Donnerstag, 31. Dezember 2015

Keith Hudson - The Black Morphologist Of Reggae (1983)

Ominously known as "The Dark Prince of Reggae," Keith Hudson was born into a musical family in Kingston, Jamaica in 1946. His musical education began as Hudson worked as a sort of roadie for Skatalite and Jamaican trombone king Don Drummond.

By age 21, Hudson, who had been trained as a dentist, sunk his earnings into his own record label, Inbidimts, and had a hit with Ken Boothe's recording of "Old Fashioned Way." Not long after this chart success, the suddenly hot Hudson was producing some of the biggest names (and soon-to-be biggest names) in reggae - John Holt, Delroy Wilson, Alton Ellis, and the great toasters U-Roy and Dennis Alcapone, all of whom benefited from what would be Hudson's trademark production style: groove-centered, bass/drum-dominated, lean and mean stripped-down riddims.

By the mid-'70s, Hudson began releasing more solo work, hitting paydirt from the start with his 1974 debut, "Entering the Dragon" and his intense second record, "Flesh of My Skin", an ominous, dark record that earned Hudson his title as reggae's "Dark Prince." In 1976, Hudson relocated to New York City and worked pretty much nonstop, producing as well as recording solo records up until 1982. He succumbed to lung cancer in 1984, at age 38, robbing reggae of one its greatest, most adventurous, and unhearalded producers and performers.                

"The Black Morphologist Of Reggae" is the 1983 reissue of album "From One Extreme To Another" (1979). "Nuh Skin Up Dub" (1979) features dub versions of this album.
Big up to the original uploader!

Tracklist:

A1 Anger
A2 No Skinup
A3 Central Kingston
A4 It's Allright
A5 Desiree
B1 (Dreadful) Words
B2 They Don't Hurt
B3 (Bad Things) You Teach Me
B4 One Extreme To Another
B5 Buzzing Bee                                                                                   

Keith Hudson - The Black Morphologist Of Reggae (1983)
(320 kbps, cover art included)

Hortense Ellis - Hortense´s Last Stand

Hortense Ellis, the younger sister of reggae superstar, Alton Ellis, was born April 18th 1941 in Trench Town, Jamaica. Her father worked on the railways while her mother ran a fruit stall.
Hortense was just 18 years old when she appeared on The Vere Johns Opportunity Hour, which was then Jamaica's foremost outlet for undiscovered young talent. Her version of Frankie Lymon's "I'm Not Saying No At All" went down so well with the audience and the panel that she was invited back the following week.

Hortense went on to enter many other competitions and showcases managing to reach six semi-finals and four finals. In 1964 she was awarded a silver cup as Jamaica's Best Female Vocalist - a feat she was to repeat five years later.

By the late sixties, Hortense had extensive experience both in live performance and in the studio. She had toured Jamaica with Byron Lee And The Dragonaires and had begun recording with some of the island's top producers. Among these were Ken Lack, Arthur "Duke" Reid and Clement "Coxsone" Dodd.
Alton Ellis was also recording with Dodd at this time and the family connection was cleverly exploited as Dodd produced "female" adaptions of several of Alton's hits for Hortense to record. The ever-resourceful Dodd also paired Alton and Hortense on a run of classic duets.
The siblings toured Canada in 1970 but by the following year Hortense was back in Jamaica. She married Mikey "Junior" Saunders with whom she had five children in quick succession. Although her live performances suffered as a result, Hortense remained busy in the studio. Recording under the name Mahalia Saunders for producer Lee Perry she cut several sides including "Right On The Tip Of My Tongue" and "Piece Of My Heart".

Hortense's biggest commercial success came in the late seventies with a song cut for Augustus "Gussie" Clarke. "Unexpected Places" was a big hit in Jamaica and was released in Britain on the Hawkeye label.
For producer Bunny Lee, Hortense became Queen Tiney for her "Down Town Ting" - an answer record to the Althea & Donna hit "Uptown Top Ranking" which had itself been based on the rhythm of Alton Ellis's "I'm Still in Love With You".

Around this time, Hortense recut many of her Studio One sides with Soul Syndicate, The, Aggrovators, and the up and coming team of Sly & Robbie.
The rise of the Lovers Rock genre in the late seventies and early eighties resulted in Hortense cutting cover versions of several soul classics including "Down The Aisle" (Patti LaBelle) and "Young Hearts Run Free" (Candi Staton).

Following her divorce from Mikey Saunders, Hortense spent much of the eighties in Miami and New York. On returning to Jamaica in 1989, she began suffering severe health problems; but managed to carry on with occasional live local performances - something she loved immensely.
She recovered sufficiently to make a private visit to New York in the summer of 1999 and then to Miami the following year where illness finally caught up with her.
Hortense Ellis, known by so many in Jamaica and all over the world as "Jamaica's First Lady Of Song", passed away in her sleep in a Kingston hospital on October 18th 2000.

Hortense Ellis - Hortense´s Last Stand
(256 kbps, front cover included)           

Otto Reutter - In 50 Jahres ist alles vorbei

Otto Reutter was born on April 24th in 1870 in a poor Catholic family in Gardelegen, Germany, as a son of the Ex-Ulan Andreas Pfützenreuter who was not at home, visited the Catholic primary school, absolved afterwards an education in and out of Gardelegen as a commercial assistant, ran away after finishing this and went to Berlin, earned money as a Charge at quite simple theaters, tried to be an actor and commedian at little theaters in Berlin.

His father took him away from Berlin and then he ended up being in Karlsruhe, where he joined a group of pub-singers and pub-commedians. In 1895 he dared to have his first performance as a "Salonhumorist", first performance was probably in Bern in Switzerland. In 1896 he got hired for the first time in Berlin, he really convinced the audience with his talent to recite the funny-pointed verses with easy melodies in a kind of spoken song and to be ironically funny even with his appearance. Reutter rose up to a popular star since his first performance in the "Wintergarten-Variete" of the Central-Hotel in Berlin. In the following years Reutter was able to remain on the financial and artistic top of the German little-theater-artists with the help of his huge talent and his hard work.

In 1919 after 30 years of hard work and marked by personal blows Reutter was very tired and he wanted to retire with an account that recorded millions and go back to Gardelegen. Driven on by his own ambition and the need to earn money in insecure times because he was now husband Reutter created his „work of his old times“ from the year 1919 on and by doing this he suffered from indefatigable helplessness. This work consisted of Couplets that were on humor and melancholy, worldly wisdom and mild old-age cheekyness and these Couplets are still part of the German humor for higher demands. Ill and tired of life Reutter died on March 3rd in 1931 in Düsseldorf and was buried in Gardelegen.

Otto Reutter - In 50 Jahres ist alles vorbei (192 kbps)

VA - Dance Crasher - Ska To Rock Steady (Trojan)

Probably only of interest to the most diehard reggae fans, "Dance Crasher" traces the Jamaican music scene from fast-paced ska to slower rock steady. These two forms were later to develop into what is now known as reggae. It's a fascinating chronicle with tracks from reggae superstars like the Skatalites, the Maytals, the Ethiopians, and Lee Perry and the Soulettes.

All of the songs were cut between 1962 and 1966, and many such as "Hallelujah," "Doctor Dick" and "Big Bamboo" were produced by the legendary C.S. Dodd, one of Jamaica's early studio pioneers.

Some of the recording quality leaves much to be desired, but it's still a good listen. The most interesting piece is "Shame and Scandal," a hilarious story of Jamaican family life ("your daddy's not your daddy, but your daddy don't know"),  recorded by what was then called Peter Tosh and the Wailers.    

Tracklist:
1. Big Bamboo - Lord Creator
2. Latin Goes Saka - The Skatalites
3. Hallelujah - The Maytals
4. Garden Of Love - Don Drummond
5. Rough And Tough - Stranger Cole
6. Beardman Ska - The Skatalites
7. Shame & Scandal - Peter Tosh & The Wailers
8. Street Corner - The Skatalites
9. Bonanza Ska - Carlos Malcomlm And The Afro Caribs
10. Dance Crasher - Alton Ellis & The Flames
11. Let George Do It - Don Drummond
12. Rudie Bam Bam - The Clarendonians
13. Ska Jam - Tommy McCook & The Supersonics
14. Doctor Dick - Lee Perry & The Soulettes
15. Ball O'Fire - The Skatalites
16. Owe Me No Pay Me - The Ethiopians
17. Independece Ska - Baba Brooks & Band
18. Don't Be A Rude Body - The Rulers


VA - Dance Crasher - Ska To Rock Steady (Trojan)
(256 kbps, front cover included)        

Claire Waldoff - Es gibt nur ein Berlin

Photobucket.From the mid-20s, Claire Waldoff celebrated her greatest successes, performed one-woman shows in the two largest Berlin Varietés, the Scala and the Wintergarten, and on all other renowned stages in Germany. The socially active artists became popular all over Germany through radio and disk recordings with record circulations. The coming into power of the Nazi regime meant a significant turning-point for Waldoff, however, not an abrupt ending of her career. Her living and working conditions in the Third Reich are surrounded by mystery.

Actually, the singer was subjected to a “political stage ban“ at the beginning of 1933 because she participated in events of the communist Red Aid. However, she returned to the stage after having presented her “Aryan proof“ and having joined Goebbel’s Reich’s culture chamber. The audience still loved her despite - or just because - her hallmarks - neck tie, shirt, and “bronze-red crackling page-boy cut" and sometimes “smoking and swearing like a dustman“ as declared her friend Heinrich Zille - she did not meet the type of women propagandised by the regime. Her cohabitation with Olga von Roeder also did not comply with the “popular sentiment“ of the Nazis. Her songs, to the extent known, also lacked anything nationalist and racist.

“I danced on the brink but nobody dared to throw me in", she states in her autobiography. Sometimes, however, much less frequent, she also performed in other German cities and in Berlin she amused her audience together with the dancer Lene Ludwig whom she got to know in the mid-30s. Lene Ludwigs performed parodist dances with masks of popular personalities, among them also Claire. Lene Ludwig told in 1992: ”This was a double success“. First, Claire came on stage with her songs and then I with the mask. The audience got wild and clapped. Claire was no beauty in the common sense, but she was amusing, she was full of ideas, and when she came on stage, she had an enormous charisma.“

There is proof of Claire Waldoff still performing at the beginning of 1943; in January 1942 even in Paris which had been occupied for one and a half year at that time. This served to spread high spirits among the soldiers. While Waldoff sang before the armed forces, Marlene Dietrich, her former friend and the "love of her life“, who turned her back on Nazi Germany and sang before American soldiers, soon was to move into the liberated Paris together with the allied forces..
Arrests and stage bans are again and again implied.

Claire Waldoff - Es gibt nur ein Berlin (192 kbps)

Delroy Wilson - Better Must Come... One Day (Jamaican Gold)

PhotobucketLike Dennis Brown and Freddie McGregor, Delroy Wilson was barely out of short trousers when he recorded his debut single for Coxsone Dodd 's Studio One label. His first hit, 'Joe Liges' (1963), was written by Perry, Lee, who at the time was working as a talent-spotter, songwriter and singer for Dodd; the track was a lyrical attack on former Dodd employee and now rival, Prince Buster ('One hand wash the other, but you don't remember your brother, Joe Liges, Joe Liges, stop criticise'), set to a rollicking early ska rhythm. The record was so popular that his follow-up, 'Spirit In The Sky', another Perry-penned barb aimed at Buster, was actually credited to Joe Liges when it was released in the UK on the Bluebeat and Black Swan labels. Delroy went on to cut numerous records in the same vein for Dodd, including 'One Two Three', 'I Shall Not Remove', a duet with Smith, Slim entitled 'Look Who Is Back Again', and the anti-Buster 'Prince Pharaoh', notable for being the only occasion on which Dodd himself is heard on record, admonishing Buster in a coded, spoken outburst.

Wilson's voice broke just in time for the emergence of rocksteady in 1966, and his version of the Tams' 'Dancing Mood' of that year, one of the first rocksteady records, became a monstrous hit, alerting music fans to a new soul-styled crooner to match Ellis, Alton. Throughout the rest of the decade, Wilson, still recording mainly for Studio One, increased his popularity with titles such as 'Riding For A Fall', another Tams cover version, 'Once Upon A Time', 'Run Run', 'Won't You Come Home', 'Never Conquer', 'True Believer', 'One One', 'I'm Not A King', 'Rain From The Skies' and 'Feel Good All Over', as well as covering the Temptations' 'Get Ready'. Leaving Studio One in 1969, Wilson sojourned briefly at Lee, Bunny 's camp, which resulted in a popular reading of the Isley Brothers' 'This Old Heart Of Mine' (1969), before moving to Sonia Pottinger 's Tip Top Records, where he cut the excellent 'It Hurts' and a version of the Elgins' 'Put Yourself In My Place' (both 1969).

He teamed up once more with Bunny Lee and enjoyed a huge Jamaican hit with 'Better Must Come' (1971), which was so popular that it was adopted as a theme song by Michael Manley's PNP to increase their vote among 'sufferers', during that year's election campaign.

In 1972 his success continued with 'Cool Operator', again for Lee, and throughout the next few years he maintained his position as one of reggae's best-loved singers, with songs such as 'Mash Up Illiteracy' and 'Pretty Girl' for Gibbs, Joe, 'Love' for Gussie Clarke, 'Rascal Man' for Winston 'Niney' Holness, a cover version of the Four Tops' 'Ask The Lonely' for J., Harry, 'It's A Shame' (a version of the Detroit Spinners song for Joseph 'Joe Joe' Hookim ), 'Have Some Mercy' for A. Folder, and 'Keep On Running' for Prince Tony. In 1976 his career took a further step forward when he recorded a hugely popular version of Marley, Bob 's 'I'm Still Waiting' for Charmers, Lloyd LTD label, later followed by the well-received Sarge, still regarded by most aficionados as his best set. The misnomered Greatest Hits was also issued by Prince Tony during this period.

Further recordings towards the end of the decade, including 'All In This Thing Together', 'Halfway Up The Stairs' and 'Come In Heaven' for Gussie Clarke, did well, but Wilson's career floundered somewhat during the early part of the 80s, apart from a few sporadic sides, including the popular 'Let's Get Married' for London's Fashion Records.

The Digital age, however, provided a revival of fortunes with the massive 'Don't Put The Blame On Me'/'Stop Acting Strange' for King Jammy in 1987, and 'Ease Up', a cut of the famous 'Rumours' rhythm for Bunny Lee, as well as albums such as Looking For Love for Phil Pratt and Which Way Is Up, produced by Errol 'Flabba' Holt for Blue Mountain, since which time he has once again drifted into semi-retirement. Despite being one of the best singers Jamaica has ever produced, Wilson was rarely able to consolidate the success that came his way; nevertheless, he remained a much-loved and respected, but sorely under used and, outside of reggae circles, underrated performer.

- (Encyclopedia of Popular Music) -


Here´s "Better Must Come... One Day" - a great compilation of music by the great Delroy Wilson on Jamaican Gold, an independent record label from Netherlands specialized in Jamaican music reissues:


Delroy Wilson - Better Must Come... One Day
(192 kbsp)

Claire Waldoff - Immer ran an´ Speck


Claire Waldoff , born Clara Wortmann) was a famous cabaret singer and entertainer in Berlin during the 1910s, 1920s and 1930s.

Clara Wortmann was born in 1884 the eleventh child of 16. Her parents owned a tavern in Gelsenkirchen. After completing school, she studied theatre and chose as her pseudoynm Claire Waldoff. In 1903, she got her first theatre jobs in Bad Pyrmont and in Kattowitz. In 1907, she went to Berlin, where she performed at the Figaro-Theater on Kurfürstendamm. In 1907, she also began a working as a cabaret singer. Rudolf Nelson gave her a job at the theatre Roland von Berlin on Potsdamer Straße. She had great success during the next several years in German cabaret. She sang at Chat Noir on Friedrichstraße and at the Linden-Cabaret on Unter den Linden. Waldoff was known for singing her songs in distinctive Berliner slang. Waldoff's success reached its peak in the 1920s. She performed at the two great Berlin varietés, Scala and Wintergarten, sang together with Marlene Dietrich, and had her songs played on the radio. Her repertoire included around 300 original songs.
 
Waldoff lived together with Olga von Roeder. The lesbian couple lived happily in Berlin during the 1920s. Together they met often other lesbian friends in the club, Damenklub Pyramide, in Berlin. After the German Nazis won the elections 1933 and Hitler came to power, Waldoff's success ended. In 1939, she and Olga von Roder left Berlin together, and they lived in Bayerisch Gmain. After World War II, she lost her money in German Monetary reform in 1948. In 1953 she wrote her autobiography. 1954 she got a little monetary support by senate of city Berlin. Waldoff died in 1957 and she was buried on the cemetery Pragfriedhof in Stuttgart. Waldoff has a star in Walk of Fame of Cabaret.

Tracklist:

  1. Mir hab'n se die Gurke vom Schnitzel weggemopst
  2. Na Dann Lass Es Dir Mal Jut Bekommen
  3. Warum Soll Er Nicht Mit Ihr
  4. Immer Ran An' Speck
  5. Raus Mit Den Männern Aus Dem Reichstag
  6. Im Nussbaum Links Vom Molkenmarkt
  7. Mich Hat Ein Fremder Mann Geküsst In Der Nacht
  8. Wat Braucht Der Berliner Um Glücklich Zu Sein?
  9. Meine Maxe
  10. Emilie Vom Kurfürstendamm
  11. Der Schlips Im Kohlenkasten
  12. Lied Der Harvenjuhle
  13. Er Ist Nach Mir Ganz Doll
  14. Wenn Der Bräut'gam Mit Der Braut
  15. Wenn Die Soldaten Durch Die Stadt Marschieren
  16. Mein Paulchen Ist Weg
  17. Verliebt, Verlobt, Verheiratet
  18. Unsere Minna
  19. Dann wackelt die Wand
Claire Waldoff - Immer ran an´ Speck
(192 kbps, front cover included)

Alton Ellis - Showcase

PhotobucketAlton Ellis was one of Jamaica's all-time favorite vocalists. Like so many other talented singers, he got his start and gained valuable experience under the tutelage of producer and Studio One label founder, Clement S. Dodd. Alton's singing career began in 1959, and he has maintained headliner status throughout his career. His best-known recordings are those he cut during the "rock steady" period of Jamaican popular music.

Ellis started his career in 1959 as part of the duo Alton & Eddie with Eddie Perkins. Ellis and Perkins recorded for Coxsone Dodd at Studio One before Perkins moved to the United States. Duke Reid took Ellis to his Treasure Isle label in 1962. By the mid 1960s, ska was moving on and the beat was slowing down and becoming associated with the rude boy subculture in Jamaican dancehalls. Recording with a backing trio, The Flames (consisting of his brother Leslie Ellis, David "Baby G" Gordon and a musician called Ronnie), Ellis scored big with the hits "Girl I've Got a Date", "Cry Tough" and "Rock Steady", which lent its name to the newer genre. As rocksteady dominated the Jamaican airwaves for the next two years, Ellis continued to score hits for Treasure Isle, working with artists such as Lloyd Charmers, Phyllis Dillon and The Heptones.

Ellis has lived in England since the 1970s. In England, Ellis established his own Alltone label, which he devoted to both new recordings and compilations of his early classics. The international popularity of Bob Marley and the rise of roots reggae meant that Ellis' considerable legacy was soon overshadowed, but over time, he remained a fondly remembered pioneer of Jamaican music. He made triumphant returns to Jamaica with well-received sets at the Reggae Sunsplash Festival in both 1983 and 1985, and recorded a new single, "Man From Studio One," for Dodd in 1991. Numerous compilations of his work appeared during the CD era, illustrating his stunning consistency. He died on Oct 10, 2008 in London, England.

Alton Ellis - Showcase (192 kbps)

Otto Reutter - Alles weg´n de Leut´


Otto Reutter was born on April 24th in 1870 in Gardelegen in a poor Catholic family as a son of the Ex-Ulan Andreas Pfützenreuter who was not at home, visited the Catholic primary school, absolved afterwards an education in and out of Gardelegen as a commercial assistant, ran away after finishing this and went to Berlin, earned money as a Charge at quite simple theaters, tried to be an actor and commedian at little theaters in Berlin.

His father took him away from Berlin and then he ended up being in Karlsruhe, where he joined a group of pub-singers and pub-commedians.
In 1895 he dared to have his first performance as a "Salonhumorist", first performance was probably in Bern in Switzerland.
In 1896 he got hired for the first time in Berlin, he really convinced the audience with his talent to recite the funny-pointed verses with easy melodies in a kind of spoken song and to be ironically funny even with his appearance. Reutter rose up to a popular star since his first performance in the "Wintergarten-Variete" of the Central- Hotel in Berlin. In the following years Reutter was able to remain on top of the financial and artistic top of the German little-theater-artists with the help of his huge talent and his hard work.

In 1919 after 30 years of hard work and marked by personal blows Reutter was very tired and he wanted to retire and go back to Gardelegen.
Driven on by his own ambition and the need to earn money in insecure times, Reutter created his „work of his old times“ from the year 1919. This work consisted of Couplets that were on humor and melancholy, worldly wisdom and mild old-age cheekyness and these Couplets are still part of the German humor for higher demands.

Ill and tired of life Reutter died on March 3rd in 1931 in Düsseldorf and was buried in Gardelegen.

Otto Reutter - Alles weg´n de Leut´
(192 kbps, front cover included)

Claire Waldoff - Wer schmeißt denn da mit Lehm

PhotobucketClaire Waldoff, the chanson and cabaret singer with the snappish voice, has been an entertainment star for more than three decades. She never made a secret of her love to Olga von Roeder - they were inseparable for 40 years. Even today, her hits like ”Hermann heeßt er“ (His name is Hermann), “Wer schmeißt denn da mit Lehm?“ (Who’s throwing clay?) or “Hannelore“ are a pleasure to listen to - and worth (re-) discovering.

Being the 11th child out of sixteen made it financially impossible for Claire Waldoff to study medicine, which was her wish. So she decided to go for drama instead. At the age of 19, she got her first role in Bad Pyrmont and Kattowitz. In 1907 she went to Berlin, and focused on cabaret, where she became a star. Claire characterized the last decade of the German Emperor Wilhelm II and the beginning roaring '20s in Berlin. She specialized herself in German "Gassenhauer", "Schlager" and chansons. Her stage performance was characterized by her maverick appearance in wearing a tie, shirt and a rust red bob. She also smoked and cursed on stage. Her most famous songs in the early part of her career were "Morgens willste nicht und abends kannste nicht" [At Morning You Won't, and in the Evening You Can't] (1910), "’ne dufte Stadt ist mein Berlin" [A Groovy City is My Berlin], "Nach meine Beene is ja janz Berlin verrückt" [Entire Berlin Is Crazy 'bout My Legs] (both 1911), "Hermann heeßt er" [He's Called Hermann] (1913) or "Jott, wat sind die Männer dumm" [Gee, How Stupid Men Can Be] (1917). These titles became favorite turns of expression for the following decades. Her height of popularity was in the mid 1920s. She appeared on stage at two of the biggest cabarets in town: Scala and Wintergarten. She toured through Germany and stood on stage with young Marlene Dietrich.

But another fact made her a role model for modern people these times: together with her partner in life she was the epicenter of lesbian Berlin. In political songs she postulated "Raus mir den Männern aus dem Reichstag" [Get Men Out of the Reichstag] (1926) and played a central role in "Zille's Berlin" performing songs like "Das Lied vom Vater Zille (= Sein Milljöh)" [Song of Father Zille (= His Milieu)](1930).

In 1933, the rising National Socialism created hard times for Claire Waldoff. First, she was banned because she performed in front of communists. Parting the "Reichskulturkammer" (an institution founded by Joseph Goebbels to bring German culture into line with national socialistic aspects) ended it. In 1936, the minister of propaganda, Joseph Goebbels, prohibited Waldoff to perform at The Scala. She performed in front of German soldiers but found less and less engagements.

After the war she couldn't continue her career in Germany. The monetary reform of 1948 cost her all her savings and she was impoverished. The magistrate of Berlin granted a pension of honor to Waldoff for her 70th bitrhday. Claire Waldoff died in 1957 due to an apoplexy. It was her last wish to get buried together with her life companion Olga von Roeder. Her wish was fulfilled, and she lies in von Roeder's family grave at Pragfriedhof in Stuttgart.


Claire Waldoff - Wer scmeißt denn da mit Lehm
(192 kbps, full cover artwork included)

Dienstag, 29. Dezember 2015

VA - Brüder, zur Sonne, zur Freiheit - Arbeitermusik der Weimarer Republik in Originalaufnahmen (1982)

"La Marseillaise", "Internationale", "Brüder zur Sonne, zur Freiheit" - everybody knows some titels of this collection.

This album collects 13 carefully restorated original recordings of labour movement songs, recorded in the 20s and 30s of the last century in the Weimar Republic.

Most of the interpreters are today forgotten, like the "Doppelquartett des Deutschen Freidenkerverbandes" with the song "Ein Sohn des Volkes...".


Tracklist:

A1La Marseillaise2:36
A2Internationale2:31
A3Warschawjanka3:17
A4Russischer Trauergesang2:50
A5Marsch der Roten Armee2:44
A6Roter Gardemarsch der Mailänder Arbeiter2:55
A7Bandiera Rossa3:23
B1Brüder, zur Sonne, zur Freiheit2:23
B2Wir sind die erste Reihe2:27
B3Die Maßnahme - 1. Teil: Gespräch des Händlers mit dem jungen Genossen3:18
B4Die Maßnahme - 2. Teil: Song von Angebot und Nachfrage3:12
B5Marsch der Eisernen Front3:15
B6Ein Sohn des Volkes will ich sein und bleiben3:37
B7Laßt uns wie Brüder treu zusammenstehn / Das Aufgebot3:19

Brüder, zur Sonne, zur Freiheit - Arbeitermusik der Weimarer Republik in Originalaufnahmen
(192 kbps, ca. 58 MB)

Montag, 28. Dezember 2015

Erich Kästner - Die Schule der Diktatoren

The play "Die Schule der Diktatoren" by Erich Kästner had its premiere in 1957 and was honoured by the "Georg-Büchner-Preis".

Kästner was a German satirist, poet and novelist, whose military experiences made him pacifist after World War I and opponent of totalitarian systems.

During the post-World War II years, Kästner was an active participant in the Munich cabaret "Die Schaubude" (from 1951 "Die kleine Freiheit").
In his play "DIE SCHULE DER DIKTATOREN" (1949) about a training school for dictator-doubles Kästner reflected his experiences during wartime and unmasked inhumanity in the form of comedy.

Erich Kästner - Die Schule der Diktatoren (new link)
(192 kbps, front cover included)

Erich Kästner - Muttersohn im Vaterland

Erich Kästner (February 23, 1899 - July 29, 1974) was one of the most famous German authors, screenplay writers, and satirists of the 20th century. His popularity in Germany is primarily due to his humorous and perceptive children's literature and his often satirical poetry.
Kästner was a pacifist and was opposed to the Nazi regime in Germany. Unlike many of his fellow authors critical of the dictatorship, Kästner did not emigrate. The Gestapo interrogated Kästner several times, and the writers' guild excluded him. Fanatic mobs burnt Kästner's books as "contrary to the German spirit" during the book burnings of 1933.

"Muttersohn im Vaterland" is a literary and musical voyage through the time, life and dreams of Erich Kästner.

With it´s well selected collection of the satirists poems, notes and fragments of novels this lecture by Ulrich Ritter leads us authentic and in a high tempo through Erich Kästner´s world.

Erich Kästner - Muttersohn im Vaterland
(192 kbps, ca. 88 MB)

Sylvia Anders - Bertolt Brecht (Myto Records)


The German actress/singer Sylvia Anders is a Bertolt Brecht expert, which she first demonstrated on her 1979 album "Hollywood Elegies".

On this album, titled simply "Bertolt Brecht", she presents songs with Brecht lyrics and music by Kurt Weill and Hanns Eisler, as might be expected, but also finds some music actually composed by Brecht. "How many people are aware of the fact that the melody of the ‘Lied der Seeräuber Jenny' or ‘Barbara Song' is originally by Brecht himself?," the unsigned liner notes ask.

The point here is not that the familiar melodies were written by Brecht, not Weill, but that Brecht wrote his own dummy tunes for his lyrics. Anders resurrects those melodies in her version of the song known in English as "Pirate Jenny," and in her version of "Barbara Song," also featured in The Threepenny Opera, she first sings to Brecht's tune, then switches and sings to the Weill music. These rare inclusions are in keeping with her overall approach, which is far less strident than the usual interpretations of Brecht's songs, and far more emotional and vulnerable. Anders' take on "Surabaya-Johnny," for instance, has less bitterness than most singers give it, and more tenderness. This is, thus, a fresh interpretation, and a more personal one than most.

"The whole range of Eisler´s Lied oeuvre from the `Konzertlied´ to `Song´ is overwhelmingly convincing..." Gisela May states that Sylvia Anders´ dynamic and histrionic abilities on this record were "extraordinary".

Sylvia Anders - Bertolt Brecht (Myto Records)
(192 kbps, front cover included)

Sonntag, 27. Dezember 2015

Dieter Süverkrüp - Die widerborstigen Gesänge des Dieter Süverkrüp (1967)

Dieter Süverkrüp is a german painter and songwriter, born 30 May 1934 in Düsseldorf.

Süverkrüp is a founding father of the singer-songwriter movement after the Second World War. He was well known in the alternative cultural scene of the 1960s and 1970s. Politically, he was a membre of the  DKP for a long time. Some of his best known songs are "Die erschröckliche Moritat vom Kryptokommunisten", "Baggerführer Willibald" and "Das Auto Blubberbumm", a musical for children.






Tracklist:
A1Erschröckliche Moritat vom Kryptokommunisten
A2Nachtgebet eines Untertanen
A3Kinderchor für einen sauerländischen Zwergbahnhof
A4Verkürzte Darstellung eines neuerlichen Deutschlanderwachens
A5Kirschen auf Sahne
A6Versuch eines (naturgemäß theoretischen) Wiegenliedes für unser noch ungeborenes Kind, August 1967
B1Wünsche des Publikums an den Sänger
B2Landesvaters Abendlied
B3Lagerlied
B4Schnulze et iucundum est, fürs Vaterland zu werben
B5Lied vom Tod
B6Nach der endgültigen und vollständigen Einführung und Inkrafttretung der Notstandsgesetze werde ich allen leichtfertig gutgläubigen Wählern ein Liedchen singen. Vorsichtshalber singe ich es schon jetzt.

Dieter Süverkrüp - Die widerborstigen Gesänge des Dieter Süverkrüp (1967)
(256 kbps, cover art included)

Kurt Tucholsky - Gruss nach vorn! (Wolfgang Reichmann)

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Wolfgang Reichmann (7 January 1932 – 7 May 1991) was a German actor. He appeared in 69 films and television shows between 1954 and 1991. He starred in the film "The Fair", which was entered into the 10th Berlin International Film Festival.

He was born just three years before Kurt Tucholsky´s death. Tucholsky was one of the most significant journalists of his time: a satirist, a cabaret writer, a socialist and pacifist. And because he wrote so much, he used a host of pseudonyms. Kurt Tucholsky was a truly enigmatic figure.
He was restless and broken, a master of self-dramatization, elegant, spirited, charming, a partygoer and a heartbreaker. But above all, he was an author and critic of his time. Kurt Tucholsky, who lived from 1890 to 1935, studied law before completely dedicating himself to writing. He saw himself as a left-wing democrat and pacifist and warned against anti-democratic tendencies – above all in politics, the military and justice – and the threat of National Socialism. His fears were confirmed when the Nazis came to power in 1933: his books were listed on the Nazi's censorship as "Entartete Kunst" ("Degenerate Art") and burned, and he lost his German citizenship.

On this album are featured Wolfgang Reichmann´s interpretations of Kurt Tuchosky´s lyrics. Besides two spoken passages there are songs with music composed by Hanns Eisler, Olaf Bienert, Henry Krtschil and others.

Kurt Tucholsky - Gruss nach vorn! (Wolfgang Reichmann)
(256 kbps, front cover included)

VA - Schöner wohnen - abber fix! (1982) - Solidarity with "Liebig 14"



Originally posted in February 2011, link re-upped:
In the 1970s and 1980s, squatting in West German cities led to a self-confident urban counterculture with its own infrastructure of newspapers, self-managed collectives and housing cooperatives, feminist groups, and so on, which was prepared to intervene in local and broader politics. The "Autonomen" movement protected squats against eviction and participated in radical direct action.

After the German reunification, many buildings were vacated due to the demise of former state-run enterprises and migration to the western parts of Germany, some of which were then occupied by squatters. In Berlin, the now-legalised squats are in desirable areas such as Mitte and Prenzlauer Berg. Before the reunification, squats in Berlin were mostly located in former West Berlin's borough of Kreuzberg. The squats were mainly for residential and social use. Squatting became known by the term "instandbesetzen", from "instandsetzen" ("renovating") and "besetzen" ("occupying").

One of the house projects that is currently facing eviction in Berlin is LIEBIG 14. Liebig forever!

In solidarity with the threatened residents of this project, we post another document of the 80s squatter movement in the Ruhrgebiet, West Germany, called "Schöner wohnen - abber fix!". This album was released in 1981 and features artists like Ape, Beck & Brinkmann, MEK Bochum, Cochise, Geier Sturzflug, and the wonderful Frank Baier with his inspring lament "Ja aber, laber laber, laber Lüger, laber laber..." unveiling the false promise of the so called free dialogue.

VA - Schöner wohnen - abber fix! (1982)
(cover art included)

Dieter Süverkrüp & Walter Andreas Schwarz - Erich Mühsam - Ich lade Euch zum Requiem (1986)


Erich Mühsam (6 April 1878 in Berlin, Germany – 10 July 1934 Oranienburg Concentration Camp) was a German-Jewish anarchist, writer, poet, dramatist and cabaret performer.
Both a prolific poet, dramatist and a Bohemian intellectual, Mühsam emerged at the end of World War I as one of the leading agitators for a federated Bavarian Soviet Republic. However, Mühsam achieved international prominence during the years of the Weimar Republic (1919-1933) for works which satirized Adolf Hitler and condemned Nazism before Hitler came to power in 1933.


Erich Mühsam was an anarchist who despised dogma & close-mindedness. He believed in the power of the individual & the power of the lowest classes of society.

At Sonnenburg, the first Concentration Camp where Mühsam was held, it was reported:
"After breaking his teeth with musket blows; stamping a swastika on his scalp with a red-hot brand; subjecting him to tortures which caused him to be taken into a hospital, even now the fascist hyenas of the Sonnenburg concentration camp continue their beastly attacks upon this defenseless man. The last news are really atrocious: the Nazi forced our comrade to dig his own grave and then with a simulated execution made him go through the agony of a doomed man. Although his body has been reduced to a mass of bleeding and tumefied flesh, his spirit is still very high: when his traducers tried to force him to sing the Horst-Wessel-Lied (the Nazi's anthem) he defied their anger by singing the International." (from: "The Nazi Regime at Work: Erich Mühsam" in MAN! A Journal of the Anarchist Ideal and Movement. Vol. 2, No. 3, March 1934)

On this album Dieter Süverkrüp, Walter Andreas Schwarz and Vridolin Enxing (from the polit-rock band "Floh De Cologne") have arranged and interpreted 31 agitation songs, poems and vicious ballads from the estate of Erich Mühsam. The final verse proclaims: "Das Heut´erkennt das Gestrn nicht, / trotz Ruhmeskranz und Seelenmessen. - / Wer Zukunft schuf, bleibt unvergessen. / Erst die Geschichte hält Gericht." Mühsam´s requiem for his dead revolutionary colleagues had different connotations for a West German audience than for one in the GDR. In the GDR, these lines were dripping with irony even as late as the 1980s because of the hollowness of the state´s claims to be the continuation of this past - the dead revolutionaires had indeed effectively been forgotten. In the West German version, on the other hand, there is no intended irony, only the invoking of a tradition in a country were radical socialism has ceased to play a majore cultural role. By 1986, the heady days of student rebellion were longe gone. Süverkrüp and Schwarz´s modest motivation is to keep the spirit alive "für die, die auf dem beschwerichen Weg in die Zukunft Mühsams Idealismus brauchen als Stärkung und Bestätigung", as the booklet informs us.

Dieter Süverkrüp & Walter Andreas Schwarz - Erich Mühsam - Ich lade Euch zum Requiem
(192 kbps, front cover included)

Donnerstag, 24. Dezember 2015

VA - Where Will You Be Christmas Day?


The compilation "Where Will You Be Christmas Day?" shows many sides of Christmas - from Jesus born in the manger to Leroy Carr spending the holiday in jail - and provides a compelling contrast to the commercialized Christmas we know today.

A holiday compilation with a difference, this assembles a couple dozen Christmas-themed recordings from 1917-1959 that represent roots music of all stripes - blues, gospel, early jazz, early country, Appalachian folk, and even some ethnic sounds of Trinidad, Puerto Rico, Italy, and Ukraine. There are some pretty famous names here, like Leadbelly, Bessie Smith, and Lightnin' Hopkins, as well as some artists who are not as famous but still pretty renowned, like Rev. J.M. Gates, Buell Kazee, and the Maddox Brothers & Rose. Yet as was the case on the Dust-to-Digital label's extraordinary six-CD box set of 1902-1960 spirituals, "Goodbye, Babylon", there are a host of names here that will be known almost exclusively to serious old-time music collectors. That in itself makes this a pretty interesting and offbeat Christmas anthology. But even if you care nothing for rare record values, it's certainly rawer, more heartfelt, and just more musically interesting than the vast majority of what you'll find in the holiday bin. It's also a reminder of a time when Christmas discs could be relatively joyful and sincere expressions of religion and merrymaking, rather than just excuses to make a quick buck by cashing in on the time of the season. It makes for superior roots music listening whether you're in the holiday spirit or not, but some of the better tracks to keep an ear out for include the Cotton Top Mountain Sanctified Singers' jovial Dixieland jazz-style "Christ Was Born on Christmas Morn," with its thrilling high female background vocal swoops; Leadbelly's highly rhythmic, infectiously joyous "Christmas Is A-Coming"; the exuberant early calypso of Lord Executor's "Christmas Is a Joyful Day"; the shuffling flamenco-like verve of Los Jibaros' "Décimas de Nacimiento"; and the electric blues of Lightnin' Hopkins' "Happy New Year," which verges on rock & roll.

Note, also, how the tracks are sequenced almost like a chronological celebration of holiday themes, starting with Vera Hall Ward's "The Last Month of the Year," moving on through Leadbelly's "Christmas Is A-Coming" and Kansas City Kitty's "Christmas Morning Blues," and wrapping up with Hopkins' "Happy New Year."

This album deserves a four-star rating for its general musical value; judged by the standards of Christmas/holiday releases, it easily rates a full five stars.       


VA - Where Will You Be Christmas Day?
(320 kbps, cover art included)

Happy X-Mas!      

Montag, 21. Dezember 2015

VA - History of Carnival: Christmas, Carnival, Calenda & Calypso from Trinidad 1933-1939 [Matchbox, 1991]


One of the best calypso compilations... and a good start for the Christmas Holidays.

Tracklist:

A1
–Atilla The Hun
History Of Carnival
A2
–Wilmoth Houdini
Way Down Sobo
A3
–King Radio And The Tiger
Millington
A4
–Atilla The Hun
Archie Boulay
A5
–The Lion
Hojoe - African War Song
A6
–The Atilla
Zingue Talala
A7
–John "Buddy" Williams And His Blue Rhythm Orchestra
Barre-A-Oh
A8
–Lord Invader
Demasbar
B1
–King Radio
Matilda
B2
–The Lion
Buddy Abraham
B3
–The Caresser
Madame Khan
B4
–Al Philip Iere Syncopators
Play Mass Don't Do Me That
B5
–Lionel Belasco And His Orchestra
Juliane
B6
–The Executor
Christmas Is A Joyful Day
B7
–The Lion
Netty-Netty
B8
–Lord Beginner
Christmas Morning The Rum Had Me Yawning
VA - History of Carnival: Christmas, Carnival, Calenda & Calypso from Trinidad 1933-1939
(192 kbps, cover art included)

Odetta - Sings Folk Songs (1963)


One of the strongest voices in the folk revival and the civil rights movement, Odetta was born on New Year's Eve 1930 in Birmingham, AL.
Odetta's most productive decade as a recording artist came in the 1960s, when she released 16 albums, including "Odetta at Carnegie Hall", "Christmas Spirituals", "Odetta and the Blues", "It's a Mighty World", and "Odetta Sings Dylan".
In December 2008, she died of heart disease in New York.       

"Odetta Sings Folk Songs" is an Odetta album first released in 1963, produced by Mickey Crofford. It was her second release on her new label, RCA Victor and is out of print. It peaked at number 75 on the Billboard Pop Albums charts.

Tracklist:
  1. "900 Miles" – 3:10
  2. "Blowin' in the Wind" (Bob Dylan) – 4:09
  3. "Maybe She Go" – 1:54
  4. "I Never Will Marry" – 1:55
  5. "Yes I See" – 2:53
  6. "Why'n Oh Why" – 2:05
  7. "Shenandoah" – 3:46
  8. "The Golden Vanity" – 4:02
  9. "Roberta" – 3:07
  10. "Anthem of the Rainbow" – 4:07
  11. "All My Trials" – 3:32
  12. "This Little Light of Mine" (Harry Loes) – 3:03
Odetta - Sings Folk Songs (1963)
(192 kbps, front cover included)

Chad Mitchell Trio - Singin' Our Mind (1963)

"Singin' Our Mind" is perhaps the most interesting album of the Chad Mitchell Trio's career. The record was released in 1963, smack dab in the middle of a profound shift in the landscape of American popular music.

With the growing mass appeal of Bob Dylan and his interpreters (most notably Peter, Paul & Mary), the mainstream folk scene was swelling with a newly embraced social consciousness. The album's title reflects the Chad Mitchell Trio's efforts to firmly establish themselves as part of the new movement. The liner notes make this abundantly clear, purposely distancing the group from "button-down" folkies and describing Mitchell and his compatriots as "young men of conscience, with a serious purpose."

Luckily, however, the album is no mere marketing ploy. The material here is truly first rate, and is performed with loads of enthusiasm as well as the typically impeccable technique that has always made aficionados single out the Mitchell Trio as musically the best of their breed. In this respect, each member gets his spot in the limelight. The often-underrated Michael Kobluk gives the album's most stirring performance on Ian Tyson's now classic "Four Strong Winds." Mitchell himself gives a surprisingly hip and jazzy reading of the Bessie Smith tune "Nobody Knows You When You're Down and Out," and Joe Frazier's powerful tenor soars above it all, giving an extra boost of energy to even the weakest tunes. The only heavy-handed moment comes in a parody of "The Twelve Days of Christmas" inspired by the death of a Nazi war criminal. Though somewhat embarrassing due to the use of stereotyped German accents, the performance is also a fascinating glimpse into the early '60s, when wartime bitterness remained fresh in the American consciousness, nearly twenty years after the conflict's end.    


Tracklist
1Dubarry Done Gone Again2:24
2Ain't No More Cane On This Brazos3:02
3Four Strong Winds3:34
4Alma Mater2:59
5An Irish Song2:39
6I Feel So Good About It (Sin Bound Train)2:07
7The Marvelous Toy2:46
8Maladyozhenaya (The Young Ones) 2:28
9Nobody Knows You When You're Down And Out3:31
10Bonny Streets Of Fyve-Lo3:08
11Willie Seton2:18
12Twelve Days5:33

Chad Mitchell Trio - Singin' Our Mind (1963)
(256 kbps, cover art included)

Sonntag, 20. Dezember 2015

Vom Lachen über die Welt zum Leben mit der Welt - Lieder und Gedichte von Bertolt Brecht mit Ekkehard Schall (LITERA 1984)

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"When you see Schall at work during his two-hour performance, it's as if you were watching Brecht himself on stage.Schall's technical skills embody all of Brechtian dramatic theory and practice, just as Brecht's thoughts and opinions infuse his performances. " - New York City Tribune

Ekkehard Schall was Bertolt Brecht's son-in-law and one of the most important Brechtian actors in Germany.

A member of the Berliner Ensemble established by Bertolt Brecht and his wife Helene Weigel in 1949, Ekkehard Schall worked on numerous productions of Brecht's plays and others with the Ensemble between 1952 and 1995. In the 1970s and 80s he combined the roles of leading actor and deputy director of the Ensemble. In all he played over sixty roles and achieved greatest success in the role as Arturo Ui, a role he played over 500 times.

He was married to Brecht's daughter Barbara Brecht-Schall and is the father of actress Johanna Schall.

Here´s the first of three programms by Ekkehard Schall at the Berliner Ensemble with material by Bertolt Brecht.

Ekkehard Schall - Vom Lachen über die Welt
(192 kbps)

Bertolt Brecht - Die Gewehre der Frau Carrar (LITERA, 1965, vinyl rip)

"Die Gewehre der Frau Carrar" is a short play by Bertolt Brecht, written in 1937 in the first year of the Spanish Civil War, which provides the background. It was intended for performance by a German troupe in Paris. Acknowledgement is made to an idea in J. M. Synge's "Riders to the Sea".

Teresa Carrar, who lives in an Andalusian fisherman's cottage, has lost her husband and fears for her sons Juan and José. For this reason she adopts a neutral attitude and hides her husband's rifles; she refuses to surrender them to her brother Pedro Jaquéras, who intends to join the fight against the fascist generals. José struggles with his mother and injures her foot. Juan's body is carried into the cottage on the sail of his boat. He has been shot while out fishing, because for the fascists the worker's cap that Juan wears when he goes fishing is a sufficient reason for shooting him as a suspected red. Those aren't human beings, Señora Carrar concludes, That's leprosy, and it has to be eradicated. She hands out the rifles that she had hidden from the fascist forces, and together with her younger son she herself heads for the front. The character of the Padre, who shares the suffering of the hungry and prays for them but does nothing to help them get their daily bread, is introduced by Brecht as a criticism of the Church's passive and appeasing attitude towards General Franco.

This recording of "Die Gewehre der Frau Carrar" with Helene Weigel, Ekkehard Schall, Erw
in Geschonneck and others is based on an radio play of the Berliner Rundfunkt from January, 1953.

Bertolt Brecht - Die Gewehre der Frau Carrar (1965, vinyl rip)
(192 kbps, front cover included)