Mittwoch, 25. Februar 2015

6. Festival des politischen Liedes - Rote Lieder (1976, Eterna, vinyl rip)

From 1970 to 1990 there was the "Festival des politischen Liedes" ("festival of the political song") in Berlin, capital of the German Democratic Republic. The festival was a meeting place for politically engaged musicians from the whole world and and interested audience. You find information about the participants and history in the archive on

The 6th "Festival des politischen Liedes" happened in Eat Berlin in February, 7th to 14th, 1976 and featured artists like Perry Friedman, Pete Wyoming, Ted McKenna, Santocas, Oktoberclub and many more.


01 - Mannesmannballade [Peter, Paul und Barmberk]
02 - Scottish folk dances [The Whistlebinkies]
03 - Auf,auf zum kampf [Perry Friedman]
04 - Bjelorusski woksal [Studentisches Liedtheater]
05 - Kampf dem schicksal [Gruppe Rafidain]
06 - The blackleg miner [Ted McKenna]
07 - Poder popular [Santocas]
08 - Ein Friendenslied [Oktoberklub]
09 - Kapitalens almene krise [Sören Sidevinds Spillemänd]
10 - Se abrirán las grandes alamedas [Angel e Isabel Parra]
11 - Freedom [Pete Wyoming]
12 - Les communistas [Pia Colombo]
13 - Optimistisches Lied [Gruppe Schicht]
14 - Experiencia [Luis Cilia und Pedro Cabal]
15 - Nos vemos en la Habana [Grupo Moncada]

6. Festival des politischen Liedes - Rote Lieder (1976, vinyl rip)
(192 kbps, cover art included)

Montag, 23. Februar 2015

VA - Rote Lieder - 9. Festival des politischen Liedes (1979)

Looking forward to this years "Festival Musik & Politik". So it is time for another volume of recordings done at the "Festival des politischen Liedes".

The album "Rote Lieder - 9. Festival des politischen Liedes" was recorded in February, 1979 in East Berlin. It features artists like Amparo Ochoa, Macchina Maccheronica, Carlos Mejía Godoy, Schicht, Oktoberklub, Maria Farandour and many more.

VA - Rote Lieder - 9. Festival des politischen Liedes (1979)
(256 kbps, cover art included)

Sonntag, 22. Februar 2015

VA - Rote Lieder - 13. Festival des politischen Liedes (1983)

Next weekend we will have this years "Festival Musik und Politik".

So this gives cause for sharing the recordings from the 13th festival of political songs, which happened in february, 1983.

This album is a collection of live recordings by artist like Dick Gaughan, Sands Family, Letta M`Bulu, Inti-Illimani, Mikis Theodorakis and many more. The festival ended with a manifestation against the "NATO-Doppelbeschluss".

The "NATO Double-Track Decision" was a NATO strategie to offer the Warsaw Pact a mutual limitation of medium-range ballistic missiles and intermediate-range ballistic missiles combined with the threat that in case of disagreement NATO would deploy more middle-range nuclear weapons in Western Europe. This strategie was criticized by the strong peace movement of these years.

VA - 13. Festival des politischen Liedes (1983)
(256 kbps, cover art included)

Mittwoch, 18. Februar 2015

VA - Encuentro De La Canción Protesta. Casa de las Américas, Cuba (1967)

The term "nueva canción" was first mooted in public at a key event which took place in Cuba from 29 July until 10 August 1967: the "Encuentro de la Canción Protesta". This first international meeting of artist performing protest songs was organized by the "House of Americas"
Fifty musicians from eighteen countries were given the opportunity to hear each other perform, exchange ideas and experiences, discuss the role of singer and song and establish friendships and contacts. Artist from four continents were brought together at a time of political upheavel in different parts of the world.
The appearance of Gerry Wolff, film actor and singer in the GDR, is another clue for the connection between the GDR song movement ("Singebewegung") and international revolutionary artists as mentioned before in the "Canto Libre" posting.
Daniel Viglietti, who participated in those days, said that "the meeting was an opportunity to discover that if you had fallen into the error of thinking we were alone, we were not alone". Singing in many languages, artists from all around the world expressed solidarity with the oppresed people and their fight for a better world.
The various stages reached in the development of movement in individual countries with different economic, social and political conditions and musical cultures had resulted in the usage of different terms: "Canción protesta", "canción comprometida", "canción politica revolucionaria" and "nueva canción". Other names used before and after include "canción folklórica", "cancion popular", "canción politica", "canciones de lucha y esperanze", "canto libre" and "canto nuevo".
Musicians, especially those who are members of, or allied to, the Communist Party, met intermittently before and after the Cuban "Encuentro" at Youth Festivals held every four years in the Socialst countries, as they also do at "International Festivals of Political Songs" held annualy in the GDR, at "Victor Jara Festivals", "Concert for Peace", various solidarity concerts and more recently "Nueva Canción" and "Canto Nuevo" Festivals held in Latin America. At the Cuban meeting, an "Encuentro", not a Festival, it was resolved that song should play an important role in the liberation struggles against North American imperialism and against colonialism, as it was agreed that song possessed enormous strength to communicate with the people and break down barriers, such as those of illiteracy, and taht in consequence it should be a weapon at the service of the people, not a consumer product used by capitalism to alienate them. Protest singers (as they continued to call themselves despite the debate) should be engaged in a constant enriching search for artistic quality, in itself a revolutionary activity. They should work amongst their people, confronting problems within their societies. For some of those involved this merely reflected what they wer doing already.
01. Me gustan los estudiantes – Ángel Parra
02. A yime yo be Singing – Jean Lewis
03. Canción para mi América – Daniel Viglietti
04. Certainly Lord – Julius Lester
05. Mia cara moglie – Ivan Della Mea
06. Hasta siempre – Carlos Puebla
07. The ballad of Ho Chi Minh – Ewan Mccoll
08. Porque los pobres no tienen – Isabel Parra
09. Epigrama – Luis Cilia
10. The cutty wren – John Faulkner, Sandra Kerr y Terry Yarnell
11. Mi honda es la de David – Oscar Chávez
12. Vous – Martha Jean Claude
13. Bella ciao – Giovanna Marini, Elena Morandi e Ivan Della Mea
14. El pobre y el rico – Los Olimareños
15. Lettera del condennatto a morte – Elena Morandi
16. Juventud – Carlos Molina
17. Le coq chant – Onema Djamba Pascal
18. Lullaby for the times – Sandra Kerr
19. El mensú – Ramón Ayala
20. San Sang Ban – Tran Drung y Pham Duong
21. Der Hammer – Gerry Wolff
22. Coplas al compadre Juan Miguel – Alfredo Zitarrosa
23. Diguem no – Raimon
24. Coplera del viento – Oscar Matus y Armando Tejada Gómez
25. Hitler Ain’t Dead – Peggy Seeger
26. Coplas del pajarito – Rolando Alarcón
27. Hell no – Barbara Dane
(192 kbps, cover art included)

Dienstag, 17. Februar 2015

Tom Rush - Tom Rush At The Unicorn (1962)

Originally self-released on Tom Rush's own label (a rare thing for 1962) and later reissued by CBS, "Tom Rush at the Unicorn" is a warts-and-all live recording of medium fidelity featuring the young folksinger on stage at Boston's leading folk spot, The Unicorn, one of the hotbeds (along with Cambridge's Club 47) of the local folk revival.

The 12-track set list is composed entirely of traditional songs, from old familiars like "The Old 97" and "Ramblin' on My Mind" to Woody Guthrie's modern classics "Pretty Boy Floyd" and "Talking Dust Bowl Blues."

Rush delivers his material with élan, but in comparison to his later original songs, there's something missing here. Tom Rush here sounds like the collegiate folk fan he was, not the sensitive, nuanced singer/songwriter he would become by the time of 1965's Elektra debut, "Tom Rush". "Tom Rush at the Unicorn" is interesting, but it's juvenilia.  -

Ramblin' On My Mind3:00
San Francisco Bay Blues3:21
The Old 973:55
Every Night When The Sun Goes Down3:45
Walkin' Blues2:53
Make Love To You2:24
Poor Man3:25
Orphan's Blues4:35
Pretty Boy Floyd3:25
Julies Blues4:50
Talking Dust Bowl3:12
Old Blue5:20

Tom Rush - Tom Rush At The Unicorn (1962)
(192 kbps, cover art included)           

Mittwoch, 11. Februar 2015

Woody Guthrie - Talking Dust Bowl (1950)

This is a Folkways LP that came out in 1950, but it collects some of the first commercial recordings that Guthrie made - for RCA Victor in 1940. On the A side you will find four classic dust bowl ballads; on the flip side, songs about the migrants who were chased from the southwest by the storms of the 1930s. These include a piece that Guthrie based on John Steinbeck's Tom Joad character.

It's interesting that Guthrie, thought of as a true folk artist, was influenced by Steinbeck's novel and (according to the notes to this album) even the film of the Grapes of Wrath. His work in turn became part of the collective consciousness, in a sense - I remember singing So Long and This Land Is Your Land in elementary school in the 1950s, well before I ever heard of Woody himself.

Guthrie's RCA session was tremendously successful artistically - this record doesn't include Do Re Mi, Vigilante Man, and Pretty Boy Floyd, all of which he recorded at the same session.

The cover of this album, by an artist named Carlis, is perfect for its contents. A great record and great package.

Thanks to for the original upload and the informative text.

Dust Bowl Ballads
A1Dust Storm Disaster
A2So Long (Dusty Old Dust)
A3Talking Dust Blues
A4Dust Can't Kill Me
Migrant Worker's Songs
B1Blowing Down This Road
B2Dust Bowl Refugee
Tom Joad (Ballad Based On John Steinbeck's "Grapes Of Wrath")
B3Tom Joad, Part 1
B4Tom Joad, Part 2

Woody Guthrie - Talking Dust Bowl (1950)
(256 kbps, front cover included)

Montag, 9. Februar 2015

The Village Fugs – Sing Ballads Of Contemporary Protest, Point Of Views, And General Dissatisfaction (1965 LP Folkways 304)

"The Village Fugs ‎– Sing Ballads Of Contemporary Protest, Point Of Views, And General Dissatisfaction" was the first Fugs album, released in 1965 with the instructive subtitel.

Poets Tuli Kupferberg and Ed Sanders couldn’t play any instruments, but they sure knew all about the spirit of rock & roll. Sanders edited … Full Descriptionand published a profanely titled arts magazine in post-Beat, early-‘60s Greenwich Village, and local friends, including Peter Stampfel and Steve Weber of the Holy Modal Rounders, and guitarist Ken Weaver, provide most of the music on this underground classic.

Alternately angry, beautiful, rude, and gut-bustingly hilarious, these songs, recorded in 1965, are both folk classics and among the first and best punk anthems ever recorded. Weaver’s “I Couldn’t Get High” is a garage-rocking stomper that wouldn’t sound out of place in the NUGGETS series, and Weber’s ironic masterpiece “Boobs A Lot” says more about locker-room culture in two minutes than volumes of social studies. An essential album!

Peter Stampfel (fiddle, hca, vo)
Vinny Leary, Steve Weber (g, vo)
John Anderson (bag, vo)
Ken Weaver (d, vo)
Tuli Kupferberg (per, vo)
Ed Sanders (vo)


01. Slum Goddess (2:01)
02. Ah, Sunflower Weary Of Time (2:15)
03. Supergirl (2:19)
04. Swinburne Stomp (2:51)
05. I Couldn’t Get High (2:08)
06. How Sweet I Roamed From Field To Field (2:15)
07. Carpe Diem (5:10)
08. My Baby Done Left Me (2:21)
09. Boobs A Lot (2:14)
10. Nothing (4:17)

The Fugs - The Village Fugs (1965)
(192 kbps, front cover included)