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)

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)

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)

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)

Freitag, 20. November 2015

Blaze - 25 Years Later

This essential album is a journey thru the life of Lakim, a black activist in the streets of New York and we follow him thru his days - getting exposed to his emotions in songs from spiritual high on "YOU`RE SO SPECIAL" - maybe the best song to the angry and bitter "YOU`RE GONNA MISS MY LOVE" after his babymama told him to leave - he get`s ripped off by a 13 year old girl he is searching for their grandma and so on - motown didn`t like the concept of putting this spoken words interludes on the album , so it`s on the CD only ..respect to Blaze, this album still stands the test of time .

The New Jersey trio's '90 debut album for Maze. Blaze's roster featured vocalist Chris Herbert, keyboardist Josh Milan, and drummer Kevin Hedge, who came together in the '80s doing a good blend of gospel-tinged soul and East Coast dance. They got some attention from the single "So Special," and also the cuts "Get Up" and "Lover Man." They never really hit it big, but did have potential...

1Get Up5:04
2So Special5:32
3Miss My Love5:20
4You Don't Really Love Me4:19
5Anything For Your Lovin'5:22
6We All Must Live Together6:43
7I Wonder5:59
8Gonna Make It Work6:45
9All That I Should8:24
10Missing You3:34
11Lover Man3:49
12Love Is Forever4:40
13Broad & Market, NWK2:13
14The Hope Song6:06

Blaze - 25 Years Later
(192 kbps, cover art included)    


Mittwoch, 18. November 2015

Colin Wilkie & Shirley Hart - Morning (1972) - Outside the City (1974)

The folk revival of the 1960s came to Germany through the playing of British-born singer/songwriter Colin Wilkie and his guitarist/vocalist wife Shirley Hart. The composer of hundreds of songs and stories, Wilkie spent 11 years as resident songwriter for SWF show Tellekolleg and seven years as host of his own weekly radio show. He passed on his unique fingerstyle approach to the guitar to influential German guitarist Franz Josef Degenhardt.

Wilkie's songs, which reflect on family, friends, political, and ecological themes, offer only a hint of his warm, intimate, stage persona. Wilkie and Hart's first album, released in 1965, was recorded with Scottish folksinger Alex Campbell. Musical theater has provided another outlet for Wilkie and Hart's talents. Their appearance as street singers in a production of John Arden's Life and Death at the Wuerttembergi National Theater in Stuttgart, helped to make the show so successful that it ran for several years.

1. The Family of Man
2. The Wasteland
3. Morning Colin
4. The Soldier's Song
5. Willow and Rue
6. Portland Town
7. Eppelein von Gallingen
8. Put Your Hand In Mine
9. Icy Acres
10. Wat Tyler
11. When I'm Gone
12. Sunflowers
13. Mr. & Mrs. Ferlinghetti-Smith
14. The Pipelines
15. A Sailor's Life
16. Old 97
17. Ain't It Pretty
18. The Potato Eaters
19. Where Were You In the War?
20. The Unquiet Grave
21. The Märchengarten
22. The Bells of Rhymney

Colin Wilkie & Shirley Hart - Morning (1972) - Outside the City (1974)
(256 kbps, cover art included)

Dienstag, 17. November 2015

Afrique Dynamique! - Les Sons Funky Du Coeur D´Afrique!

DJ Hamid Zagzoule's Afrique Dynamique! selection has no governing theme beyond a bias towards uptempo dancefloor certainty.

His favourite period seems to be the 1980s, an ascendant time for the continent's music. Countries covered stretch from Mali down to South Africa, though the emphasis is definitely on West Africa.

The disc bolts off with a pair of classic Congolese soukous duets by Franco/Sam Mangwana and Pepe Kalle/Nyboma, both flooded with golden vocal harmonies and serpentine guitar chases. Numbers by Mahlathini & The Mahotella Queens and King Sunny Ade offer the widest stylistic diversions, the Queens supplying compulsive chorus hooklines, the neglected King Sunny still sounding out on his own with Nigerian ju-ju wobble-drums pulsing under bizarrely Hawaiian steel guitar phrases.

Ghanaian Highlife guitarist Eric Agyeman provides a 1970s classic, while Baaba Maal contributes an early, reggae-infused tune with one of his trademark vocal flights. One thing that's noticeable on tracks by Tshala Muana and Charlotte Mbango is the harshness of their programmed beats, increasingly prevalent once into the 1990s.

Afrique Dynamique! - Les Sons Funky Du Coeur d´Afrique!
(192 kbps, front cover included)

The Mahotella Queens - Kazet

Photobucket The Mahotella Queens are South Africa's foremost afro-pop singing group. The Queens -Hilda Tloubatla, Mildred Mangxola, and Nobesuthu Mbadu- first sealed their place in the legend of urban South African music in the early 1960's when, with Simon Nkabindé Mahlathini (the "Lion of Soweto") and the musicians of the Makgona Tsothle Band ("The Band Who Knows Everything"), they invented Mbaquanga. Mbaquanga (the Zulu word for a kind of dumpling, implying the homemade quality of the music's origin) is a strong and explosive potion of various types of traditional music (Zulu, Sotho, Shangaan, Xhosa) mixed with Marabi (South African jazz), American r&b, soul and gospel.

Throughout the 1960s and beginning of the 1970s Mahlathini and the Mahotella Queens played beer halls and township dances in South Africa. Their original sound came to be dubbed the "indestructible beat of Soweto", and their solid four-to-the-floor dance rhythm and soaring vocal harmonies came to embody the spirit of the oppressed peoples of the townships. They soon hit the international stage as heroes of the cultural resistance to apartheid and as idols to South Africa's black community during the dark years. They took a break in the mid-'70s to raise families, but reunited in the beginning of the eighties. In 1987, producer West Nkosi - saxophonist, penny-whistle player, and conductor of the Makgona Tsothle Band - took advantage of a stay in Paris to cut the record "Paris -Soweto" for the French label Celluloid, resulting in the Mahlathini & the Mahotella Queens' international hit "Kazet".

The album "Kazet" is a compilation of recordings that had recently been recorded in South Africa and in Paris, and included the South African national anthem "Nkosi Sikelel' i Afrika" in addition to new compositions such as "Amazemula" ("Monster"), "Nomshloshazana" (A woman's name) and "Ubusuku Nemini" and classics like "Kazet".

The Mahotella Queens - Kazet (192 kbps)

Sonntag, 15. November 2015

Dagmar Krause - Angebot & Nachfrage (Lieder von Brecht / Weill /Eisler) (1986)

"Supply and Demand: Songs by Brecht / Weill & Eisler" was the first solo album by German singer Dagmar Krause released by Hannibal Records in 1986.
It is a collection of 16 songs by German composers Kurt Weill and Hanns Eisler, with lyrics by Bertolt Brecht and sung by Krause in English.
She also sung the songs in the original German which were released by Hannibal at the same time on a companion album, "Angebot & Nachfrage: Lieder von Brecht / Weill & Eisler".

Although seeking out Krause's work with Slapp Happy, Henry Cow and the Art Bears is worthwhile, ultimately the democracy of a band means less Dagmar to listen to. Therefore, go straight to this amazing solo recording of Krause singing the music of Bertolt Brecht, Kurt Weill and Hans Eisler. It's approachable, accessible ("Mack the Knife" is here under its original title, "Moritat"), beautifully sung (her version of "Surabaya Johnny" is definitive) and very, very moving. Krause's grandiose alto voice was perfectly suited to the emotionally and politically charged music of these German songs. Lyrically they continued the trend of earlier songs of social conscience Krause had performed, for example on Henry Cow's "Living in the Heart of the Beast".


A1 Angebot & Nachfrage (Song Von Der Ware) 2:57
A2 Grabrede 1919 1:59
A3 Deutsche Miserere 1:39
A4 O Falladah, Die Du Hangest! 2:41
A5 Alabama-Song 2:51
A6 Hollywood-Elegien 2:55
A7 Surabaya Johnny 3:59
A8 Moritat (Ballade Von Mackie Messer) 2:39
B1 Matrosen-Tango 3:57
B2 Die Ballade Von Der Höllenlili 2:25
B3 Das Lied Von Der Moldau 1:40
B4 Im Gefängnis Zu Singen 3:00
B5 Ostersonntag 1935 1:24
B6 Zu Potsdam Unter Den Eichen 2:22
B7 Der Song Von Mandelay 2:12
B8 Benares Song 3:52
This is the album with the songs sung in the original german language. You can find cd version mit some added songs in english language here.

Dagmar Krause - Angebot & Nachfrage (Lieder Von Brecht-Weill & Eisler)
(192 kbps, cover art included)

Samstag, 14. November 2015

Mikis Theodorakis - Requiem

Requiems are masses sung in memory of loved ones who have passed away, eg. sung in a burial ceremony. This album is dramatic, haunting, brilliantly recorded... Theodorakis's use of boys choir against a backdrop of really deep voices is simply stunning. He calls it giving the requiem 'life in the midst of death'.A sombre and sad subject, but this requiem is anything but - it actually manages to be rather uplifting and courageous.

Mikis Theodorakis wrote about his requiem:

"After »Kassiani« (Liturgical Hymn – 1942) and »Holy Mass« (1982), I composed last year the »Requiem« (1984).

The musical language that I used for this work is completely different from the one used for the two previous ones. I believed that the introduction of the female voice – as a soloist – and the sound of the children’s choir were necessary.

The contrast of the young voices, as an aggressive presence of life towards death helps us to pass over the vise of an inevitable phenomenon.

The text belongs to John of Damascus (Ἰωάννης ὁ Δαμασκηνός). It is one of the most important intellectual, philosophical and poetic achievements and helps us to find the real dimensions in the world order of the things.

It invites us to delve into ourselves in order to find »the light that burns« and the real and deep meaning of the human being.

I dedicate this symphony to the dead of the Massacre of Kalavryta."
- Mikis Theodorakis (1985)

1Evlogitos O Theos12:09
2Evlogitos Ei Kyrie9:27
3Doxa - To Trilampes5:31
4Pia Tou Biou Tryfi3:25
5Oimoi, Oion Agona6:24
6Pou Estin I Tou Kosmou3:19
7Emnisthin Tou Profitou6:29
8Kat' Eikona Sin Kai Omoiosin3:24
9Doxa Patri2:10

Mikis Theodorakis - Requiem
(320 kbps, cover art included)

In memory of the victims in Paris.

Donnerstag, 12. November 2015

King Tubby Meets The Upsetter At The Grass Roots Of Dub (1975)

Seminal dub album produced by Winston Edwards. In 1974 Edwards left Jamaica to reside in the UK and through his strong connections with such reggae luminaries as Joe Gibbs, Lee Perry and King Tubby began to travel back and forth between London and Kingston (JA) to bring back recordings to issue on his Fay Music label here in the UK. 

In 1974 he released this controversial, seminal dub set, shunned by some at the time due to the spurious marketing device employed. The whole album appears in fact to have been mixed at Tubby’s, while the rhythms were possibly built at Perry’s Ark and maybe Gibbs’ studio, but at this length memories are stretched. Now of course, it sounds like what it is, a classic early Tubby’s dub album, musical, tuneful, heavy dubwise set with Vin Gordon’s unique trombone lines well to the fore. Essential dub.


A1Blood Of Africa
A2African Roots
A3Rain Roots
A4Wood Roots
A5Luke Lane Rock
B1People From The Grass Roots
B2Crime Wave
B3No Justice For The Poor
B4300 Years At The Grass Roots
B5King And The Upsetter At Spanish Town
King Tubby Meets The Upsetter At The Grass Roots Of Dub (1975)
(192 kbps, cover art included)