ave, October 18, 1969 / 8, 15 : Bataclan, January 29, 1972 / 9 : The Matrix, late November - early December 1969 (pirated from official 1969 Live) / 10 : Ludlow street loft demo, early 1967 / 11 : radio ad for third LP / 12 : demo, late 1969 / 13. Nico & Joe Bidewell, BBC TV program on Chelsea Hotel, 1981 / 14. End Of Cole Ave, October 19, 1969 / 16 : Nico, live / 17 : not a VU-related track.
(192 kbps, cover included)

Velvet Underground - A Young Person´s Guide To

PhotobucketA Young Person´s Guide To Velvet Underground" is a collection of various rare cuts, pre-Velvet-Underground tracks, studio demos and Max's live tracks. It comes with an 8-pages photo book and covers the early years of VU.

The included song "Waves" was the working title for "Ocean".
1. Inside Of Your Heart (2:26)
2. White Light/White Heat (2:48)
3. Rock'n Roll (5:21)
4. Waves (5:23)
5. I've Got A Tiger In My Tank (2:12)
6. You're Driving Me Insane (2:22)
7. Index (4:29)
8. VU Noise (1:49)
9. Sweet Jane (4:51)
10. I'm Set Free (5:12)
11. You Better Walk It, As You Talk It (1:59)
12. Lonesome Cowboy Bill (3:48)
13. Sneaky Pete (2:10)
14. I'm Waiting For My Man (4:34)

1, 3, 4 : rough mix acetate demos / 2 : mono mix, 1967 / 5, 6, 13 : pre-VU tracks / 7 : Andy Warhol's Index book flexi / 8 : The East Village Other LP / 9 : Max's Kansas City, August 23, 1970 / 10, 12, 14 : Max's Kansas City, July 26, 1970 / 11 : Max's Kansas City, rehearsals, Summer 1970.

Velvet Underground - A Young Person´s Guide To
(192 kbps, front cover included)