Montag, 30. November 2015

Lightnin' Hopkins & Sonny Terry - Last Night Blues (1960)

Outside of Blind Lemon Jefferson, Lightnin' Hopkins may be Texas's most distinctive and influential blues export. His easy, fluid fingerpicking and witty, extemporaneous storytelling are always a delight, and his performances on "Last Night Blues" are no exception. The album is spare and acoustic, with Hopkins's voice and guitar accompanied by minimal percussion and Sonny Terry's harmonica.

Terry's contributions really add a lot to these tunes, threading a high, lonesome whine on the downtempo tunes and a chugging, propulsive shuffle on the faster ones. Hopkins is, of course, one of the kings of the blues boogie, but he's equally compelling on the slow blues, and he never missteps throughout this fine set. All told, this dynamite disc represents what the blues should be: stripped-down, soulful, and full of truth.

"...there's a relaxed intimacy and trust here born of musicians sharing a similar vision and experience in the blues....lyrically, Hopkins' ability to poetically improvise without noticeable limits keeps each song interesting..." ~ Living Blues - Jan/Feb 93, pp.84-85

A1Rocky Mountain
A2Got To Move You Baby
A3So Sorry To Leave You
A4Take A Trip With Me
B1Last Night Blues
B2Lightnin's Stroke
B3Hard To Love A Woman
B4Conversation Blues

Lightnin' Hopkins & Sonny Terry - Last Night Blues (1960)
(320 kbps, cover art included)

Sonntag, 29. November 2015

VA - Queens Of African Music

From the liner notes:

"Where there´s a King, there must be a Queen: This companion volume to "Kings Of African Music" is a sizzling, sensuous selection of hits from the greates women in African music and varies from upfront hi-tech dance to deliciously raw ballads.

Here´s proof that the African woman´s role is in the soul kitchen, cooking up wicked dishes like the ones on this set.

(...) So what all the women on this compilation share is a kind of power: of expression, self-confidece and musicality."

1Angélique KidjoAkwaba
2Mahotella QueensAwuthele Kancane
3Mbilia Bel8/10
4TarikaTsy Kivy
5Miriam MakebaClick Song
6Tshala MuanaMutombo
7Nahawa DoumbiaTshala Muana
8Soukous StarsLok' Dance
9Amy KoitaSoman
10Fantani ToureDiyanieba
11Oumou DioubateChristinana
12Yvonne Chaka ChakaLegends
13Nayanka BellOukaladado

VA - Queens Of African Music
(256 kbps, cover art included)

Freitag, 27. November 2015

Lightnin´ Hopkins - Lightnin´ In New York (1960)

Rolling Stone (12/2/70) - "...Lightnin' is one of the most powerful bluesmen going, and this is probably his finest album..."

This album features the classic bluesman Lightnin' Hopkins on eight unaccompanied solos, not only singing and playing guitar but taking some rare solos on piano (including on "Lightnin's Piano Boogie"). Hopkins recorded a lot of albums in the 1960s and all are quite listenable even if most are not essential; he did tend to ramble at times! This Candid release is one of his better sets of the period, highlighted by "Take It Easy," "Mighty Crazy," and "Mister Charlie."   

The tantalizing thing is, there's so much more from this session. "Lightnin' in New York" features tremendously fun and entertaining tracks like "Mighty Crazy" and the definitive version of "Mister Charlie", as well as "Trouble Blues," a searingly painful blues that is among the best songs Lightnin' ever recorded. The problem? There are six songs from this Nov. 15, 1960 session that are not here. These cuts (all good) appeared on Mosaic's "The Complete Candid Otis Spann/Lightnin' Hopkins Sessions" a three-disc masterpiece that features two prime discs of blues pianist Spann and one of Hopkins (14 tracks!). That Hopkins disc in its entirety might be his absolute finest. That limited-edition box set is no longer available, but if you find it used or up for auction, jump at it. Anyway, it would have been nice if, on this "Lightnin' in New York" reissue, they had been able to add those bonus cuts. Why not? Anyway, pretend you're not missing anything and enjoy some fabulous Lightnin' Hopkins music.

Lightnin´ Hopkins - Lightnin´ In New York (1960)
(320 kbps, cover art included)

Donnerstag, 26. November 2015

VA - The Famous Spiritual + Gospel Festival 1965

'An Authentic Documentation of Black Church Music in Concert' - live Jan. 25th, 1965 in the Glocke, Bremen - with the Original Five Blind Boys of Mississippi, Inez Andrews And The Andrewettes and Bishop Samuel Kelsey And His Congregation From Washington D.c. ... - fantastic and rare album released in 1965 on the Fontana label - and re-released in the 1990s on CD.
Horst Lippmann and Fritz Rau organized thie Gospel Festival as a counterpart to their American Folk Blues Festival tours.

A1Jesus Said If You Go
A2Lord Send The Rain
A3Travelling Shoes
A4Exodus, 3rd Chapter
A5I Cried, He Delivered Me
A6Tell Me How Long The Train Been Gone
B1It's A Needed Time
B2It's In My Heart
B3What Love
B4A God Somewhere
B5John Saw The Number
B6O Why
B7Lord You've Been Good To Me

VA - The Famous Spiritual + Gospel Festival 1965
(256 kbps, cover art inlcuded)

Barbara Thalheim - Die Kinder der Nacht (Amiga, 1985)

Barbara Thalheim (born September 5, 1948 in Leipzig) is a German singer and songwriter.

The recipient of the 1994 German music critics' awar ("Preis der deutschen Schallplattenkritik"), Barbara Thalheim is one of the most successful artists of post-reunification Germany. With her stunning vocals and artistic vision, Barbara Thalheim has continued to expand on the cabaret and musical theater traditions of her homeland. Thalheim's life has been the source of a film, "Zum Sehen geboren", by filmmaker Joachim Tschirner, released in 1989, and an autobiography, "Mugge: 25 Years on the Road", published in 2000.

The daughter of a communist, anti-fascist, and former Dachau Concentration camp prisoner, she's used her skills as a vocalist to overcome the political oppression of her youth. Her status as a performer has enabled her to support a varied assortment of artistic causes. During a three-year hiatus from music (1995-1998), she founded an art culture office and began an "arts in the square" program that presents concerts in disadvantaged areas of Berlin. Thalheim's first experiences in Berlin's cabaret scene came between 1968 and 1971, when she performed with the Oktoberklub. Hoping to learn more about German theater, she took a job as a messenger girl in 1971. Starting out as a background vocalist from 1970 to 1973, Thalheim stepped into the limelight as a soloist in 1974. She graduated in 1972 at the Berlin Hochschule für Musik "Hanns Eisler". In 1980 she protested against the stage ban of GDR artists in Western Europe, imposed by the SED. She was then excluded from the SED and she was no longer allowed to perform for some years.

From 1979 until 1991, she balanced her musical career as a radio journalist for a number of stations in Germany and Switzerland. Moving, temporarily, to France, in 1993, Thalheim performed concerts with such artists as Marek Grechula, Hermann Van Veen, Hannes Wader, and George Moustaki, and began a collaboration with French accordion player Jean Pacalet. Since Thalheim's return to the concert stage in late 1998, Pacalet has served as her musical director. Thalheim continued to work with the group she assembled for her 1998 album, "In Eigener Sache" - bassist Marcus Schloussen, percussionist Georen Harm, and guitarist Juergen Ehle. Since 1999, she's also performed, occasionally, with five different accordion orchestras.


A1 Sehnsucht nach der Schönhauser
A2 Der Mann im Souterrain
A3 Ete
A4 Frau am Oktobermorgen
A5 Schlaflied für Emilia
A6 Die Kinder der Nacht

B1 Wanderer erwachen früh
B2 Ich leb hier
B3 Frau an der S-Bahn
B4 Der kleine Mann
B5 Angelika
B6 Kennt ihr ihn?
Barbara Thalheim - Die Kinder der Nacht (Amiga, 1985)
(320 kbps, cover art included, vinyl rip)  

Zupfgeigenhansel - Jiddische Lieder - ‘Ch Hob Gehert Sogn

Here´s another album by Zupfgeigenhansel, called "Jiddische Lieder - ‘Ch Hob Gehert Sogn" with interpretations of some klezmer classics, released on Pläne records.
Zupfgeigenhansel was a german folk duo, found in 1974 by Erich Schmeckenbecher and Thomas Fritz.
The tried to revive german folk songs with a democratic character building up a kind of alternative german folk style as a counter point to the very conservative official german folk music of that time. Once a journalist wrote about that attempt - reffering to a very popular conservativ german "Volksmusiker" calling himself Heino: "I wish Heino would listen to the music of Zupfgeigenhansel, so that he will stop singing his songs!"

(192 kbps)

Mittwoch, 25. November 2015

Bertolt Brecht - Flüchtlingsgespräche (Berliner Ensemble, LITERA 1970)

This is the classic Berliner Ensemble recording of Bertolt Brecht's "Flüchtlingsgespräche" ("Conversations in Exile")

Side 1:
I. Über Pässe / Über die Ebenbürtigkeit von Bier und Zigarre / Über die Ordnungsliebe
II. Über niedrigen Materialismus / Über das Überhandnehmen bedeutender Menschen
III. Schwierigkeiten der großen Männer / Ob der Wieheißterdochgleich ein Vermögen besitzt
IV. Trauriges Schicksal großer Ideen / Die Zivilbevölkerung ein Problem

Side 2:
V. Die Schweiz, berühmt durch Freiheitsliebe und Käse / Vorbildliche Erziehung in Deutschland / Die Amerikaner / Frankreich oder der Patriotismus / Über Verwurzelung / Dänemark oder der Humor / Über die Hegelsche Dialektik
VI. Ziffel erklärt seinen Unwillen gegen alle Tugenden
VII. Kalles Schlußwort / Eine ungenaue Bewegung
.(192 kbps, cover included)
You will find the original liner notes in the comment section.

Zupfgeigenhansel - Oj! Oj! Oj! - Ein jiddisch-deutsches Konzert

Zupfgeigenhansel was a german folk duo, found in 1974 by Erich Schmeckenbecher and Thomas Fritz.

The tried to revive german folk songs with a democratic character building up a kind of alternative german folk style as a counter point to the very conservative official german folk music of that time. Once a journalist wrote about that attempt - reffering to a very popular conservativ german "Volksmusiker" calling himself Heino: "I wish Heino would listen to the music of Zupfgeigenhansel, so that he will stop singing his songs!"

They played on acoustic instruments like fiddle, guitar and button accordion and were singing songs about the life of common people of earlier times, about freedom and about treating the authorities, the church officials and military with contempt.

Here´s Zufpgeigenhansel with "Oj! Oj! Oj!", a recording of their so called "jiddisch-deutsches" concert.

Zupfgeigenhansel - Oj! Oj! Oj!

Zupfgeigenhansel - Alle die dies Lied gesungen

Zupfgeigenhansel, named for a songbook of German folksongs, was founded in 1974 by Erich Schmeckenbecher and Thomas Friz. The band performed medieval, Yiddish, and other modern songs (including Dieter Süverkrüp covers). The texts of their folk songs reflect the stories of the "simple" people of the past century, whether about love, trouble, courage, pride, disdain of leaders and priests, or resistance to the military. 
Zupfgeigenhansel were typical representatives of the new folk movement of the 1970s, which reactivated the revolutionary traditions of old folk songs.

"Alle die dies Lied gesungen" is not one of the few original albums of the duo Zupfgeigenhansel, but a compilation. It is a collection of songs from the 17th to the 20th century, with emphasis on the 19th century ("Vormärz") with focus on civil rights and freedom, recorded from 1977 to 1980. The three live recordings are of good quality. "Andre, die das Land so sehr nicht liebten" is for my ears the most impressive track on this compilation.


1 Ein stolzes Schiff
2 Mein Michel
3 Deutschland was im März errungen
4 Im Krug zum Grünen Kranze
5 Ich bin ein freyer Bauernknecht
6 Soldatenschicksal
7 Bibel und Flinte
8 Ich Bin Soldat
9 Fordre niemand mein Schicksal zu hören
10 Mein Vater wird Gesucht
11 ´s ist wieder März geworden
12 Bürgerlied
13 Der Revoluzzer (Live)
14 Victor Jara (Live)
15 Andre, die das Land so sehr nicht liebten
16 Tsen Brider (Live)

Zupfgeigenhansel - Alle die dies Lied gesungen
(ca. 224 kbps, cover art included)

Zupfgeigenhansel - Miteinander (Musikant, 1982)

Zupfgeigenhansel, named for a German folksong, was founded in 1974 by Erich Schmeckenbecher and Thomas Friz. The band performed medieval, Yiddish, and other modern songs (including Dieter Süverkrüp covers).

The texts of their folk songs reflect the stories of the “simple” people of the past century, whether about love, trouble, courage, pride, disdain of leaders and priests, or resistance to the military.

The band’s music achieved popularity in Germany in an era of citizens’ movements, non-violent resistance to nuclear power, major building projects, and military expansion.

The band split up in 1986.

The album "Miteinander" was recorded during July / August 1982 at Conny's Studio, Neunkirchen-Wolperath and released on the "Musikant" label. It contains the local hit "Waldfest" and the antifascist song "Bella Ciao".

A1 Herbstlied / Bunt sind schon die Wälder 4:54
A2 Heimatlied 4:10
A3 Greta 2:50
A4 Zu Straßburg auf der Schanz 2:42
A5 Innsbruck, ich muß dich lassen 4:18
A6 Miteinander 3:18
B1 Waldfest 4:22
B2 Wann in mein grünes Haus ich wiederkehr 4:20
B3 Bella Ciao 3:41
B4 Morgenrot 3:23
B5 Woher soll das Brot für heute kommen 3:21
B6 Ade zur guten Nacht 3:48

Zupfgeigenhansel - Miteinander (Musikant, 1982)
(192 kbps, cover art included)

Zupfgeigenhansel - Kein schöner Land (Musikant, 1983)

Zupfgeigenhansel was a German folk duo, one of the most successful groups to emerge on the German folk scene in the 1970s. It consisted of Erich Schmeckenbecher and Thomas Friz. The group was named after the collection of folk songs of the same name, which was published in 1909.

The group started playing in folk-clubs, mainly in southern Germany, in 1974. They then started appearing on the radio programme Liederladen of the Südwestfunk broadcasting station. They released their first album, Volkslieder I for the Pläne record company in 1976, and later in the year their second album, Volkslieder II. In 1978 they received the award of "Artists of the Year" in one of the categories of the German Phonoakademie. The texts of their folk songs reflect the stories of the "simple" people of the past century, whether about love, trouble, courage, pride, disdain of leaders and priests, or resistance to the military. They disbanded in 1985.

The album "Kein schöner Land" was recorded during July / September 1983 at Conny's Studio, Neunkirchen-Wolperath, and released on the Musikant label.

01. Neues Wanderlied
02. Nehmt Abschied
03. Fun wos lebt a jid
04. Gesang der Edellatscher.mp3
05. Zogen einst fünf wilde Schwäne
06. Muß i denn
07. Lügenlied
08. Nargaritkes
09. Lindenballade
10. Ein schönes Land
11. Dire-gelt (bonus track)
12. Tsen Brider (bonus track)

Zupfgeigenhansel - Kein schöner Land (Musikant 1983)
(192 kbps, cover art included)

VA - Amerika - Exil und Heimat 1930 - 1950

It is hard to imagine where American culture would be today without the contributions of Hitler and his nazi dictatorship — that is, without the thousands of creatively gifted refugees who fled these murderers.
A good many cultural historians and writers have explored this meaty subject from different angles since Anthony Heilbut’s 1983 landmark, “Exiled in Paradise” (still a good book on the topic).

This compilation features the work of European composers forced to the USA because of the expanding Nazi dictatorship and the work of their american collegues in these times. It´s an introduction into the work of emigre composers of the 1930s and 1940s like Hanns Eisler, Paul Hindemith, Bela Bartok and Kurt Weill and american artists like George Gershwin and John Cage.

Amerika - Exil und Heimat (1930 - 1950)
(192 kbps, small front cover included)

Zupfgeigenhansel - Volkslieder I (1976)

And finally here´s the first volume of Zupfgeigenhansel´s "Volkslieder" series. Zupfgeigenhansel was a German folk duo, one of the most successful groups to emerge on the German folk scene in the 1970s. It consisted of Erich Schmeckenbecher and Thomas Friz. The group was named after the collection of folk songs of the same name, which was published in 1909.

The group started playing in folk-clubs, mainly in southern Germany, in 1974. They also appeared on the radio programme Liederladen of the Südwestfunk broadcasting station. They released their first album, Volkslieder I for the Pläne record company in 1976, and later in the year their second album, Volkslieder II. In 1978 they received the award of "Artists of the Year" in one of the categories of the German Phonoakademie. They disbanded in 1985.

Zupfgeigenhansel participated in the revival of the democratic German folk song in the 70s and 80s


Der arme Bauer
Jetzo kommt für unsereinen
Es het e Buur es Töchterli
Der Selbstmord
Ich hab' die Nacht geträumet
Lied der Pariser Kommune
Es wollt ein Bauer früh aufstehn
Es, es, es und es
Ich bin Soldat
Mein Kind wir waren Kinder
Stets i Trure
Mönch und Nonne
Als wir jüngst verschütt jegangen
Wenn alle Brünnlein fließen (bonus track, live)
Die Bauern von St. Pölten (bonus track, live)

Zupfgeigenhansel - Volkslieder I
(256 kbps, cover art included)

Zupfgeigenhansel - Lustig, lustig ihr lieben Brüder - Die frechsten Lieder

Zupfgeigenhansel played an important role in the reanimation of the german folk music scene, searching for democratic and anti-authoritarian traditions. Their songs are of lasting value and a lot of humor; and they are short history lessons.

The album "Lustig, lustig ihr lieben Brüder - Die frechsten Lieder" is a compilation featuring some german and one jewish folk song.

1. Papst und Sultan
2. Wir drei, wir gehn jetzt auf die Walze
3. Der Revoluzzer
4. Ehestandsfreuden
5. Als wir jüngst verschütt jegangen
6. Die Bauern von St. Pölten
7. Die Brombeeren
8. Lied der Pariser Kommune
9. Bibel und Flinte
10. Es wollt ein Bauer früh aufstehn
11. Der Karmeliter
12. Es, es, es und es
13. Dire-gelt

Zupfgeigenhansel - Lustig, lustig ihr liebe Brüder - Die frechsten Lieder
(256 kbps, cover art included)

Jacques Brel - La Valse à Mille Temps (1959)

"La Valse à Mille Temps" (English: "The waltz a thousand times as fast") is Jacques Brel's fourth album. Also known as Jacques Brel 4 and American Début, the album was released in 1959 by Philips.

If any one Jacques Brel album can be said to encapsulate everything he means to a rock/pop-oriented audience, his fourth LP is the one. Four of its ten songs have since become virtual standards. "Seul" (as "Alone") and "La Valse a Mille Temps" ("Carousel") are perhaps best known for the interpretations included in the "Alive and Well" stage play, but both have been recorded much farther and wider than that.
"La Mort" ("My Death") was a regular component of David Bowie's live show during 1972-1973, and again in the mid-'90s, while Scott Walker also cut a popular version. And "Ne Me Quitte Pas" "If You Go Away" has been set upon by so many MOR crooners that it is sometimes easy to forget there ever was an "original" version of the song, let alone one which is performed in French. Since this most crippling heartbroken of lyrics was translated into English by Rod McKuen in the early '60s, just two of countless covers come close to the sheer desolation of Brel's original performance, the impassioned piano and voice interpretation which haunts the first "Marc & the Mambas" album, and the fresh translation unveiled by Momus on his own debut album. The remainder, a litany which runs from Terry Jacks to Frank Sinatra, are but the palest shadows by comparison. To dwell on the magnificence of its best-known songs, however, is to overlook the quality which relentlessly drives the remainder of this album. With Francois Rauber now firmly installed as Brel's orchestrator of choice, the album spawned hit after hit - "Les Flamandes," Brel's moving tribute to his Belgian heritage; "La Dame Patronesse," a smirkingly conspiratorial piece set to a charmingly clumsy piano; even "La Mort" proved a major smash, although it must be pointed out that the grandiloquent self-pity which permeates the best-known English language renditions is nowhere to be found in Brel's vocabulary. His death waits with barely disguised good humor - unlike the grimmer demise awaiting the young soldiers who pack the railway station in "La Colombe." Set against the turmoil of France's then on-going war in north Africa, the song is neither the first nor the loudest of Brel's anti-war compositions. It is, however, one of the most moving. Not to be confused with the Serge Gainsbourg composition of the same name, "Je T'aime" is nevertheless as passionate as its better-known namesake (albeit without the orgasms), while "La Tendresse" (to rhyme, of course, with "le diable caresse" - the devil caresses) is one of those anti-love love songs at which Brel had long since proven himself a master. "Jacques Brel 4" was Brel's final studio album for the Philips label. However, it also marked the beginning of his so-cautious romance with the United States. With a handful of revisions, it would become his first U.S. LP later in the year.

Jacques Brel - La Valse à Mille Temps (1959)
(256 kbps, cover art included)

Zupfgeigenhnasel - Andre, die das Land so sehr nicht liebten (Musikant, 1985)

The last joint work of Zupfgeigenhansel has become a concept album with brilliant textual documents of the Austrian poet and writer Theodor Kramer, who had to flee from the Nazis. 

It is - at least for those who like intelligent German folk music - an absolute masterpiece. The poems of Theodor Kramer are absolutely high quality and the musical interpretation can only be described as awesome. The title track is outstanding, a simple but very catchy tune with meaningful lyrics.


01. Dass es noch möglich ist
02. Pfingsten für zwei alte Leute
03. Die Kamille
04. Fronleichnam
05. Wir kommen noch wie sonst zusammen
06. Trinklied vorm Abgang
07. Kino nach Tisch
08. Es ist schön
09. Schlaflied vom Rand der Welt
10. Ein Krampenschlag vor Tag
11. Beim Stromwirt
12. Andre, die das Land so sehr nicht liebten

Zupfgeigenhansel - Andre, die das Land so sehr nicht liebten (Musikant, 1985)
(320 kbps, cover art included)


Dienstag, 24. November 2015

Zupfgeigenhansel - Volkslieder 3 - Im Krug zum grünen Kranze

The European and American folk movements of the 1950s and 60s were in part a distancing from the commerciality and banality of pop music. Many Germans, who could find no way back to their own folk roots, embraced Anglo-American folk and folk-blues idioms isteand. But there were German initiatives, both East and West.

In the West, a low-key wave of new folk acts emerged. Besides the better known bands Ougenweide, Liederjahn and Lilienthal there werre acts such as Fiedel Michel and Zupfgeigenhansel as protagonists of this movement.

Here´s the third and final album of the "Volkslieder" series by Zupfgeigenhansel, recorded in December 1977 and January 1978 at Conny´s Studio in Neunkrichen-Wolperath and released on the Pläne label.


  1. Fordre niemand, mein Schicksal zu hören
  2. Ein stolzes Schiff
  3. Den schönsten Frühling sehn wir wieder
  4. Mit wunder jezunder
  5. Ein grüner Berg, ein dunkles Tal
  6. Wir drei, wir gehn jetzt auf die Walze
  7. Im Krug zum grünen Kranze
  8. Im Aargäu sind zweu Liebi
  9. Wenn ich einmal Herrgott wär
  10. Es wollt ein Meyer meyen
  11. Deutschland, was im März errungen
  12. S ist wieder März geworden
  13. Victor Jara (bonus track, live)

Fiedel Michel - Der Teutsche Michel (1978)

After the second world war any German folk music tradition was discredited.Tradition means that something considered valuable is passed on from one generation to the next. From this point of view it is obvious that the thread of continuity was broken in 1945. This does not mean that peoples’ memories were wiped blank. But the reputation and musical standard of “Volksmusik” wasn’t very high, little to interest young musicians. Simple melodies and rhythms, little artistic merit. No identifiable style. Any aspiring instrumentalists would be drawn into classical, jazz or or later into rock music. What was known as "Volkslied" had been taken up and re-shaped by composers and choirs long before the war. So even if it hadn't been for the nazis the geographical and historical situation had worked against a distinctive musical tradition.

Thus it’s not surprising that many members of the younger generation in the Sixties turned to music from English-speaking countries. They sought an alternative to bland pop lyrics and a new, honest way to share the music, an expression of their generation. There was an “imported” Folk revival but except from some singer-songwriters there weren’t any big names to promote the music.

a new lease of life for old songs and dances - sadly it didn't lastThere were of course efforts to reestablish some German-language singing. In West Germany the political Left used songs of the democratic movement of 1848. Protest songs of oppressed farmers and labourers were re-discovered. A lot of research was done in the Seventies. Some folk groups like Fiedel Michel and Liederjan were successful by adapting German songs and tunes in the international “folk” style. Both had started off with anglo-irish music. But their success with their own generation couldn't be transferred to the next.

Here´s the fifth Fiedel Michel album, called "Der Teutsche Michel" from 1978. It features a solo version of the famous antifascist song " "Mein Vater wird gesucht" by the Fiedel Michel-member Elke Herold.


A1 Mein Michel...
A2 Hornpfiff
A3 Vör Lammdal up'n Steen
A4 Es soll sich der Mensch nicht...
A5 Aulacostephanus
A6 Matrosentanz / Mädel wasch dich
A7 Es ist ein Schnee gefallen
A8 Lied an einem Boten
B1 Sterntanz
B2 Der Winter ist vergangen
B3 De Haut, de hät en Thaler kost
B4 Bretonische Polka
B5 Störtebecker
B6 Flämische Tänze
B7 Mein Vater wird gesucht
B8 Dennis Murphy's Polka

Fiedel Michel - Der Teutsche Michel (1978)
(320 kbps, front & back cover included, vinyl rip)

Fiedel Michel - Kennst Du das Land... (1981)

The West German folk revival that followed in the wake of the Anglo-American folk revival of the 1960s and 1970s took a strong edge of political and social criticism that left little room for folk romanticism. Partly associated with the "68 generation" (the German political students´movement that also based their protest on, among many other issues, the Nazi bakcground of their parent´s generaation), groups and performers such as Hannes Wader, Franz Josef Degenhard, Liederjan, Zupfgeigenhansel and Fiedel Michel built up a large repertoire of worker´s songs, political material, and songs from as far back as the Peasant´s Wars of 1525 and the 1848 revolution.
Musically, these performers also deviated srongly from previous folk traditins. Similar to revival performers in other European countries, many Germans started out by imitating American, Irish, and Scottish musicians and developed an interest in their own mus only later.

Fiedel Michel´s album "Kennst Du das Land..." was released in 1981 on the Nature label. It was recorded in Dublin. The titel track is their version of the famous Erich Kastner poem. "Friedlicher Mittag" is based on a poem by Rolf Dieter Brinkmann, an important forerunner of the German so-called Pop-Literatur.


A1Kennst Du das Land, wo die Kanonen Blühn ? 5:15
A2Kleines Rondo 3:55
A3Der Winter ist vergangen 3:20
A4Friedlicher Mittag 2:50
A5In Senden ist der Löwe los 4:10
B1Raumschot 3:26
B2Ich bin ein freier Mann 4:05
B3Trilobit 4:45
B4Mein Michel 3:40
B5Meridian 3:55

Fiedel Michel - Kennst Du das Land... (1981)
(320 kbps, front cover included, vinyl rip)

Fasia - Portrait (Pläne, 1976)

Fasia Jansen was a German political songwriter and peace activist, born 20 June 1929 in Hamburg.

The illegitimate daughter of the Liberian Consul General Momulu Massaquoi and the German chambermaid Elli Jansen experienced as a child discrimination due to their skin color and due to their illegitimate birth.
She grew up in a worker quarter of Hamburg and lived through the discrimination of an obviousliy "nicht-arischen" woman in the time of the fascist dictatorship. Her hope, oriented at Josephine Baker, to cover her life with music and dance  was destroyed as she was thrown out of a dance school at the age of 11 years. Three years later she was forced to work in the kitchen of the KZ Neuengamme. The fifteen-year experienced the brutality of the SS and the despair of the prisoners - experiences, which shaped her life crucially.

In the early years of West Germany after the NS dictatorship she tried to cope with the experiences from the camp and to keep the memory of the victims and their ideals alive. She once again started to make music, first as a choir member in Hamburg, with own songs. Jansen moved to the "Ruhrgebiet" and engaged herself in the political fights of the time. She performed at a lot of "Ostermärschen" (part of the peace movement), for example in 1966 together with Joan Baez. She supported the large strikes before the factory gates of Krupp, Hoesch or Thyssen and sung at the "Weltfrauenkonferenz" of the UN in Nairobi and at the "Burg Waldeck Festivals".

She died on December 29, 1997 in Oberhausen.

The album "Portrait" was recorded in September and Oktober 1975 in Hamburg and Köln and released on the Pläne label in 1976.

Fasia - Portrait (Pläne, 1976)
(320 kbps, front cover included)

Fiedel Michel - Von Zeit zu Zeit (1978)

"Fiedel Michel" from Münster, who had first appeared in 1972 as the "Rambling Pitchforkers", playing a set of Scottish and Irish folk, won first prize for German songs in the 1973 Interfolk Festival in Osnabrück. The Interfolk Festival (or "Internationales Folklorefestival") combined "authentic" folk music and an intimate atmosphere. With artistic quality and the non-commercial orientation of the performers, Interfolk remarkably withstood the trend toward mass-oriented festivals.

In the mid-1970s, Fiedel Michel were alsongside Elster Silberflug (from Heidelberg) and Liederjahn (from Hamburg) one of the leading German folk groups. On their albums, they combined dance tunes, traditional music and socially critical "Volkslieder". They were part of the folk and "Liedermacher" movement looking for new possibilities for a musical culture with a political awareness after the collaps of the 1968 student movement. In the face of political impotence, it was now time for the radical youth to give up the slogan "Gitarren in die Ecke" and to once agian let the songs do the talking. By this it meant the political song scene should not forgo its radicalism, but should adapt to the new conditions of the 1970s.

Fiedel Michel - Von Zeit zu Zeit (1978)
(320 kbps, front cover included, vinyl rip)

Montag, 23. November 2015

Liederjan - Volksmusik aus der heilen Welt (1979)

Liederjan is a north-German folk group. The group originated as "Tramps & Hawkers", which played Irish traditional music in the early 1970s. They gradually started playing German folk-music and in 1975 formed the group Liederjan.

The principal members of the group were Anselm Noffke (died 2003), Jörg Ermisch und Jochen Wiegandt. Others who played with Liederjan were Rainer Prüss, Edzard Wagenaar, Wolfgang Rieck, Jürgen Leo, Klaus Irmscher and currently Hanne Balzer and Michael Lempelius.


A2Der Distelbaum
A3Bauer Und Kalb
A4Der Lumpensammler
A5Schnitter Tod
B2Auf Dem Tanzboden
B4Michels Abendlied
B6Dr. Severing

Liederjan - Volksmusik aus der heilen Welt (1979)
(192 kbps, small cover included)

Zupfgeigenhansel - Volkslieder 2 (1977)

Zupfgeigenhansel was a German folk duo founded by Thomas Friz and Erich Schmeckenbecher. They were activ during the 1970s and 1980s. The group took its name from the famous Wandervogel Songbook "Der Zupfgeigenhansl" that appeared in 1909, although the group's repertoire overlaps only partially with the contents of the songbook.

Zupfgeigenhansel initially followed the idea of rediscovering and repopularising German folk songs with libertarian character, partly to be provided with their own melodies. These folk songs were dealing with the lives of "ordinary" people of the past centuries - they were telling stories about love, poverty, and venture, the contempt for authority and priests as well as the resistance against militarism.

Zupfgeigenhansel became a foundation stone - next Ougenweide, Hannes Wader and Liederjan - for an alternative German folk music, beyond traditional folk music occupied by conservatives.

Zupfgeigenhansel performed since 1974 in various folk clubs, mainly in southern Germany. A few radio appearances on the show "Liederladen" at "Südwestfunk" followed. 1976 her first album "Volkslieder I" was published on the Pläne label, "Volkslieder II" followed in 1977. That album was recorded in January 1977 at Conny Plank´s studio in Neunkirchen.

01. Ich bin ein freyer Bauern-Knecht (Traditional) 2.41
02. Und in dem Schneegebirge (Traditional) 2.35
03. Papst und Sultan (Traditional/Noack) 2.20
04. Annagret (Traditional) 1.51
05. Mein Michel (Traditional (Friz/Schmeckenbecher) 2.40
06. Mein Vater wird gesucht (Drach/Kohlmey) 2.50
07. Bürgerlied (Traditional) 3.23
08. Soldatenschicksal (Traditional (Friz/Schmeckenbecher) 2.37
09. Die bange Nacht (Traditional(Lyra) 1.43
10. Bibel und Flinte (Traditional) 1.22
11. Es dunkelt schon in der Heide (Traditional) 4.23
12. Die Brombeeren (Traditional) 3.04
13. Der Karmeliter (Traditional) 2.46
14. Ehestandsfreuden (Traditional) 4.16

15. Der Revoluzzer (live, bonus track) 2.28
16. Andre, die das Land so sehr nicht liebten (live, bonus track) 3.11

VA - Kings Of African Music

Music of the African diaspora - jazz, r&b, rock´n´roll, reggae and salsa - has thrilled listeners for years, so it is only fitting that the new generation of musicians from the mother continent should be making brilliant and accessible music that is now appreciated by huge audiences worldwide.

This compilation showcases the new kings of African pop, such as the chart-topping Youssou N´Dour and Baaba Maal, as well as doffing a respectful cap towards its earlier innovators such as Franco and Manu Dibango. Irresistible tunes... it is imposible to be depressed listening to it.

Kings of African Music (front cover included)

Sonntag, 22. November 2015

Joe Zawinul ‎– Mauthausen ... Vom großen Sterben hören

Joe Zawinul’s Mauthausen is a work inspired by the plight of prisoners at the Mauthausen Concentration Camp during World War II.

A little-known anomaly in the Joe Zawinul discography, "Mauthausen" was a multimedia event in which the Austrian-born composer/keyboardist tried to come to terms with some of the darkest hours in his country's history. It is a troubling, at times eloquent electronic tone poem that depicts life within the concentration camp near the small Austrian town of Mauthausen, where approximately 120,000 people lost their lives between the years 1938 and 1945.

Anticipating limited appeal for such a project, ESC released the album only in Austria and a handful of other Central European countries. Originally presented in the camp itself in 1998 with holograms, lighting effects, and 50 speakers placed around the audience, "Mauthausen" is mostly a one-man show on CD; Zawinul commanding his symphonic arsenal of keyboards, with occasional narrations in German by actor Frank Hoffmann. As have a number of recent Zawinul albums, this one opens with a deep, moody pedal point in the bass, but the mood stays dark and threatening most of the way through - a stark contrast to the bubbly, life-affirming rhythms that Zawinul had been pumping out on his jazz/world music recordings of this time. Once in a great while, a semblance of the Zawinul groove breaks out, but always in a subdued way. Mixed in are collages of storm-troopers, trains carrying the prisoners to the camp, prison doors slamming, commands of the guards, and other sound effects from wartime.

As in Zawinul's symphonic poem "Stories of the Danube", echoes from his jazz past turn up; this time, we hear spliced-in recordings of "Walking on a Nile" from Zawinul's "Dialects" and "The Orphan" from Weather Report's "8:30" album. The latter insert is particularly appropriate, with Wayne Shorter's tenor sax and a children's chorus shouting "No More! No More!" contributing beacons of hope before Zawinul's final hymn of benediction. Obviously, for non-German speakers, some of the meaning of the piece will be lost; the booklet contains no English translations other than a brief history of the camp and the titles of the selections. But the inhumane, brooding atmosphere of the camp comes through powerfully enough in the music via a stereo CD - the album deserves a wider release.

Songs / Tracks Listing
1. Einleitung zu einer wahren Geschichte (Introduction to a True Story) (1:06)
2. Die Orgel der Barbarei (Organ of Barbarism)
a. Der Weg nach Mauthausen (The Tragedy) (16:03)
b. Das Lagerleben (Life in the Concentration Camp) 2:25
c. Das Orchester (The Orchestra) (3:08)
d. Interludium (Interlude) (0:54)
e. Die Folter (Torture) (4:10)
f. Die Nacht (The Night) (1:15)
g. Die Vollstrecker (The Executioners) (3:40)
h. Das Gebet (The Prayer) (1:04)
i. Samstagnacht im Lager (Saturday Night in The Camp) (3:40)
j. Wey Doo (1:49)
k. Sonntags im Lager (Sunday in The Camp) (6:24)
l. Weinachten 1944 (Christmas 1944) (3:07)
m. Der Fluchtversuch (Break Out) (3:25)
3. No More. No More.
a. No More. No More. (3:49)
b. Mauthausen: In Memoriam (5:52)

Joe Zawinul - Mauthausen... Vom großen Sterben hören
(256 kbps, front cover included)

Samstag, 21. November 2015

Erwin Geschonneck - "Widerstand und Anpassung - Überlebensstrategie" (Originaltonfeature by Thomas Heise)

PhotobucketErwin Geschonneck, a German actor who spent years in Nazi concentration camps for his communist sympathies and went on to star in scores of East German films, died on March, 13, 2008 in Berlin at the age of 101.

Geschonneck's "engaging artistic and political efforts were recognized with the highest international acclaim for decades," the german Academy of Arts said in a statement. It said that the biography of Geschonnek, who died at his Berlin apartment, "is a window into a century of German history."

Geschonneck, the son of a cobbler, was born in East Prussia on Dec. 27, 1906 and grew up in Berlin. He joined the Communist party in 1919, and spent years with theater groups that performed agitprop, with workers' choirs and in a young people's theater. He made his big-screen debut in 1931 as an extra in Slatan Dudows' "Kuhle Wampe" - a film about unemployment in the Weimar Republic written by famed playwright and director Bertolt Brecht.

After the Nazis came to power in 1933, Geschonneck went into exile in the Soviet Union, settling in Odessa - where he worked in a German-language collective theater until he was expelled in 1938. He ended up in Prague, where he was arrested by the SS in 1939 after the Nazis took over, then thrown into the Sachsenhausen concentration camp outside Berlin.
During the war, he was also imprisoned in the Dachau and Neuengamme camps. Just days before the end of the war, he was being transported aboard the Cap Arcona - a prewar luxury liner that had been commandeered by the German navy - along with some 4,000 other concentration camp inmates when it was sunk by the Royal Air Force in the Baltic.
Many of those who were not killed in the attack were gunned down by the SS as they tried to swim ashore.
Geschonneck was one of 350 who survived, and his story would be later made into the 1982 East German television film "Der Mann von der Cap Arcona" - "The Man of the Cap Arcona" - in which he also acted.

After the war, Geschonneck resumed acting in 1946 in Hamburg in the theater, and also took on several supporting film roles.
In 1949, he moved to East Berlin and joined Brecht's Berliner Ensemble theater troupe, where he gained national attention starring as "Matti" in an acclaimed production of "Mr. Puntila and his Man Matti."

He acted in his first film for DEFA - East Germany's state-run film agency - in 1950 and later that decade decided to concentrate all of his efforts on the screen, despite Brecht's objections.
He rose to become one of East Germany's best-known actors with scores of films to his credit, and won several awards for his work. He also became vice president of the country's film and television federation. Despite being a strong supporter of the communist movement, he appeared in several movies criticizing the East German government, which were not banned due to his reputation.

After the reunification of Germany, he was awarded with the national "Filmband in Gold" prize in 1993.
He acted in his last film, "Matulla und Busch," in 1995 under the direction of his son, Matti Geschonneck. Rest in peace!

In memory of this great artist here´s a radio feature by Thomas Heise, banned in East Germany in 1987 and broadcasted in 1989. It is called "Widerstand und Anpassung - Überlebensstategie" and features Erwin Geschonneck remembering his time in the concentration camp Dachau. The feature is in german language.

Widerstand und Anpassung - Überlebensstrategie (Originaltonfeature)

Dakar Sound - Volume 1

This is the first in a series of collections of tracks from the famous "Dakar Sound" series.

It brings you some interesting representatives of Dakar´s new urban music of the 1970s to 90s as well as a mingling of passionate and very enchanting songs of Senegal´s most talented traditional singers.

"Dakar Sound" is pleased to invite you to an evening of finest entertainment with the Horoya Band, Madiop Seck, Sekou Diabate, Etoile 3000, Number One, Baobab and many more.

Dakar Sound - Volume 1
(192 kbps, ca. 100 MB)