Montag, 29. Februar 2016

Brenda Fassie - Featuring Black President (Best of)

PhotobucketBrenda Fassie (November 3, 1964 – May 9, 2004), was a legendary South African pop singer widely considered a voice for disenfranchised blacks during apartheid. She was affectionately known as the Queen of African Pop and her nickname amongst fans was Mabrr.

Brenda was born in Langa, Cape Town as the youngest of 9 children. She was named after Brenda Lee, an American country singer. Her father died when she was 2, and with the help of her mother, a pianist, she started earning money by singing for tourists.

In 1981, at the age of 16, she left Cape Town for Soweto, Johannesburg to seek her fortune as a singer. Brenda first joined the group Joy and later became the lead singer for the township pop group Brenda And The Big Dudes. She had a son, Bongani, in 1985 by a fellow Big Dudes musician. Brenda married ex-convict Nhlanhla Mbambo in 1989 but later in 1991 got divorced.

It was around this time that she became addicted to cocaine and her career suffered.
With very outspoken views and frequent visits to the poorer townships of Johannesburg, as well as songs about life in the townships, she enjoyed tremendous popularity. Known best for her songs "Weekend Special" and "Too Late for Mama", she was called by Time Magazine in 2001 "The Madonna of the Townships".

In 1995 she was discovered in a hotel with the body of her lover, Poppie Sihlahla, who had died of an apparent overdose. Fassie underwent rehabilitation and got her career back on track. However, she still had drug problems and returned to drug rehabilitation clinics about 30 times in her life.

Since 1996 she released several solo albums like "Now Is The Time", "Memeza" (1997, the best selling album in South Africa in 1998) or "Nomakanjani". Most of her albums became multi-platinum sellers in South Africa.

On the morning of 26 April 2004, Brenda collapsed at her home in Buccleuch and was admitted into the Sunninghill hospital in Johannesburg. The press were told that she had suffered cardiac arrest but later reported that she had slipped into a coma brought on by an asthma attack. The post-mortem report revealed that she had taken an overdose of cocaine in the night of her collapse, and this was the cause of her coma. She stopped breathing and suffered brain damage from lack of oxygen. Fassie was visited in the hospital by Nelson Mandela, Winnie Mandela, and Thabo Mbeki, and her condition was front-page news in South African papers. Brenda died at age 39 on 9 May 2004 in hospital without returning to consciousness after her life support machines were turned off. According to the South African Sunday Times and the managers of her music company, the post-mortem report also showed that she was HIV-positive. Her manager, Peter Snyman, denied this aspect of the report.

01.Black president
02.Too late for mama
03.Umuntu Ngumuntu Ngabantu
04.Iam not a bad girl
06.Jail to Jail
08.I straight le ndaba
09.Yo Baby
10.Bump Bump
11.Heroes party
12.The Lord is my sheppard
13.Black president-us remix

Brenda Fassie - Featuring Black President (Best Of)
(192 kbps, front cover included)

With special greatings to a special friend!

Oktober - Die Pariser Commune (1977, vinyl rip)

"DIE PARISER COMMUNE" is a recording by "Oktober" released in 1977. This political rock opera was released on the Antagon label like the "Schmetterlinge"-recordings featured on this blog.

The austrian folk-rock band "Schmetterlinge" dedicated a part of their "Proletenpassion" (1976) to the Paris Commune and inspired the polit-rock band "Oktober" to deal with this topic on an entire double album.

The Paris Commune (French: La Commune de Paris) was a government that briefly ruled Paris from March 18 (more formally, from March 28) to May 28, 1871. It existed before the split between anarchists and marxists had taken place, and it is hailed by both groups as the first assumption of power by the working class in industrial Western Civilization. Debates over the policies and outcome of the Commune contributed to the break between those two political groups.


Seite 1
[1] PROLOG: 1830 - 1851

Seite 2
a) Proklamation des ZK der Nationalgarde
b) Die Maßnahmen der Kommune
c) Lob des Aufbaus
d) Lied vom Verbrechen
e) Janine
f) Dekret über die Zuerkennung einer Pension / Keiner oder alle
g) Die Frauen der Kommune
h) Stadt der Illusionen

Seite 3
a) Die letzte Schlacht
b) Die Rache / Dreißigtausend Tote

Seite 4
[1] Teil 4: UNSER BLUT - UNSERE GESCHICHTE (einschl. Pottier's Lied)

Oktober - Die Pariser Commune (1977, vinyl rip)
(320 kbps, full cover art included)

Elizabeth Cotten - Live

Elizabeth Cotten was among the most influential guitarists to surface during the roots music revival era, her wonderfully expressive and dexterous finger-picking style a major inspiration to the generations of players who followed in her wake.
Cotten was born in Chapel Hill, North Carolina in the early weeks of 1893; after first picking up the banjo at the age of eight, she soon moved on to her brother's guitar, laying it flat on her lap and over time developing her picking pattern and eventually her chording. By the age of 12 she was working as a domestic, and three years later gave birth to her first child; upon joining the church, she gave up the guitar, playing it only on the rarest of occasions over the course of the next quarter century. By the early 1940s, Cotten had relocated to Washington, D.C., where she eventually began working for the legendary Charles Seeger family and caring for children Pete, Peggy and Mike.

When the Seegers learned of Cotten's guitar skills a decade later, they recorded her for Folkways, and in 1957 she issued her debut LP, "Folksongs and Instrumentals". The track "Freight Train," written when she was 12, became a Top Five hit in the U.K., and its success ensured her a handful of concert performances. The great interest in her music spurred her to write new material, which appeared on her second album, "Shake Sugaree". As Cotten became increasingly comfortable performing live, her presentation evolved, and in addition to playing guitar she told stories about her life and even led her audiences in singing her songs; over the years, she recalled more and more tunes from her childhood, and in the course of tours also learned new material. Cotten did not retire from domestic work until 1970, and did not tour actively until the end of the decade; the winner of a National Endowment for the Arts National Heritage Fellowship Award as well as a Grammy — both earned during the final years of her life — she died on June 29, 1987.

No dates are given for this live disc, although according to the liners, "this album is a sampler of performances during her ninth decade" (which would be roughly the early 1970s to the early 1980s). She does some of the most popular items from her repertoire over the course of this 50-minute recording, including "Freight Train," "Shake Sugaree," and "Oh Babe, It Ain't No Lie" (which was covered by the Grateful Dead). There's plenty of storytelling between the numbers, and audience participation on some of the choruses during the songs.

Miriam Makeba - Appel à l´Afrique (1974)

Legendary South African singer and activist Miriam Makeba (born 1932) rose to international fame during the 1960s, attracting a wide following through concert appearances and recordings. Although capable of great vocal versatility in a variety of languages and settings, including jazz and blues, Makeba became best-known for singing in her native dialect, distinguishable by explosive, clicking sounds formed with the epiglottis in the back of the throat.

Like many politically-minded black South Africans, Miriam Makeba spent several decades in exile during the apartheid era. Following the 1961 Sharpville Massacre, where dozens of people - including several of her relatives - were shot to death while protesting the new pass laws, Makeba broke her silence on the evils of apartheid rule. The South African government responded by revoking her citizenship and permanently refusing to let her return to her homeland. It was really the government's loss, though: Makeba was a widely regarded international celebrity, and in the face of such bitter treatment by the Afrikaaners, she became one of the most effective public speakers in opposition to apartheid rule. At the end of the decade, Makeba returned to Africa, but instead of her mother country, Makeba moved to Guinea, where she and her husband Stokley Carmichael sought refuge from political persecution in the United States. In Guinea, Makeba hooked up with some of West Africa's greatest musicians, including the likes of Sekou Diabate and Famouro Kouyate. She recorded about thirty songs for the government-sponsored Syliphone label.

This album features recordings from her concert at the Palais de Peuple in Conakry, Guinea.

1. Kilimandjaro
2. Kadeya Deya
3. Measure the valley
4. Sekou famake
5. Kulala
6. Malaika
7. U. Shaka
8. Tonados de media noche
9. Djinguinira
10. Malcolm X
11. Tutu maramba
12. I phin dlela

Miriam Makeba - Appel à l´Afrique (1974)
(192 kbps, cover art included)

The Fugs - Tenderness Junction (1968)

The Fugs began their career as a gaggle of post-beat era bohemians whose talents were as poets and activists first, musicians second, but after recording a handful of unexpectedly successful albums for Folkways and ESP, the group found themselves signed to Reprise Records, and had to face the prospect of becoming a genuine, professional rock & roll band.

"Tenderness Junction" was The Fugs' first album for Reprise, and also unveiled a new lineup, with founders Ed Sanders, Tuli Kupferberg, and Ken Weaver joined by three capable young rock & rollers, guitarist Danny Kortchmar (aka Danny Kooch), bassist Charles Larkey, and multi-instrumentalist Ken Pine.

While the early Fugs albums often made a virtue of the limited abilities of the musicians on hand, "Tenderness Junction" proved they could add a bit of polish and firm up their sound without losing touch with what made them memorable; the music is strong and expressive without being unnecessarily flashy, and Sanders clearly enjoyed having more reliable accompanists for his pastiches on various musical conventions, such as blues ("Knock Knock"), doo wop ("Wet Dream"), country ("War Song"), and traditional English folk ("Fingers of the Sun").

The Fugs also made the most of Reprise's pledge not to censor the group's material by including a recording of their appearance at an anti-war event in Washington D.C., in which they conducted an exorcism of the Pentagon in the midst of a "Grope for Peace."

"Tenderness Junction" puts greater focus on the extended poetics of "The Garden Is Open" and the five-part "Aphrodite Mass" over short, funny songs like "Slum Goddess," "CIA Man," or "I Couldn't Get High", presumably because they could, and they had collaborators with the chops to make them work musically, but this also makes this album less immediately engaging than the Fug´s earlier works. Still, it's musically ambitious while still allowing Sanders, Kupferberg, and Weaver to sound like themselves, and it's the rare album where chaos and discipline both get their moment in the spotlight and bring out the best in one another.       


Side 1:
1 Turn On / Tune In / Drop Out
2 Knock Knock
3 The Garden Is Open
4 Wet Dream
5 Hare Krishna

Side 2:
1 Exorcising The Evil Spirits From The Pentagon October 21, 1967
2 War Song
3 Dover Beach
4 Fingers Of The Sun
5 Aphrodite Mass (In 5 Sections) 

The Fugs - Tenderness Junction (1968)
(256 kbps, cover art included)

Meistersinger & Ihre Kinder - Meistersinger & Ihre Kinder (1978)

Nuremberg's most valuable contribution to the polit-rock scene was the group Ihre Kinder:
A german rock band from the late 1960s and early 1970s, considered a pioneer of german rock music, because they were one of the first modern rock groups singing in german language.
Their music contained elements of classic rock, folk and jazz rock, their lyrics were politically aware.

After the decline of the band the keyboarder and singer Sonny Henning formed a horrible soul pop-rock band named Powerful Tramps, before regaining some musical sense as Meistersinger & Ihre Kinder, a quintet that recorded two albums in the late seventies.

A1 Mit dem Kopf durch die Wand 3:10
A2 Zustand Nr. 10 6:00
A3 Könnte ich Fliegen 3:35
A4 Tohuwabohu 3:45
A5 Das Wort zum Montag 3:55
B1 Bär sucht Honig 4:35
B2 Im Paradies ist die Hölle los 3:30
B3 Erinnerung 3:45
B4 Schlechte Zeiten 6:55

Meistersinger & Ihre Kinder - Same (1978)
(320 kbps, cover art included)

Joan Baez - Essen, Grugahalle - 17. March 1973 (FM Source)

The most accomplished interpretive folksinger of the 1960s, Joan Baez has influenced nearly every aspect of popular music in a career still going strong. Baez is possessed of a once-in-a-lifetime soprano, which, since the late '50s, she has put in the service of folk and pop music as well as a variety of political causes.

Fluent in Spanish as well as in English, she has also recorded songs in at least six other languages. She is regarded as a folk singer, although her music has diversified since the counterculture days of the 1960s and now encompasses everything from folk rock and pop to country and gospel music. Although a songwriter herself, Baez is generally regarded as an interpreter of other people's work, having recorded songs by the Allman Brothers Band, the Beatles, Jackson Browne, Leonard Cohen, Bob Dylan, Violeta Parra, Woody Guthrie, The Rolling Stones, Pete Seeger, Paul Simon, Stevie Wonder and many others. In recent years, she has found success interpreting songs of modern songwriters such as Ryan Adams, Josh Ritter, Steve Earle and Natalie Merchant. Her recordings include many topical songs and material dealing with social issues.

Subjected to racial slurs and discrimination in her own childhood because of her Mexican heritage and features, Joan Baez became involved with a variety of social causes early in her career, including civil rights and nonviolence. She was sometimes jailed for her protests. Joan Baez married David Harris, a Vietnam draft protestor, in 1968, and he was in jail for most of the years of their marriage. They divorced in 1973, after having one child, Gabriel Earl.

Here´s a full concert bootleg of the show Joan Baez played at Grugahalle, Essen, Germany on March 17th of '73 (FM broadcast source).

Here you can read a concert review in german language: "Die heilige Johanne mit der Gitarre"e

01 - Farewell Angelina
02 - I Shall Be Released
03 - Earth Angel
04 - Handsome Jonny
05 - Kumbaya My Lord
06 - You Ain't Goin Nowhere
07 - To Bobby
08 - Lovesong To A Stranger
09 - Joe Hill
10 - All My Trails
11 - The Night They Drove Old Dixie Down
12 - Sag Mir Wo Die Blumen Sind
13 - Plaisir D'amour
14 - Yesterday
15 - Imagine
16 - Let It Be
17 - We Shall Overcome

Joan Baez - Essen, Grugahalle, 17. March 1973
(192 kbps, cover art included)

Miriam Makeba - Makeba Sings (1965)

Maybe history will remember Miriam Makeba mostly for her activist triumphs. When it came to her music many of her obituaries dwelled on her two most famous songs, “Pata Pata” and “The Click Song,” and mentioned little else. But just as she was an important activist, in many places Makeba was as ubiquitous a pop presence as Louis Armstrong. Accordingly, she has left a huge body of recordings - including 28 studio and live albums, eight greatest hits compilations, and scores of videotaped live performances - that can be mined for lesser-known gems

The out of print RCA Victor LP "Makeba Sings" was released the same year as the Grammy-winning "An Evening With Belafonte/Makeba". "Makeba Sings" finds the bold singer in a relatively straightforward context, delivering heartwarming tunes with fluttering tropical arrangements, the kind typically reserved for Disney scores. What peels this LP away from the bland conventions of retro calypso and exotica is Makeba’s searing voice, which spans at least three languages in 35 minutes and imbues captivating tracks like “Cameroon” and “Kilimanjaro” with an almost startling intensity.


Little Bird
Same Moon
Wind Song
Let's Pretend
Beau Chevalier

(320 kbps, cover art included)

Pink Anderson - Ballad And Folksinger, Vol. 3

This release contains what is sadly the final volume in Bluesville's trilogy of long-players featuring the highly original Piedmont blues of Pink Anderson. As with the two previous discs, "Ballad & Folk Singer" was recorded in 1961. It is also notable that Anderson returns to his native South Carolina to document this set. The second installment - "Medicine Show Man" - had been compiled from a New York City session held earlier the same year.

Astute listeners will note that three of the titles - "The Titanic," "John Henry," and "The Wreck of the Old 97" - were duplicated from Anderson's side-long contribution to "Gospel, Blues & Street Songs". The other side featured another Piedmont native, Rev. Gary Davis.

However Anderson's delivery is notably different when comparing the two performances. One of the primary discrepancies lies in the pacing. Here, the readings are more definite and seemingly less rushed. The same is true for the phrasing of Anderson's vocals, most notably on "John Henry." The intricate and somewhat advanced guitar-playing - that became one of Anderson's trademarks - is arguably more pronounced on these recordings as well. Again, "John Henry" displays the picking and strumming techniques that give his decidedly un-amplified vintage Martin acoustic guitar such a full resonance that it practically sounds electric. The instrumental introduction to "Betty and Dupree" exemplifies the walking blues or stride motif particularly evident and notable among Piedmont blues artists. Enthusiasts should also note that in addition to these latter recordings, Anderson also performed on four tracks with his mentor Simmie Dooley in the late '20s for Columbia Records. Those pieces can be found on the compilation "Georgia String Bands (1928-1930)". Anderson actively toured until a debilitating stroke forced him to retire in 1964.

A1The Titanic
A3John Henry
A4Betty And Dupree
B1Sugar Babe
B2The Wreck Of The Old 97
B3I Will Fly Away
B4The Kaiser
B5In The Evening

Pink Anderson - Ballad And Folksinger, Vol. 3
(224 kbps, cover art included)

Peggy Seeger - Early In Spring (1962)

The half-sister of Pete Seeger and the widow of Ewan MacColl, singer/songwriter Peggy Seeger continued her family's long history of championing and preserving traditional music, most notably emerging as a seminal figure in the British folk song revival of the 1960s. Peggy Seeger is considered by many to be the female folksinger, responsible for the continuous upswing of folk music popularity. It is a fitting title, considering Peggy was living and breathing folk music since before she was born.

She plays banjo and sings on this 1962 Topic Label EP. The four songs are 'courting songs'.


A1. Madam I Have Come To Court You
A2. When I Was In My Prime
B1. So Early, Early In The Spring
B2. The Chickens They Are Crowing

Peggy Seeger - Early In Spring (1962)
(ca. 170 kbps, cover art included)

VA - Classic Protest Songs From Smithsonian Folkways


"Over the years, Folkways Records (now Smithsonian Folkways) has produced and distributed high-quality recordings of American folk music. Moses Asch, founder of Folkways, made a commitment to artists that their Folkways recordings would never go out of print. The Smithsonian keeps that tradition alive. This recording is intended as an introduction to many of these recordings, a chance for listeners to experience them, perhaps again, perhaps for the first time. The Smithsonian has subsequently acquired other fine small labels, and this disc includes recordings from the Monitor and Paredon labels. The songs presented here come mainly from the 1940s to the 1960s.

Many people mistakenly believe that "protest songs" originated with guitar-playing folksingers in the 1960s. It is highly likely that some form of protest lyrics have existed as far back as humans have made music. Songs have been associated with almost every human conflict in history. In the British Isles, ballads about the latest current events and issues were printed on pages of paper and sold for a few pennies, and these publications were called broadsides. Many songs and rhymes we all know well began as topical or protest songs, their original meaning now lost. "Froggy Went-a Courtin’" has been traced back to the 16th century and discusses a royal romance. "Little Jack Horner" is about a disreputable tax collector in the days of Henry VIII. In the United States, many complaints of the American colonists about the British were accompanied by associated songs.

Since the invention of audio recording, many songs of protest have been recorded. Many of the early country and blues recording artists worked as sharecroppers or in factories. Support for labor struggles and feelings of anger were put into words and performed. There are songs of the sharecroppers, songs of the textile workers, songs of the railroad workers, songs of the miners—and the list goes on. Collections of these songs have been published, and many of these old 78s have been reissued on compact discs.

The 1930s found a group of academics, composers, journalists, and musicians in New York at the beginning of the great "folksong revival." These individuals came from the far left politically and championed the folklore and music of the people. Among this musical world were great popular songwriters, such as Earl Robinson, Yip Harburg ("Somewhere over the Rainbow," "Brother, Can You Spare a Dime"), and Lewis Allan (see track 12), and their lyrics frequently dealt with social issues. It was out of this environment that Folkways Records emerged. Some artists active in New York in the early 1940s were Woody Guthrie, Pete Seeger, Josh White, and Lead Belly. In this environment, through Asch and then later Disc Records, they expressed themselves politically, and Moses Asch always felt that his records were a vehicle for his artists to speak. One of the great singing groups of the time was the Almanac Singers (Pete Seeger, Woody Guthrie, Bess and Butch Hawes, Sis Cunningham, Millard Lampell, Lee Hays, and others), whose repertory consisted of songs for the common people´s struggle.

Asch’s studio always involved a racially mixed group of musicians, and some of the black musicians present found it safe to express themselves openly in their lyrics in ways they could not in their places of origin. An integral part of the civil-rights movement was its use of song. As long as Africans had been in the United States, they have used song to communicate their response to their situation. When white owners banned drums because they felt the slaves might be able to communicate with each other by drumming, the slaves adopted Christian hymns, such as "Oh let my people go!" in which the images of imprisoned Jews became metaphors for their condition. The song "Follow the Drinking Gourd" was a veiled reference to the North Star and the path northward, to freedom. Worksongs and shouts included commentaries on bosses and owners. Country bluesmen included references in their songs to the problems they had living in the South. Charley Patton sang of the evil sheriff Tom Rushen. The civil-rights movement adapted a body of black traditional music and hymns to new uses (Bernice Reagon, notes to SFW 40084).

In the late 1950s, the folksong revival reached its apex. Folksongs became the most popular music in the United States until the great "British Invasion" of 1964 brought rock and roll back to the top. Students across the country took up guitars and banjos. Many of them built their careers on the work of the folksingers that had proceeded them, important figures such as Guthrie and Seeger. As the politically repressive times of the McCarthy years waned, the political left felt that it could express itself again, and many of these statements took the form of folksongs. Sis Cunningham and Gordon Friesen started

Broadside magazine in 1962 to publish newly created "songs of conscience." Broadside was the first magazine that published songs by Janis Ian, Bob Dylan, Tom Paxton, Phil Ochs, Eric Andersen, and others. The appearance of Bob Dylan on the music scene changed the musical approach of almost every current musician; many started writing and trying to sound like him, even though he had based his own persona on Guthrie. It’s the image of Dylan with a harmonica rack and a guitar that became the caricature of the "protest folksinger." As quickly as he had arrived, he moved on to other musical endeavors.

Besides Broadside were individuals who published and supported topical music. The great bible of the folksong movement, Sing Out! magazine, published new and old protest songs (and still does). Former Sing Out! editor Irwin Silber and his wife, activist and singer Barbara Dane, opened Paredon Records in New York in 1970 to document the music of social political movements worldwide.

African-American folksinger Jimmy Collier pointed out that if you want to get your message across, it’s best to use the music of the community that you wish to communicate with. Collier found that the urban black community did not respond to new words to American folksongs, but it did respond to new words to rhythm-and-blues songs (personal communication, 2000). As the folk revival ended, hard-edged new songs began to be written using folk-rock and rock music. Punk rock exploded on the scene in the late 70s with the Sex Pistols and their attacks on Margaret Thatcher’s administration with "God save the queen and her fascist regime." Protest lyrics are easily found in rap and hiphop. The early 21st-century war in Iraq has led to a new round of antiwar songs.

Much as Broadside and Paredon Records became an outlet for writers of political song, national networks of such writers still exist; there are newsletters, websites, house concerts, and self-produced cassettes. Seattle resident Jim Page is an example of this: he plays on the street and produces recordings that illustrate his feelings. Billy Bragg adapted Lead Belly’s "Bourgeois Blues" into "Bush War Blues" and distributed it through the internet.

In 1987, Ralph Rinzler—folk musician, record producer, and talent scout for the Newport Folk Festival, and then Assistant Secretary for Public Service at the Smithsonian Institution—negotiated the donation of the Folkways label to the museum; the following year, the Smithsonian Folkways record label was founded. Rinzler had been involved in earlier Folkways albums, and he knew the value of the collection. Smithsonian Folkways has always set out to reissue material from its archives with expanded liner notes and updated sound. It has since acquired other smaller, like-minded record companies: Cook, Paredon, Dyer-Bennet, Fast Folk Musical Magazine, Monitor, Collector, and M.O.R.E. These labels comprise what is called the Smithsonian Folkways Collection, and they include folk recordings in their catalog. More than three thousand titles are available through Smithsonian Folkways via on-demand compact disc and on-line digital download.

This recording hardly breaks the surface of the repertory of songs that are out there. Some "classic" protest songs are not on this disc because this collection draws exclusively, as do all of the releases in this series, from the body of material in the Smithsonian Folkways Collection. This collection is meant to be a series of doors to lead listeners into full recordings by these artists. If you enjoy it, many more great recordings are out there."

VA - Classic Protest Songs From Smithsonian Folkways
(256 kbps, front cover & booklet included)

VA - Bachata Roja - Acoustic Bachata From The Cabaret Era

"Bachata Roja" collects together the greatest hits of classic Dominican bachata. From the early 1960’s to the late 1980’s the legendary voices of Eladio Romero Santos, Leonardo Paniagua and Blas Duran spoke to the hearts of a generation. The dizzying guitar accompaniment of pioneers like Edilio Paredes and Augusto Santos charted the course of bachata’s rise, and for three decades theirs was the sound of the streets of Santo Domingo.

Initially the term "bachata" referred to an informal backyard party with food, drink, music and dance. In rural areas of the Dominican Republic in the 1950’s and earlier, the music played at these events was more often than not guitar-based and included a variety of popular styles such as Cuban bolero, guaracha and son, Puerto Rican jíbaro music and Mexican ranchera. Drawing on all these influences, a bold new guitar style emerged in the heart of Santo Domingo’s burgeoning urban shanty towns. Much despised by elite society - who controlled the island’s television, radio and major recording studios – the new music was dubbed disparagingly “bachata,” an allusion to perceived rural backwardness.

Though boycotted by major media outlets, a grass-roots movement coalesced around favorite singers of the time – who expressed in unvarnished terms the pain, sorrow, humor and romance of daily life. Arising from the urban bordellos and the campos, bachata music grew to become wildly popular across all strata of society. Throughout this period, the defining sound of bachata was that of the Spanish acoustic guitar, whose florid phrasing seduced dancers, chastised faithless lovers and softly serenaded coy mistresses of the night.

It happens time and time again: if a style of Latin music starts out rugged, raw, and rural, there is a very good chance that it will eventually be seriously commercialized and become a lot more polished. That has happened with everything from Colombian cumbia to Cuban son (a primary ingredient in what is now called salsa) to Brazilian samba, and Dominican bachata is no exception. The bachata boom of the '90s and 2000s found bachata becoming increasingly commercialized and enjoying as much exposure as salsa, merengue, and cumbia in the tropical market, which is truly ironic when one considers that back in the '60s and '70s, bachata was often dismissed as low-class by the more affluent people in the Dominican Republic. Many bachata converts of the '90s and 2000s have had little, if any, exposure to old-school bachata, and this excellent compilation takes a look at what bachata sounded like before that commercialization occurred.

"Bachata Roja: Acoustic Bachata from the Cabaret Era" opens with Rafael Encarnación's doo wop-flavored "Muero Contigo" from 1962 and closes with Juan Bautista's 1990 hit "Asesina," which uses an electric guitar (old-school bachata was totally acoustic) and has one foot in classic bachata and the other in modern bachata. Many of the tracks are from the '60s and '70s, and those who associate bachata with the commercial hits of Aventura or Monchy & Alexandra will be surprised to hear how much rawer bachata sounded in the hands of old-school bachateros like Felix Quintana, Augusto Santos, Julio Angel, and the late Marino Pérez (who sadly, drank himself to death). "Bachata Roja" is enthusiastically recommended to anyone who wants to hear what bachata sound like before it became so commercialized.        


1) Rafael Encarnacion - MUERO CONTIGO
2) Marino Perez - O LA PAGO YO O LA PAGA ELLA
3) Eladio Romero Santos - LA MUNECA
4) Blas Duran - EQUIVOCADA
5) Felix Quintana - LADRONA
6) Juan Bautista - ESTOY AQUI PERO NO SOY YO
7) Augusto Santos - OLVIDA ESE HOMBRE
8) Augusto Santos - SI ME LA DAN LA COJO
9) Julio Angel - EL SALON
10) Julio Morales - YO PAGARE LA CERVEZA
11) Ramon Cordero - AMOR DEL BUENO
12) Efrain Morel - ESTA NOCHE ME LA LLEVO
13) Leonardo Paniagua - MI SECRETO
14) Juan Bautista - ASESINA

VA - Bachata Roja - Acoustic Bachata From The Cabaret Era
(256 kbps, front cover included)      

Mercedes Sosa - Cantata Sudamericana (1972)

Well, long before political correctness and the plethora of female artists there was Mercedes Sosa. She is the perennial female artist who sings of Latin America as one. This album is a nice showcase of her extensive vocal talents. Mercedes Sosa laments and sings songs of joy and hope. Her music is filled with a vision of common causes throughout Latin America.

Listening carefully to this album you can hear the echoes and roots of such diverse contemporary female artists as Lila Downs and Alejandra Guzman. Sosa projects the voice of the indigeneous population of America without borders. Her universal appeal has made her legendary to indigenous populations throughout Latin America.

This is a beautiful conceptual album, a classic piece of music that celebrates the common ethnic and spiritual characteristics of South America. The Argentine composers of the music Ariel Ramirez (who also plays piano and clavecin on the album) and Felix Luna studied extensively to create these authentic manifestations of ancient cultures. On "Oracion al Sol" ("Prayer to the Sun") Luna is studiing the remnants of Quichua literature and their religious beliefs to create his compositon. This coupled with the use of authentic instruments, such as the Quena (Indian flute), Cuatro (four stringed guitar), the Requinto (small guitar), Charango (small guitar made the hide of an armadillo), maracas and various percussion intruments, create a magnificent piece of timeless music.

Although the instruments used are beautiful it is Sosa 's voice that solidifies and projects the music deep into your soul. Her voice is full of emotion, gentle but firm, demanding your attention soaring from high and low notes with her feet firmly on the ground. She has a range that can rest on the deep end but the feeling you get from listening to her is the strength of women and in particular the indigeous woman. All eight tracks are beautiful and different. "Canta tu Cancion" is a bossa nova type number that swings in a manner unlike the other songs because the others are more "indigenous sounding" because of the instruments used. More typical fare represenative of the album is "Alcen La Bandera" where Sosa sings to a beat that carries a tune similar to "Guantamera". Mercedes Sosa's wonderful vibe is projected as the earth mother crying out for peace, justice and respect between men and women. She sings of the common roots of South Americans, the Spanish and Indigenous past and the bridge to the future. She is a visionary who uses her voice to reach out to the multitudes. Her utopian vision of Latin America is heartfelt as her soulful vocals testify. Recommended for those that like music that has a message of unity, peace and justice for all.


A1 Es Sudamerica Mi Voz
A2 Canta Tu Cancion
A3 Antiguos Duenos De Flechas
A4 Pampas Del Sur
B1 Acercate Cholito
B2 Oracion Al Sol
B3 Sudamericano En Nueva York
B4 Alcen La Bandera

Mercedes Sosa - Cantata Sudamericana (1972)
(256 kbps, cover art included)

Reinhard Mey - Starportrait (1977)

The German liedermacher Reinhard Mey rose to prominence in France and Germany as one of the most well-known and beloved singer/songwriters of his generation. He was born in Berlin on December 21, 1942, and learned how to play the piano and guitar at an early age. His first foray onto the stage came when he joined a skiffle group, Les Trois Affamés. His group was invited to play a liedermacher festival at Burg Waldeck in 1965, and the gig eventually led to Les Trois Affamés' first record deal. Mey released his first solo album in 1967, and he dropped out of university in order to pursue music. It was a career that would span well over four decades; Mey released over 20 albums in the 40 years following his debut, gaining audiences throughout Germany, France, and Holland.

Mey writes both sensitive and humorous songs, with subject matter taken mostly from his everyday life and surroundings. His themes include life on the road, his hobbies (e.g., flying), childhood memories, his family life and surroundings, and occasionally politics. Many of his songs are humorous and demonstrate Mey's extraordinary linguistic versatility. Mey's songs are characterized most by their expressiveness of language and their penetrating melodies.
Mey's politics tend to be moderate to left-leaning. He speaks out in particular for freedom and non-violence, and not only in his songs (for example, he participated in a demonstration at the beginning of 2003 against the coming war in Iraq). Strongly influenced by the French chanson, Mey's political songs were relatively scarce among his works at the beginning, but they have increased in quantity over time, such that there is usually at least one song on each new album that concerns itself with politics. His 2004 album, Nanga Parbat, for example, includes "Alles OK in Guantanamo Bay", a song critical of the U.S. detention facility on the island of Cuba.

The compilation "Starportrait" was released in 1977 as a double album, featuring recordings from 1968 to 1975.

 Tracklist, LP 1:
1.Ich wollte wie Orpheus singen2:19
2.Die drei Musketiere2:15
3.Rouge ou noir2:55
4.Das Lied von der Spieluhr3:35
5.Trilogie auf Frau Pohl5:19
6.Ich denk' es war ein gutes Jahr3:46
7.Irgendwann, irgendwo2:19
8.Aus meinem Tagebuch3:00
9.Du, meine Freundin2:52
10.Ich bin aus jenem Holze geschnitzt3:10
11.Der Mörder ist immer der Gärtner4:49
12.Komm, gieß' mein Glas noch einmal ein4:10

Tracklist, LP 2:
1.Annabelle, ach Annabelle4:03
2.Schade, daß Du gehen mußt4:22
3.Die heiße Schlacht am kalten Büffet3:16
4.Mann aus Alemannia5:30
5.Herbstgewitter über Dächern3:13
6.Gute Nacht, Freunde2:51
7.Über den Wolken3:45
8.Wie vor Jahr und Tag4:36
9.Ich bin Klempner von Beruf3:25
10.Es gibt keine Maikäfer mehr4:12
11.Wie ein Baum, den man fällt3:43
12.Es schneit in meinen Gedanken3:33

Reinhard Mey - Starportrait (1977)
(256 kbps, cover art included)

Sonntag, 28. Februar 2016

VA - Lieder des europäischen Widerstands gegen den Faschismus - Songs Of The European Resistance Against Fascism

The resistance against fascism in the 30s and 40s of the last century occurred in every european country by a variety of means, ranging from non-cooperation, disinformation and propaganda to hiding crashed pilots and even to outright warfare and the recapturing of towns. Resistance movements are sometimes also referred to as "the underground".

This cd is a reissue of the first album release of a german antifascist label called "pläne", issued in 1966. It collects 19 songs against fascism, originated between 1933 and 1963 in France, Greece, Spain, Russia, Italy, Yugoslawia, Poland, Austria, Belgium, Bulgaria, Hungary and Germany in the original languages.

01 Zum Sturme (Jugoslawien)
02 Lied von Breendonck (Belgien)
03 Ein dichter Nebel fiel (Bulgarien)
04 Mein Vater wird gesucht (Deutschland)
05 Spaniens Himmel (Deutschland)
06 Lied der Befreiung (Frankreich)
07 Lied der Partisanen (Frankreich)
08 Donner vom Olymp (Griechenland)
09 Wir tragen Italien im Herzen (Italien)
10 Mussolinis Ende (Italien)
11 Ihr Brüder in den Städten (Österreich)
12 Traurig rauschen die Weiden (Polen)
13 Lied vom Frieden (Portugal)
14 Schwarzer Hahn und roter Hahn (Spanien)
15 Friedenstaube (Spanien)
16 Die Slaven standen auf (Tschechoslowakei)
17 Die drei Flüsse (Ungarn)
18 Nebel, meine Nebel (UdSSR)
19 Lied von der Soija (UdSSR)

Songs Of The European Resistance Against Fascism
(256 kbps, cover art included)

VA - Folk Roots: The Sound of Americana

An interesting and varied set of folk recordings originally done for Diane Hamilton and Patrick Clancy's "Tradition Records" between 1955 and 1961, "Folk Roots: The Sound of Americana" may not exactly live up to its title but it does feature some striking recordings, most notably Odetta's powerful version of "Chilly Winds," Etta Baker's spry guitar instrumental take on "Goin' Down the Road Feeling Bad," Barbara Dane's stirring "Who's Gonna Shoe Your Pretty Little Foot," and Mrs. Edd Presnell's chiming dulcimer run-through of "Amazing Grace."
Also worth noting is John Jacob Niles' affected vocal (he sounds like Tiny Tim gone dramatically folky) on "The Death of Queen Jane," a recording that is almost perversely fascinating. Lord knows no Appalachian ballad singer ever sounded like that no matter how much moonshine he might have put away.

Folk Roots - The Sound Of Americana
(192 kbps, front cover included)

Mikis Theodorakis & Pablo Neruda - Canto General (Amiga, vinyl rip)

"Canto General" is a oratorio for two solo parts, mixed choir and orchestra by Mikis Theodorakis with poems by Pablo Neruda

This album was recorded 1980 in Berlin in the Palace of the Republic (Palast der Republik), performed at the "10. Festival des politischen Liedes".

A delight for the ear and a pleasure for the soul ... It is difficult to translate the feelings when listening to this music. Theodorakis and Neruda achived with their composition "Canto General" a master piece.

1. Amor America
2. Algunas Bestias
3. Voy A Vivir
4. Los Libertadores
5. Vienen Los Pajaros
6. La United Fruit Co.
7. Vegetaciones
8. America Insurrecta

Mikis Theodorakis & Pablo Neruda - Canto General (Amiga)
(320 kbps, cover art included)

Angèle Durand - Lieder der Claire Waldoff (1980)

The husky-voiced Belgian pop singer and actress Angèle Durand sings on this album some of Claire Waldoff´s "greatest hits".  Durand's tribute to Claire Waldoff, the famous lesbian cabaret performer of Berlin, was recorded in 1980.

Angèle Durand , civil Angèle Caroline Liliane Josette Marie-José DeGeest (* 23 October 1925 in Antwerp , Belgium , † 22 December 2001 in Augsburg ) was a Belgian singer and actress. She was married from 1958 to 1961 with producer Nile Nobah. Later she had a long-time relationship with the entertainer Lou van Burg.

Claire Waldoff was a star on the stage of the great cabarets and variety shows between 1907 and 1935, not only in Berlin. Their songs were sung in the streets or whistled by garbage carters and millionaires. "Hermann heeßt er", "Wer schmeißt denn da mit Lehm?" or "Das war sein Miljöh" knew every child.

Angèle Durand - Lieder der Claire Waldoff (1980)
(192 kbps, front cover included)

Samstag, 27. Februar 2016

VA - Italie / Bella Ciao - Il Nuovo Canzoniere Italiano

Popular songs, work songs, love songs: here is a tour of Italy through the music of her streets. One often recognises a people in its most popular songs, and here smiles and sighs are united in tunes of an extraordinary melancholy power. Generous and unique, this performance by Giovanna Marini and her companions has become one of the indispensable recordings of our time.

Work Songs
1. La lizza delle Apuane (Toscana)
2. Bella ciao
2.1. Original version (Pianura Padana)
2.2. Partisans version
3. Cade l'uliva (Abruzzo)
4. Gli scariolanti (Emilia)
5. Tutti mi dicon Maremma Maremma (Toscana)
6. Sciur padrun da li beli braghi bianchi (Pianura Padana)

Sunday Songs
7. Stornelli mugellani (Toscana)
8. Stornelli Ciociari (Lazio)
9. Sant Antonio nel deserto (Abruzzo)
10. Lu cacciaturi Gaetano (Abruzzo)
11. Bel uselin del bosch (Abruzzo)
12. Pellegrin che vien da Roma (Pianura Padura)
13. Il tragico naufragio della nave Sirio (Italia Settentrionale)
14. Canto della Pasquetta (Abruzzo)
15. Mia mamma voeul chi fila (Piemonte)
16. El piscinin (Lombardia)

Love Songs
17. Amore mio non piangere (Emilia)
18. Jolicoeur (Piemonte)
19. In su monte Gonare (Sardegna)

Prisoner Songs
20. Porta romana bella (Milano)
21. A 'ttochi, a 'ttochi (Roma)
Songs against War
22. Partire partiro partir bisogna (Toscana)
23. O Gorizia tu sei maledetta (Italia Settentrionale)

Political Songs
24. Addio a Lugano (Italia Settentrionale)
25. Son cieco (Regione Padana)
26. La lega (Regione Padana)

27. Cade l'uliva (Abruzzo)
28. Bella ciao
28.1. Partisans version
28.2. Original version (Pianura Padana)
29. La lizza delle Apuane (Toscana)

Sandra Mantovani, Giovanna Daffini,
Giovanna Marini, Maria Teresa Bulciolu,
Caterina Bueno, Silvia Malagugini,
Cati Mattea, Michele L. Straniero

"Gruppo Padano di Piadena" Choir

Gaspare de Lama, guitar
VA - Italie / Bella Ciao - Il Nuovo Canzoniere Italiano
(320 kbps, cover art included)

Pink Anderson - Carolina Blues Man (1961)

A good-natured finger-picking guitarist, Anderson played for about 30 years as part of a medicine show. He did make a couple of sides for Columbia in the late '20s with Simmie Dooley, but otherwise didn't record until a 1950 session, the results of which were issued on a Riverside LP that also included tracks by Gary Davis. Anderson went on to make some albums on his own after the blues revival commenced in the early '60s, establishing him as a minor but worthy exponent of the Pidemont school, versed in blues, ragtime, and folk songs. Anderson also became an unusual footnote in rock history when Syd Barrett, a young man in Cambridge, England, combined Pink's first name with the first name of another obscure bluesman (Floyd Council) to name his rock group, Pink Floyd, in the mid-'60s.

A vast majority of the known professional recordings of Piedmont blues legend Pink Anderson were documented during 1961, the notable exception being the platter he split with Rev. Gary Davis - "Gospel, Blues and Street Songs" - which was documented in the spring of 1950. This is the first of three volumes that were cut for the Prestige Records subsidiary Bluesville. "Carolina Blues Man" finds Anderson performing solo - with his own acoustic guitar accompaniment - during a session cut on his home turf of Spartanburg, SC. Much -- if not all - of the material Anderson plays has been filtered through and tempered by the unspoken blues edict of taking a familiar (read: traditional) standard and individualizing it enough to make it uniquely one's own creation. Anderson's approach is wholly inventive, as is the attention to detail in his vocal inflections, lyrical alterations, and, perhaps more importantly, Anderson's highly sophisticated implementation of tricky fretwork. His trademark style incorporates a combination of picking and strumming chords interchangeably. This nets Anderson an advanced, seemingly electronically enhanced sound. "Baby I'm Going Away" - with its walkin' blues rhythms - contains several notable examples of this technique, as does the introduction to "Every Day of the Week." The track also includes some of the most novel chord changes and progressions to be incorporated into the generally simple style of the street singer/minstrel tradition from which Pink Anderson participated in during the first half of the 20th Century.

Listeners can practically hear Anderson crack a smile as he weaves an arid humor with overtly sexual connotations into his storytelling - especially evident on "Try Some of That" and "Mama Where Did You Stay Last Night." Aficionados and most all students of the blues will inevitably consider this release an invaluable primer into the oft-overlooked southern East Coast Piedmont blues.

(320 kbps, cover art included)

Donnerstag, 25. Februar 2016

John Cale - Mercenaries (Ready For War) / Rosegarden Funeral Of Sores (Single, 1980)

Originally posted in March 2014:
On all channels threatening news about Russia´s military intervention in Crimea... Hope there is a chance to de-escalete the situation. Maybe John Cale´s "Mercenaries (Ready For War)" is the fitting single for this dangerous situation. 

Back in January 1980, with a nightmare awakening in Afghanistan, Thatcher getting comfortable at Downing Street, Reagan waiting to be inaugurated, and decades of mercenary-assisted bloodshed in Africa, John Cale released a topical single that he'd been playing live for a year or so. A rocking little ditty with prescient and sinister artwork, "Mercenaries (Ready for War)" was a studio recording of the lead-off track of the previous month's live LP of new material, Sabotage/Live.
The sleeve lists "Mercenaries" as being the same live version from the Sabotage album but it is actually a studio version exclusive to this single. It has not been re released since the master tapes have been lost!       

"Mercenaries are usless, disunited, unfaithful
They have nothing more to keep them in a battle
Other than a meager wage
Which is just about enough to make them wanna kill for you
But never enough to make them wanna die for ya

I’m just another soldier boy
I’m just another soldier boy
Looking for work
Looking for work
Looking for work

My rifle is my friend
My rifle is my friend
I clean my rifle everyday
I clean my rifle everyday

That’s why my rifle is my friend

Ready for war, ready for war
Ready for war, ready for war
Ready for war, ready for war
Ready for war, ready for war

Did some work in Zaire, the jolly old Belgian Congo
Went back to Geneva to get paid
Back there in Geneva, that’s were the money grows
That’s were the money grows, that’s were the money flows

They didn’t wanna pay me
They didn’t wanna pay me, but they did
Try to separate me from my money
is try to separate me from my life

Ready for war, ready for war
Ready for war, ready for war
Ready for war, ready for war
Ready for war, ready for war

Let’s go to Moscow, let’s go to Moscow
Let’s go, let’s go, let’s go to Moscow
Fight a backdoor to the Kremlin
Push it down and walk on in

5000 feet and closing
Target visibility one nine
4000 feet and closing
Target visibility two six
3000 feet and closing
Target visibility seven nine
2000 feet and closing
Visibility one ten
1000 feet and closing
Visibility seven four
500 feet and closing
Target visibility zero!

Ready for war, ready for war
You better be ready for war
Ready for war, ready for war
Are you ready for war
Ready for war, ready for war"

John Cale - Mercenaries / Rosegarden Funeral Of Sores (Single)
(320 kbps, cover art included)

Mittwoch, 24. Februar 2016

Jack Elliott - Hootenanny With Jack Elliott (1964)

This friday will be the opening of this years "Festival Musik und Politik". The festival remembers the history of "hootenanny" in East Berlin and goes back to the year 1966. This is a good opportunity to post an album related to the history of "hootenanny" in the USA.

Ramblin' Jack Elliott is one of folk music's most enduring characters. Since he first came on the scene in the late '50s, Elliott influenced everyone from Bob Dylan and Pete Seeger to the Rolling Stones and the Grateful Dead. The son of a New York doctor and a onetime traveling companion of Woody Guthrie, Elliott used his self-made cowboy image to bring his love of folk music to one generation after another. Despite the countless miles that Elliott traveled, his nickname is derived from his unique verbiage: an innocent question often led to a mosaic of stories before he got to the answer. According to folk songstress Odetta, it was her mother who gave Elliott the name when she remarked, "Oh, that Jack Elliott, he sure can ramble."                

This album was recorded at a Philadelphia club on May 18, 1962. It has a good cross-section of the cowboy- and country-oriented folk Elliott liked to sing: Jimmie Rodgers' "Mule Skinner Blues," the Sons of the Pioneers' "Cool Water," "Boll Weevil," "How Long Blues," "Hobo's Lullaby," "Rock Island Line"; and, of course, a couple of "talking" Woody Guthrie tunes. It's perhaps a little more fun to hear than the average early 1960s Jack Elliott album, because the live ambience and spoken introductions and asides give it a warmer atmosphere than the earnest but plain studio recordings.              

The album "Hootenanny With Jack Elliott" was originally released  as "Jack Elliott At The Second Fret" in 1962

A1Mule Skinner Blues
A2Cool Water
A3Talking Miner
A4Boll Weevil
A5How Long Blues
B1Salty Dog
B2Tyin' Knots In The Devil's Tail
B3Hobo's Lullaby
B4Talking Sailor
B5Rock Island Line

Jack Elliott - Hootenanny With Jack Elliott (1964)
(192 kbps, cover art included)

Dienstag, 23. Februar 2016

The Vietnam Veterans - The Days Of Pearly Spencer (1988)

Thanks to a friend bringing back "The Vietnam Veterans" to my attention (by the way, greetings to all pudels out there!), here´s another band that was really on heavy rotation on my record player through the 80s and 90s.

"The Vietnam Veterans" were a six-person french band, playing a very unique and fantastic psychedelic music style.

"Souls must have been sold for a performance like this", the "Bucketfull Of Brains" magazine once wrote about the Veterans great live album called "Green Peas".

The Vietnam Veterans - The Days Of Pearly Spencer
192 kbps

VA - Reggae Archive Vol. 2 (On-U Sound)

Unique, maverick and massively respected, On-U Sound is undoubtedly one of the UK’s most important independent labels.

Contributing a strikingly diverse soundtrack to chaotic post-punk, post-colonial Britain, On-U has become a by-word for experimentalism, spewing forth incredible, far-fetched, sometimes completely baffling tunes, never straying far from the cutting edge.

Primarily associated with the sound of ‘dub’, the label’s heritage is far broader, with many of its artists having backgrounds in punk & post-punk, industrial, hip-hop and funk where the cross-pollination of punk experimentation and Jamaican dub has mapped out the innovative, culturally exciting territory the label has covered over the years.

Since 1981, with label boss and producer Adrian Sherwood at the helm, On-U Sound has released over 100 albums and singles and has launched the careers and/or inspired an endless list of artists.
The label’s influence upon a younger generation of musicians, not to mention the ambient/techno style in general, has proved enormous, helping to fuse dub with both the independent rock and post-punk scenes

1. Deadly Headley - 35 Years From Alpha
2. Deadly Headley - Head Charge
3. Bim Sherman/Deadly Headley - Without A Love Like Yours
4. Bim Sherman/Deadly Headley - Little Dove
5. Deadly Headley - Two From Alpha
6. Deadly Headley - Headley's Meadly
7. Deadly Headley/Singers & Players - Revolution Part 5
8. New Age Steppers - Some Love Dub
9. New Age Steppers - 5 Dog Race / Tribute
10. Lol Coxhill/New Age Steppers - 5 Dog Race Part 3
11. Bim Sherman - Accross The Red Sea
12. Bim Sherman - Awake The Slum
13. Bim Sherman - You Are The One
14. Bim Sherman - Golden Morning Star
15. Bim Sherman - Sit And Wonder

VA - Reggae Archive Vol. 2 (On-U Sound)
(192 kbps, cover art included)

Quilapayun - Por Vietnam (1968)

Originally posted in February, 2013:

Tomorrow I will have the chance to see Quilapayun in a concert honouring Victor Jara. This is a good occasion for posting some of their wonderful music.

The Chilean group formed in 1965 writing lyrics inspired by social issues related to its country and combining them with autochthonous musical arrangements. In 1966, the band came in first place at the Festival de Festivales, releasing its first album that same year. Folk singer and songwriter Victor Jara helped the band by promoting Quilapayun's music and making the record "Canciones Folkloricas de America" together. As Chilean New Song's ambassador, Quilapayun went on its first European tour in 1968. Due to Chilean political and social changes in the early '70s, the group settled in foreign countries for more than a decade.
"X Vietnam" or "Por Vietnam" was Quilapayún's third official album, first published in 1968 in the context of opposition to the Vietnam War.

Quilapayun - Por Vietnam (1968)
(192 kbps, cover art included)

Gil Scott-Heron - Free Will (1972)

Gil Scott-Heron's third album is split down the middle, the first side being a purely musical experience with a full band (including flutist Hubert Laws and drummer Pretty Purdie), the second functioning more as a live rap session with collaborator Brian Jackson on flute and a few friends on percussion.

For side one, although he's overly tentative on the ballad "The Middle of Your Day," Scott-Heron excels on the title track and the third song, "The Get Out of the Ghetto Blues," one of his best, best-known performances. The second side is more of an impromptu performance, with Scott-Heron often explaining his tracks by way of introduction ("No Knock" referred to a new police policy whereby knocking was no longer required before entering a house, "And Then He Wrote Meditations" being Scott-Heron's tribute to John Coltrane).

His first exploration of pure music-making, "Free Will" functions as one of Scott-Heron's most visceral performance, displaying a maturing artist who still draws on the raw feeling of his youth.

Gil Scott-Heron - Free Will (1972)
(192 kbps, front cover inlcuded)