Donnerstag, 30. Juni 2016

Orquestra Os Jovens Do Prenda - Berlin Festa! (Angola)

The music of Angola has been shaped both by wider musical trends and by the political history of the country. In the 20th century, Angola has been wracked by violence and political instability. Its musicians have been oppressed by government forces, both during the period of Portuguese colonization and after independence. Angolan music also influenced another Lusophone music in Brazil and Cuban music.

The capital and largest city of Angola is Luanda, home to a diverse group of styles including Angolan merengue (based on Dominican merengue), kilapanda and semba, the last being a genre with roots intertwined with that of Brazilian samba music. Just off the coast of Luanda is Ilha do Cabo, home to an accordion and harmonica-based style of music called rebita.

Compared to many of its neighbors in Southern Africa, as well as other Portuguese colonies (especially Cape Verde), Angola's music has had little international success. The first group to become known outside of Angola was Orquestra os Jovens do Prenda, who were most popular from the late 1960s to the early 1970s, and have continued sporadically performing and recording since. The big band included two trumpets, a saxophone, four guitars and a half-dozen percussion instruments. They played kizomba (a native style based around the marimba xylophone), using the four guitars to approximate the sound of the marimba, and quilapanga.

Sometimes known as the Prenda Boys Band, after the poor neighborhood of Luanada, capital of Angola, from which they emerged, Orquestra os Jovens do Prenda are a big band with a big sound. First formed in the mid-'60s, they enjoyed great success in the early '70s, split in 1975, and regrouped in 1981 around two of the original band members. The numerous Prenda Boys feature four guitars, two trumpets, a saxophone, six percussionists and drummers, and the whole band at times whistling. The Orquestra's music is related to the Brazilian Samba, but richer and more complex. At first a politically oriented band, since reforming the Orquestra has tended to more mainstream lyrics.

Orquestra Os Jovens Do Prenda - Berlin Festa! (192 kbps)

VA - Tighten Up, Vol. 1 & 2 (Trojan Records)

It was the phenomenal success of the Inspirations' "Tighten Up" single, that launched Trojan's legendary reggae series. Quickly cashing in with the astutely titled "Tighten Up" compilation, the rest is history.

That's the accepted version of the story, the actual one is more mundane, and much more calculating. Trojan had so far failed to interest the British public with its albums, and three excellent single-artist compilations released in 1968 excited little attention. In desperation, a market research study was conducted; the results were a wake-up call, for what reggae fans really wanted was a cheap sound system experience in their front rooms. Trojan responded in 1969 with a budget-priced album featuring an eclectic mix of recent tracks, kicking off with "Tighten Up" itself. The reaction was phenomenal, so much so that a follow-up set was released before the year was out.

"Tighten Up, Vol. 1-2" brings these two seminal sets together on a single CD. The first volume was surprisingly the weakest, and weighed down with reggae-fied pop covers. David Isaacs' "Place in the Sun" is the best of the batch, the two instrumentals the most fun, and the Uniques' "Watch This Squad" the oddest. Of the original numbers, "Tighten Up" itself (now inexplicably credited to producer Lee Perry) is the obvious draw, but equally crucial are Derrick Morgan's soulful, skinhead fave "Fat Man," and Brother Dan All--Stars' sweet "Donkey Returns."

In contrast to this shaky start, the second volume was stuffed with smash hits and acknowledged classics. The trio of instrumentals are absolutely lethal, with the biggest, the Upsetters' "Return of Django" having moonstomped its way into the U.K. Top Five. It's obvious this set held pride of place in many future 2-Toners record collections, with the Pioneers' "Longshot Kick de Bucket," Clancy Eccles' "Fattie Fattie," and the Upsetters' exuberant "Live Injection" all providing inspiration. From calculating Casanovas to the outright rude, from sufferers to celebrators of the new sound, in Britain "Them a Laugh and a Ki Ki" when presented with reggae in all its wonder. Great music never goes out of fashion, which is why this series' popularity has never faded.            

VA - Tighten Up Vol. 1 & 2 (Trojan)
(192 kbps, front cover included)

Kurt Weill - From Berlin To Broadway

British archival label Pearl's "Kurt Weill - From Berlin to Broadway: A Selection" is a single-disc condensation of a pair of two-CD sets, "Kurt Weill - From Berlin to Broadway" (GEMM 9189) and "Kurt Weill - From Berlin to Broadway, Vol. 2" (GEMM 9294).

It presents recordings from seven of Weill's stage musicals made around the times the shows were produced and sung in most cases by the performers who introduced them onstage. There are also private recordings by Weill himself, by his German collaborator Bertolt Brecht, and by his wife Lotte Lenya.

The collection begins with two songs, "Moritat von Mackie Messer" (Mack the Knife) and "Kannonensong" (Cannon Song) sung by Harald Paulsen, who first played the part of Mack the Knife in "Die Dreigroschenoper" ("The Threepenny Opera") in 1928, and recorded the same year. Lenya and Brecht are also heard performing songs from the show. Lenya handles most of the songs from the other two German musicals included, "Happy End" and "Aufstieg und Fall des Stadt Mahagonny" ("Rise and Fall of the City of Mahagonny"), two of them in scratchy private recordings.

After the initial nine tracks, the rest consists of Broadway material. Though the recording of full-length original cast albums did not become common until after the success of the "Oklahoma!" album in 1943, it was not uncommon before that for labels to make records of individual songs from Broadway shows using those shows' principals, and that is largely what one hears here, including a single of "September Song" that Walter Huston recorded for Brunswick in 1938 and selections from "Lady in the Dark" recorded by Gertrude Lawrence for RCA Victor and Danny Kaye for Columbia.

Decca recorded a five-record 78 rpm cast album of "One Touch of Venus" in November 1943, and five of the songs are here, sung by Mary Martin and Kenny Baker. "Lost in the Stars", Weill's final show, actually began life years earlier as "Ulysses Africanus", and Walter Huston recorded a version of the song "Lost in the Stars" for Decca in 1944, five years before the musical opened. In a private recording, Lenya sings "Lover Man," an early version of "Trouble Man" from the show.

The CD closes with four performances by Weill himself of songs for "One Touch of Venus", one of which is an early version of "Way Out West in Jersey," here called "Jersey Plonk."

One can hear the change in Weill's approach from the innovative sound of "Die Dreigroschenoper" and the other German shows to the more conventional style of the Broadway material. But Weill's individual style is always apparent, no more so than in his own performances and those of his wife when his music is stripped to just a piano and voice. These vintage recordings are crucial to an appreciation of Weill, even if they are not always in the best fidelity, and since they range from available commercial recordings to acetates in private hands, the compilation has unparalleled breadth.


The Salsoul Orchestra - Anthology

The music world's prime disco big band during the late '70s, the Salsoul Orchestra recorded several of the tightest, chunkiest disco themes of the 1970s, both on its own productions and as the backing group for several prime vocalists.

Organized by Vincent Montana, Jr. in 1974, the band was an experiment in fusing funk, Philly soul, and Latin music together in a highly danceable discofied style with plenty of room for solos by individual members. With arrangers, conductors, and whole sections of instruments (including up to 18 violinists) contributing to the sound, the Salsoul Orchestra routinely included up to 50 members. Though the Salsoul sound became passé in the wake of disco music's explosion and rapid commercialization during the late '70s, Salsoul was a heavy influence on house music in the 1980s and even the return of disco-inspired electronica during the following decade.

The beginnings of the Salsoul Orchestra (and Salsoul Records) lie with nominal head Vincent Montana, Jr. A longtime jazz vibraphonist, bandleader, and session man with Philly soul groups like Harold Melvin & the Bluenotes, the O'Jays, and the Spinners, Montana dreamed of constructing a large studio orchestra which could fuse polished soul and brassy funk with Latin percussion and live strings. In 1974, he was introduced to local entrepreneurs Joe, Ken, and Stan Cayre (who ran a local Latin music label) by Afro-Cuban pianist Joe Bataan. With their blessing (and financing), Montana spent months recruiting dozens of musicians from the streets and studios of New York — including more than a half-dozen percussionists alone. The collective recorded three tracks, which impressed Bataan and the Cayres so much that they decided to form a new label — named Salsoul for its connotations of salsa and soul — to release a full-length LP.

One of the original Salsoul Orchestra recordings, "The Salsoul Hustle," was released in mid-1975 and it placed well on the charts. Salsoul's second single, "Tangerine" (an unlikely cover of a Jimmy Dorsey tune), hit the Top 20 in early 1976 and pushed the eponymous Salsoul Orchestra LP to number 14 on the album charts. Follow-up singles like "You're Just the Right Size" and "Nice and Nasty" did moderately well on the charts but soon a glut of similar-sounding material began to flood the market, cheap imitations of the amazing instrumentation of Salsoul Orchestra members — guitarist and producer Norman Harris, bassist Ronald Baker, drummer Earl Young, arranger Don Renaldo, percussionist Larry Washington, and vocalists Jocelyn Brown, Phyllis Rhodes, Ronni Tyson, Philip Hurt, and Carl Helm. Many Salsoul contributors played on the biggest and best disco tracks of the era, including Trammps, Grace Jones, the Whispers, Loleatta Holloway, and First Choice.

Though Salsoul records had long been out of print, several were brought back in the mid-'90s, as well as a prescient two-disc retrospective titled "Anthology", a retrospective of The Salsoul Orchestra´s greatest hits and best-known material from "Nice 'n' Nasty," "Don't Beat Around the Bush," "Salsoul Hustle," "Get Happy" and "Tangerine" to "Ooh I Love It (Love Break)."

Salsoul Orchestra - Anthology pt 1
Salsoul Orchestra - Anthology pt 2

Kurt Weill & Bertolt Brecht - Die Dreigroschenoper (Frankfurter Oper, Wolfgang Rennert)

"The Threepenny Opera"  is everything but an opera, the music produces distance and not identification, feelings are represented but not experienced, and the staginess of the story prevents direct identification.

This recording of the "Treepenny Opera" by Brecht and Weill was made in the Studio of the Municipal Theatre, Frankfurt am Main, after a performance in the same theatre in 1966. The chorus and the orchestra of the Frankfurter Oper were conducted by Wolfgang Rennert, Harry Buckwitz was the producer.

Franz Kutschera, Karin Hübner and Hans Korte played the Beggar King Peachum, his daughter Polly and the thief MacHeath (Mackie Messer).

Die Dreigroschenoper (Frankfurter Oper, Wolfgang Rennert)
(192 kbps, front cover included)

Billie Holiday - No Greater Love

The first popular jazz singer to move audiences with the intense, personal feeling of classic blues, Billie Holiday changed the art of American pop vocals forever. More than a half-century after her death, it's difficult to believe that prior to her emergence, jazz and pop singers were tied to the Tin Pan Alley tradition and rarely personalized their songs; only blues singers like Bessie Smith and Ma Rainey actually gave the impression they had lived through what they were singing. Billie Holiday's highly stylized reading of this blues tradition revolutionized traditional pop, ripping the decades-long tradition of song plugging in two by refusing to compromise her artistry for either the song or the band. She made clear her debts to Bessie Smith and Louis Armstrong (in her autobiography she admitted, "I always wanted Bessie's big sound and Pops' feeling"), but in truth her style was virtually her own, quite a shock in an age of interchangeable crooners and band singers.

With her spirit shining through on every recording, Holiday's technical expertise also excelled in comparison to the great majority of her contemporaries. Often bored by the tired old Tin Pan Alley songs she was forced to record early in her career, Holiday fooled around with the beat and the melody, phrasing behind the beat and often rejuvenating the standard melody with harmonies borrowed from her favorite horn players, Armstrong and Lester Young. (She often said she tried to sing like a horn.) Her notorious private life - a series of abusive relationships, substance addictions, and periods of depression - undoubtedly assisted her legendary status, but Holiday's best performances ("Lover Man," "Don't Explain," "Strange Fruit," her own composition "God Bless the Child") remain among the most sensitive and accomplished vocal performances ever recorded. More than technical ability, more than purity of voice, what made Billie Holiday one of the best vocalists of the century - easily the equal of Ella Fitzgerald or Frank Sinatra - was her relentlessly individualist temperament, a quality that colored every one of her endlessly nuanced performances.

Billie Holiday - No Greater Love
(192 kbps, small front cover included)

Dienstag, 28. Juni 2016

Barbara Dane - I Hate The Capitalist System

"Barbara Dane - I Hate The Capitalist System
I hate the capitalist system
and I´ll tell you the reason why
it has caused me so much suffering
and my dearest friends to die
well I know you all are wondering
what it has done to me
well I am going to tell you
that my husband has tb
brought on by hardworking lowwages
and never enough to eat
from going cold and hungry
with no shoes upon his feet
my husband was a coalminer who worked hard and risked his life
just tryin to support three children
himself, his mother and wife

well I had a blueyedbaby
was a darling of my heart
but from my little darling the mother had to part
why the rich and mighty capitalists
goes to rest in jewels and silk
my darling blueeyed baby has died for the wondermill

well they call this the land of plenty
and for them I guess its true
for the rich and mighty capitalists
not for workers like me and you
well now what can we do about it
to these men of power and might
well I'll tell you mister capitalist
we are going to fight, fight, fight!"

"I Hate The Capitalist System" is an excellent collection of political songs about the plight of the working man and woman originally issued on Barbara's own Paredon label in 1973.
The songs range from the 30s to the 70s and songs from the repertoire of older singers like Sarah Ogan Gunning (the powerful title song) and Woody Guthrie (Plane Wreck At Los Gatos / Deportees / Ludlow Massacre) along with writers from the 60s and 70s like Malvina Reynolds, Jack Warshaw (the fierce Kent State Massacre) and Jane Felczer. There are also a couple of traditional songs, Barbara's rewrite of the 1954 blues by J.B. Hutto Things Are So Slow and her reworking of a song from Vietnamese singer Xuan Hong.
The arrangements are as varied as the selection ranging from an acapella vocal to a small band. Although originally issued nearly 40 years ago much of what is sung about here is just as true today as it was then. 


101 I Hate the Capitalist System  3:16
102 Lonesome Jailhouse Blues  4:12
103 Detroit Medley  2:38
104 Deportees (Plane Wreck at Los Gatos)  5:47
105 Goodbye to Cold Winter 0:52
106 A Single Girl  2:31
107 Ludlow Massacre 3:58
108 I Don't Want Your Millions, Mister  3:33
201 Things are Slow 4:17
202 Song of My Hands 5:47
203 Bitter Rain 3:37
204 Song of the Coats 2:52
205 The Kent State Massacre 3:43
206 Working Class Woman 6:26

Barbara Dane - I Hate The Capitalist System
(256 kbps, cover art included)

Friedrich Hollaender & Blandine Ebinger - Vaführe mir liebers nicht (Lieder, Chansons)

Friedrich Holländer was the son of the operetta composer Victor Holländer. He studied in Berlin with Engelbert Humperdinck and he worked there for the cabaret "Schall und Rauch".

There he met the actress Blandine Ebinger. They married and had a daughter, Philine. Blandine performed his songs and he was also one of the founders of the first jazz band in Berlin, the "Weintraub Syncopators".

From 1929 onwards he worked mainly as a composer of film music and his score for "Der Blaue Engel" (with Marlene Dietrich) brought him fame. When the nazi's seized power in 1933 he left for Paris with his second wife Hedi Schoop and in 1934 they moved on to Hollywood, where he worked as a director and a composer. He was married a third and a fourth time, and by his third wife Leza he had another daughter in 1944, Melodie. In 1955 he returned to Germany and settled in Munich. There he wrote for cabarets once more, but without the succes of his earlier years.

Blandine Ebinger was a german actress and singer (1899 - 1993). She was the daughter of the actress Margarete Wezel and pianist Gustav Loerser. Blandine was adopted by the physician Dr. Ernst Ebinger. With eight years she was already on the stage in Leipzig. From 1913 onwards she worked at the theatres in Berlin.

She made her film debut in 1916 and in 1919 she was in F.W. Murnau's movie "Der Knabe in Blau".

During the twenties she was famous for singing chansons, many of them written by her husband Friedrich Hollaender. Blandine performed in several anti-Nazi cabarets in Germany and moved in 1937 to the USA. She had a hard time there and was given only minor parts. In 1946 she returned to Europe. After performing in Zürich she went back to Berlin, where she did theatre, movies and television.

Tracks CD 1:
1.: Spötterdämmerung - Friedrich Hollaender
2.: Die Hysterische Ziege - Blandine Ebinger
3.: Die Trommlerin - Blandine Ebinger
4.: Friedrich Luft Über Blandine Ebinger
5.: Das Wunderkind - Blandine Ebinger
6.: In Den Abendwind Geflüstert - Blandine Ebinger
7.: Das Groschenlied - Blandine Ebinger
8.: Oh Mond - Blandine Ebinger
9.: Blandine Ebinger zu Den Liedern Eines Armen Mädchens
10.: Currende - Blandine Ebinger
11.: Die Hungerkünstlerin - Blandine Ebinger
12.: Wiegenlied an Eine Mutter - Blandine Ebinger
13.: Drei Wünsche - Blandine Ebinger
14.: Das Mädchen mit Den Schwefelhölzern - Blandine Ebinger
15.: Wenn Ick Mal Tot Bin - Blandine Ebinger
16.: Nachtgebet - Blandine Ebinger
17.: Friedrich Luft, Nachruf auf Friedrich Hollaender (1)
18.: Die Notbremse - Friedrich Hollaender
19.: Die Roten Schuhe - Blandine Ebinger
20.: Und Ick Baumle mit De Beene - Blandine Ebinger
21.: Das Berg - und - Talbahn - Gefühl - Friedrich Hollaender
22.: Kindertragödie - Blandine Ebinger
23.: Die Kleine Stadt - Blandine Ebinger
24.: Auf Wiedersehn - Blandine Ebinger

Tracks CD 2:
25.: Wenn Wir Stadtbahn Fahren - Blandine Ebinger
26.: Chinesisches Märchen - Blandine Ebinger
27.: Blandine Ebinger zur Entstehung des "Jonny"
28.: Jonny - Blandine Ebinger
29.: Ilse - Blandine Ebinger
30.: Stroganoff - Friedrich Hollaender
31.: Die Kartenhexe - Blandine Ebinger
32.: Der Pflaumenbaum - Blandine Ebinger
33.: Starker Tobak - Blandine Ebinger
34.: Waidmannsheil - Blandine Ebinger
35.: Ein Volkslied - Blandine Ebinger
36.: Friedrich Luft, Nachruf auf Friedrich Hollaender (2)
37.: Moderne Zeiten - Friedrich Hollaender
38.: Der Elektrische Otto - Blandine Ebinger
39.: Du Sowohl Wie Ich - Blandine Ebinger
40.: Kitsch - Blandine Ebinger
41.: Zieh Dich Aus, Petronella - Blandine Ebinger
42.: Friedrich Luft, Nachruf auf Friedrich Hollaender (3)
43.: Die Blaue Blume - Friedrich Hollaender
44.: Die Schnapstrine - Blandine Ebinger
45.: Blandine Ebinger Zum Rätsellied
46.: Rätsellied - Blandine Ebinger
47.: Die Trommlerin - Blandine Ebinger

Montag, 27. Juni 2016

Agnes Bernelle - Father´s Lying Dead On The Ironing Board

Agnes Bernelle was born as Agnes Bernauer, 1923, in Berlin, Germany; she died on 16 February 1999, Eire. Bernelle’s Hungarian-born father, Rudolph Bernauer, was a theatre owner who also wrote lyrics, and Marlene Dietrich was a family friend. She made her film debut at the age of seven, playing a boy. Her father was Jewish and in 1936, with the rise of the Nazis, the family moved to London to escape persecution.

Bernelle’s father wrote and directed some films while in London. She worked with the Free German League of Culture and also took part in propaganda broadcasts to Germany, as ‘Vicky the Sailor’s Sweetheart’. In 1945 she married Desmond Leslie, an Irish fighter pilot in the Royal Air Force who was a cousin of Winston Churchill. In the post-war years and on through the 50s the Leslies moved in a social circle that included Claus von Bulow and Farouk, the former king of Egypt, and ranged through London and the Riviera. She was in a BBC radio series, which starred and was directed by Orson Welles. Bernelle made British theatrical history when in 1956 she became the first nude to officially move. (The Lord Chancellor’s office stipulated that nudity was permissible only if unclothed ladies remained demurely stationary.)

In 1963, Bernelle took a one-woman show into Peter Cook’s Establishment Club, later performing the show in the West End. In this show she sang songs by Kurt Weill and Bertolt Brecht, this material remaining a staple of her repertoire throughout her subsequent career and which she would also record on "Bernelle And Brecht And …", an extremely rare LP. Also in 1963, she and her husband moved to Eire.
Following her 1969 divorce and subsequent remarriage, Bernelle worked mainly in Dublin where she became a popular performer in radio, theatre, film, television and cabaret. A television documentary, "I Was That Little Girl", traced her return to Berlin where she researched her roots and performed her cabaret act. Elvis Costello produced her mid-80s album "Father’s Lying Dead On The Ironing Board". The follow-up "Mother, The Wardrobe Is Full Of Infantrymen" featured lyrics by Tom Waits and poets Adrian Mitchell, Roger McGough and Christopher Logue. Bernelle published her memoirs in 1996. Her final screen performance was as a bedridden woman in the 1998 short Still Life.               

The album "Father´s Lying Dead on The Ironing Board" is a collection of songs which started life in the satirical and political cabaret of between-the-wars Germany and had new life breathed into them during London´s  satire movement in the 1960s.
The album features lyrics by Agnes Bernelle adapted and translated from the texts of Joachim Ringelnatz, Klabund, Frank Wedekind, Jacques Prevert. The music was written by Michael Dress, except "Ballad Of The Poor Child", a traditional adapted by Agnes Bernelle.

2Bertha De Sade2:05
3Hafen Kneipe3:36
5The Girl With Brown Mole1:58
6The Horse3:34
7Night Elegy5:24
8The Homecoming1:57
9Ballad Of The Poor Child4:21
10The Hurdy Gurdy3:46
11The Nightingale1:54

Agnes Bernelle - Father´s Lying Dead On The Ironing Board
(256 kbps, cover art included)

More infos via

VA - Chanson in der DDR - "Kein Tag ist sicher vor der Nacht"

This album shows the broad spectrum of chansons produced in the GDR. It features artists like Barbara Thalheim, Lissy Tempelhof, Manfred Krug, Gerry Wolff, Reinhold Andert, Vera Oelschlegel, Sonja Kehler, Stephan Krawczyk, Gerhard Schöne and Gisela May.

Those authors and singer-songwriters who chose to stay in the GDR and work within its structures had to handle resignation and resistance, repression and official honor. In between the official structures there was a small space for a critical approach that challenges the hegemony of the official discourse – despite being basically socialist in intention. Certainly there were limitations to how far one could take criticism. It was precisely the inability and reluctance of such artists to question the system as a whole that enabled them to do what they did. If they had taken their criticism further they would have been silenced.

Textual nuances were therefore of fundamental importance in this situation. It was not until after Gorbachev had come to power in the Soviet Union in 1985 that GDR ‘Liedermacher’ dared voice more open, direct criticism.


1.Barbara ThalheimKein Tag Ist Sicher Vor Der Nacht3:30
2.Helmut Müller-LankowJonas5:06
3.Lissy TempelhofDer Wind Auf Der Warschauer Brücke1:51
4.Manfred KrugSatan, Zerwühle, Zerrase3:00
5.Felicitas RitschDer Brave Herr Soldat2:22
6.Gerry WolffDie Rose War Rot4:07
7.Barbara KellerbauerDas Lächeln1:39
8.Reinhold AndertDer Alte Franz3:26
9.Vera OelschlegelDas Lied Vom Kleinen Trompeter2:35
10.Gisela MayDer Alte Fritz3:44
11.Jürgen WalterAber Für'n Sex Sind 'se Blind2:53
12.Stefan KrawczykDas Lied Vom Clown2:39
13.Görnandt & RönnefarthSo Sagt Die Alte Frau3:25
14.Hans RadloffAuf Dem Karussell2:22
15.Jürgen EgerManu5:13
16.Angelika NeutschelJetzt Geht Der Mond Auf3:35
17.Ilona SchlottWinterlied2:04
18.Sonja KehlerDas Lied Von Den Jungen Hähnen2:55
19.Gerhard SchöneMeine Rache2:39
20.Maike NowakKomm, Schwester1:44
21.Kurt NolzeEin Bißchen Dunkel War5:12
22.Heinz-Martin BeneckeLeipziger Weihnachtstraum '892:53
23.Eva OtherAlles Illusion2:09

Josh White - Harlem Blues (Musicraft, 1940)

Joshua Daniel White (February 11, 1914–-September 5, 1969), best known as Josh White, was a legendary American singer, guitarist, songwriter, actor, and civil rights activist. He was also known by the name "J King".

White's anti-segregationist and international human rights political stance presented in many of his recordings and in his speeches at rallies resulted in the right-wing McCarthyites incorrectly assuming that he must have been a Communist. Accordingly, from 1947 through the mid 1960s, White was caught in the vise grip of the anti-Communist Red Scare, and combined with his resulting attempt to clear his name, his career was harmed immeasurably. However, regardless of the purists' debate over the artistic change in his presentation or from those who opposed his politics, White unarguably inspired several generations of guitarists with his new and unique stylings and techniques, and is cited as a major musical and social influence by dozens of future stars.

"Harlem Blues" was a set of three 78 rpm singles, recorded March 7, 1940 in New York City

Josh White - Harlem Blues (Musicraft, 1940)
(192 kbps, front cover included)

Sonja Kehler - Brecht-Portrait (Wergo, 1978)

Sonja Kehler was born on February 2, 1933 in Haldersleben near Magdeburg. After graduating from the College of Drama in Leipzig she was given engagements at several theatres in the GDR, before launching on an international career as a freelance singer and actress. Sonja Kehler made a name for herself above all as a performer of works by Bertolt Brecht, whether as Shen Te in "The Good Person of Sezuan", as Jenny in "The Threepenny Opera" or as Grusche in "The Caucasian Chalk Circle".

Nevertheless in the 80s she was barely alowed to perform in the GDR. The repression started when one of her musicians didn´t come back to GDR after a concert "in the West". Sonja Kehler told about that time in an interview: "I couldn´t get work in the GDR, no concerts, no recordings, but I was allowed to tour abroad again because it brought in foreign currency. I had of course done a lot in the GDR before that: concerts, theatre, shows, television work. But at a particular point that all stopped and I was only allowed to perform abroad. At that time Bernd Wefelmeyer was already my accompanist. In 1978 I made a very accomplished Brecht recording with hi but it was never released in the GDR, although WERGO did market it in the West".
The album "Brecht-Portrait" was produced by VEB Deutsche Schallplatten Berlin (GDR), but only released in West Germany on the WERGO label.


Side A:
01 Von der Freundlichkeit der Welt
02 Ballade vom angenehmen Leben
03 Die Seeräuber - Jenny
04 Das Lied von der Unzulänglichkeit menschlichen Strebens
05 Ballade zum § 218
06 Hier ruht die Jungfrau
07 Lied eines Freudenmädchens
08 Das Vielleicht - Lied
09 Kriegslied / Die Mutter liegt im Krankenhaus
10 Legende bom toten Soldaten

Side B:
01 Bilbao Song
02 Das Lied von der harten Nuß
03 Das Was - Man - Hat - Hat - Man - Lied
04 Das Lied vom achten Elefanten
05 Ballade vom Knopfwurf
06 Bei den Hochgestellten
07 Lied vom Kelch
08 Ballade vom Wasserrad

Sonja Kehler - Brecht-Portrait (1978)
(192 kbps, front cover included)

Sonntag, 26. Juni 2016

The Slits - Cut (1979)

Its amateurish musicianship, less-than-honed singing, and thick, dubwise rhythms might not be for everyone, but there's little denying the crucial nature of the Slits' first record. Along with more recognized post-punk records like Public Image Limited's "Metal Box", the Pop Group's "Y", and less-recognized fare like the Ruts DC and Mad Professor's "Rhythm Collision Dub", "Cut" displayed a love affair with the style of reggae that honed in on deep throbs, pulses, and disorienting effects, providing little focus on anything other than that and periodic scrapes from guitarist Viv Albertine.

But more importantly, "Cut" placed the Slits along with the Raincoats and Lydia Lunch as major figureheads of unbridled female expression in the post-punk era. Sure, Hole, Sleater-Kinney, and Bikini Kill would have still happened without this record (there were still the Pretenders and Patti Smith, just to mention a few of the less-subversive groundbreakers), but "Cut" placed a rather indelible notch of its own in the "influential" category, providing a spirited level rarely seen since.

Heck, the Slits themselves couldn't match it again. You could call some of these songs a reaction to the Nuggets bands, or the '60s garage acts that would find as many ways as possible to say "women are evil." Songs like "Instant Hit" (about PiL guitarist Keith Levene), "So Tough" (about Sid Vicious and Johnny Rotten), "Ping Pong Affair," and "Love Und Romance" point out the shortcomings of the opposite sex and romantic involvements with more precision and sass than the boys were ever able to. "Spend Spend Spend" and "Shoplifting" target consumerism with an equal sense of humor ("We pay f*ck all!"). Despite the less-than-polished nature and street-tough ruggedness, "Cut" is entirely fun and catchy; it's filled with memorable hooks, whether they're courtesy of the piano lick that carries "Typical Girls" or Ari Up's exuberant vocals. (One listen to "Up" will demonstrate that Björk might not be as original as you've been led to believe.)              

1Instant Hit
2So Tough
3Spend, Spend, Spend
7Ping Pong Affair
8Love Und Romance
9Typical Girls
10Adventures Close To Home
11I Heard It Through The Grapevine
12Liebe And Romanze (Slow Version)

The Slits - Cut (1979)
(256 kbps, cover art included)

Therese Giehse - Singt Brecht (LP 1972)

Therese Giehse (6 March 1898 – 3 March 1975), born Therese Gift, was a distinguished German actress. Born in Munich to German-Jewish parents, she first appeared on the stage in 1920. She became a major star on stage, in films, and in political cabaret. In the late 1920s through 1933, she was a leading actress at the famous Munich Kammerspiele.

When the Nazis came to power in 1933, Giehse left Germany for Zürich, Switzerland, where she continued to act in exile, playing leading roles in Zürich, including in Erika Mann's acclaimed political cabaret, "Die Pfeffermühle" (which was itself also an exile, having been transported from Munich to Zürich in 1933 as well). During her exile, she traveled throughout central Europe with Pfeffermühle. On 20 May 1936 she married the homosexual English writer John Hampson, in order to obtain a British passport and thereby avoid capture by the Nazis. She returned to Germany after World War II, and performed in theatres on both sides of the Iron Curtain, but mostly in her native Bavaria, until her death in 1975.

In exile, Giehse played the first "Mother Courage" in the world premiere of Bertolt Brecht's play "Mother Courage and Her Children", in 1941 at the Schauspielhaus Zürich.
After the war, Giehse returned to Munich and to the Munich Kammerspiele, where, in 1950, she again played the role of Mother Courage, this time directed by Brecht himself. This production became documented as the second "Model production" of Brecht's play (the first "Model production" had been performed by Brecht's wife, Helene Weigel in 1949 in Berlin). Giehse and Brecht would often converse in their strong Bavarian (southern German) dialect during rehearsals, making Brecht's wife jealous of their kindred spirit.
In the 1950s, Giehse played several roles as a member of Brecht's theatre, the Berliner Ensemble. In the mid-1970s, she returned to the Berliner Ensemble to perform several Brecht Evenings of the poems, plays, and writings of her lifelong friend and colleague. As a member of the Berliner Ensemble and collaborator with Brecht, she was a much-sought-after interpreter of his work and recordings of her reciting and singing his work appeared on records in both East and West Germany.

Throughout the 1950s and 1960s, Giehse continued to perform many lead roles in various theatres in Germany, often using her considerable comic skills to play character roles, as well as great dramatic roles, such as the leads in several landmark productions by Friedrich Dürrenmatt, the world premiere of The Visit in 1956, and The Physicists in 1962. Later, she also worked with Peter Stein's renowned Schaubühne am Halleschen Ufer in Berlin.
She also appeared in over 20 films and a number of television productions.


01. Lied der Mutter Courage
02. Lied der Mutter Courage ~ Das Lied von der grosen Kapitulation
03. Lied der Mutter Courage ~ Das Wiegenlied
04. Die Lieder der Mutter ~ Lob des Kommunismus
05. Die Lieder der Mutter ~ Lob der dritten Sache
06. Lieder von Hanns Eisler ~ Ballade vom Wasserrad
07. Lieder von Hanns Eisler ~ Deutsches Miserere
08. Lieder von Hanns Eisler ~ Lied einer deutschen Mutter 1939
09. Lieder von Hanns Eisler ~ Mutter Belmlen
10. Lieder von Peter Fischer ~ Der Apfelbock oder die Lilie auf dem Felde
11. Lieder von Peter Fischer ~ Der Wolf ist zum Huhn gekommen
12. Lieder von Peter Fischer ~ Die Krucken
13. Lieder von Peter Fischer ~ Das Lied von der Tunche
14. Lieder von Peter Fischer ~ Die haltbare Graugans
15. Lieder von Peter Fischer ~ Lied der Schwestern
16. Lieder von Peter Fischer ~ Gegen Verführung
17. Lieder von Peter Fischer ~ Groser Dankchoral

Therese Giehse - Singt Brecht (LP 1972)
(192 kbps, cover art included)

Heiner Goebbels & Alfred Harth - Hommage - Vier Fäuste für Hanns Eisler (1977)

Experimental composer and director Heiner Goebbels was born in Neustadt, Germany, on August 17, 1952, relocating to the Frankfurt area at age 20 to study music and sociology.

He first achieved notoriety in 1976 upon premiering a number of works, including "Rote Sonne," "Circa," and "Improvisations on Themes by Hanns Eisler," most performed in conjunction with the "Sogenanntes Linksradikales Blasorchester". Concurrently, Goebbels also collaborated with Alfred Harth and beginning in 1982, he served as a member of the longstanding art rock trio "Cassiber".

He further expanded his growing oeuvre with a series of theatrical, film, and ballet scores and during the mid-'80s began writing and directing audio plays of his own, seeking his initial inspiration in the texts of Heiner Mueller. Beginning in 1988, Goebbels also turned to authoring chamber music with the Ensemble Modern, and in 1994 completed "Surrogate Cities," his first major composition for symphony orchestra. His recordings for ECM include La Jalousie/Red Run/Herakles 2/Befreiung, the Edgar Allen Poe-inspired SHADOW/Landscape with Argonauts, Der Mann im Fahrstuhl, and Ou Bien le Débarquement Désastreux.

"Hommage - Vier Fäuste für Hanns Eisler" is a German only 11-track LP recorded live with Alfred Harth at Flöz in Berlin on October 3rd 1976, released in 1977.

A1a. Der Zerrissene Rock 2:00
A1b. So, Das Ist, Was Wir Brauchen 4:15
A1c. Gedanken Über Die Rote Fahne 1:00
A2. Zur Überwindung Von Schwierigkeiten 6:40
A3. Die Wirtshausszene 2:10
A4. Grossvater Stöffel 4:30
A5. Sieg Im Volkslied! 3:20
B1. Die Haltbare Graugans - Ostwärts Mit Oder Ohne Nach Quong Quong ? 7:30
B2. Lange Weile 1:46
B3. Vorwärts! 5:51
B4. Fugato Spontini 1:17
B5. Spui' Ma' Wieder Oan, Dass D'Zeit Vergeht 1:32
B6. I Clowns 0:45

Heiner Goebbels & Alfred Harth - Hommage - Vier Fäuse für Hanns Eisler
(320 kbps, cover art included)

Belina & Behrend - 24 Songs And One Guitar - Folklore-Session in Berlin (1963)

From the liner notes:
"Columbia is proud and happy to be able to offer you a folklore session recorded in Berlin on the midsummer´s night of 26th July. BELINA, the magnificient and exciting Polish artist from Paris sings and playing the guitar is SIEGFRIED BEHREND, the 29-year-old Berliner who was acclaimed the "Best Guitarist in the World" in Rome and Tokio, "Paganini delle Chitarra" in Turin and "The Devil on the Guitar" in Constantinople. Twenty-four songs from all parts of the world sung in 17 languages make up this fascinating recording. (...)

We do hope that you like this "24" long player. It was recorded in Berlin at the magic hour of midnight (with crates of champagne standing between the coiled cable and microphones on the studio floor). We allowed ourselves to be inspired a little by the jam session of the jazz enthusiasts and instead of jazz we recorded songs - folksongs, chansons, dance melodies and even `pops´. We were not aiming at 100 % perfection or striving after a brilliant cold performance. We simply wanted to caputer the mood for your."

Belina was born on February 6, 1925 in Treblinka, Poland as Lea-Nina Rodzynek. As a young woman, Lea-Nina fled to Germany, where she found work in a factory with fake documents and under a false name. When the fraud was discovered she was arrested and deported to a concentration camp, from which she escaped. She managed to be hidden until the end of the Third Reich. Paris was the first station in the freedom. There she traveled as a singer through the many taverns where the people called her "the Black Angel from Montparnasse".

She spoke six languages: Polish, English, Yiddish, Russian and German. Yet, she was also able to express herself and sing in another dozen foreign languages.

Belina performed in 1964/65 in more than 120 countries - a triumphant series of concerts which met with one rave review after another.
During her world tour with guitarist Siegfried Behrend, she was once given the score of a Korean folksong at noon with the request that she sing it the same evening. Belina sang it and the following day the concert reviews spoke of her rendition of the song in Korean as being a natural part of her - so convincing and immediate was the quality of her singing.
In 1981 she made a final, very beautiful, but unfortunately unacknowledged LP recording with guitarist Ladi Geisler. After this project, Belina retired from show business.
She was also an actress, known for "Treffpunkt Baden-Baden" (1964), "Rhythmus der Nationen" (1962) "Das gefällt auch morgen noch" (1963) and "Hoheit liebt nur dufte Puppen" (1965).

Belina died on December 12, 2006 in Hamburg, Germany.
A1Shi L'lo Milim
A2El Vito
A5Viva Belina
A7Kuma Echa
A8Jetzt Gang I An's Brünnele
A9Danno Budhunge
A10Jamaica Farewell
A11Lupu Cupu
A12Ne Me Quitte Pas
B1Orcha Bamidbar
B3Willst Du Mein Herz Mir Schenken
B5Sakura, Sakura
B8I Know Where I'm Goin'
B9Manha De Carnaval (Orfeo Negro)
B10Yo Yelekaki
B11Szomorú Vasárnap (Eindamer Sonntag)
Thanks a lot to Riffmaster for his wonderful Belina posts.

Hanns Eisler - Keiner oder alle - Kampfmusik

This album collects GDR recordings of Eisler's best-known popular choral music from the early 30s, originally composed for street demonstrations and political cabaret in Weimar-era Berlin.

The album includes good performances of Erich Weinert's "Red Wedding" (not a Communist precursor to Billy Idol's "White Wedding", but a reference to Wedding, a working-class district in Berlin), plus "Freedom Song", "Bankenlied", "Einheitsfrontlied", and Eisler's band orchestration of the German socialist classic, "Brüder zur Sonne, zur Freiheit".

The title is derived from the Brecht/Eisler chorus, "Nobody or Everybody".

For some listeners, these songs will be an acquired taste, but it is worthwhile to compare the difference between Eisler's jazz-influenced "swinging" march style and the heavy, sentimental, beer-cellar style of Nazi "mass songs" from the same period.

Hanns Eisler - Keiner oder alle - Kampfmusik
(256 kbps, cover included)

VA - Jazz Around The Krach 1929

From the linernotes:
"It is not without a certain sense of irony that Frémeaux & Associés, 80 years on, renders homage to the 1929 economic crisis that has its echoes in today’s international events. While 1929 saw the birth of Martin Luther King, Milan Kundera and Jacques Brel, each of whom influenced their era and achieved international acclaim, history and people themselves remember 1929 as the year of the Wall Street Crash and the beginning of the Depression.

Such a crisis that reoccurs regularly within capitalist societies is a revolutionary means of changing things, habits and culture etc. Neither are the artsimmune to these “readjustments” but had to adapt to the Depression: not only a need to make sense of it all but also to find financial backing, producers and, of course, listeners! Noël Hervé, Philippe Baudoin and Daniel Nevers return to 1929 in Jazz Around The Crash." - Patrick Frémeaux

Tracklist:1. Duke Ellington : Wall Street Wail
2. Ray Miller orch. : That’ a Plenty
3. Earl Hines orch. : Chicago Rhythm
4. Jabbo Smith : Decatur Street Tutti
5. Sam Wooding : Tiger Rag
6. Paul Howard orch. : Quality shout
7. Fletcher Henderson : Wang Wang Blues
8. Missourians : Market street Stomp
9. Jo Steele orch. : Coal-Yard Shuffle
10. Luis Russel orch. : Jersey Lightnin’
11. Noble Sissle orch. : Kansas City Kitty
12. Bennie Moten : Rumba Negro
13. Casa Loma orch. : Happy Days are here again
14. Six Jolly Jesters : Goin’ Nuts
15. Mc Kinney’s Cot. P. : Wherever there’s a Will, there’s a Way
16. Cecil Scott’s Bright Boys : Lawd, Lawd
17. Lud Gluskin orch. : I Wanna Go Places and Do Things
18. Fess Williams orch. : Hot Mama (#1)
19. Louis Armstrong : Saint Louis Blues
20. Fats Waller : Looking good, but Feelin’ bad
21. Cliff Jackson’s Krazy Kats : The Terror
22. Bessie Smith : Nobody Knows You When…
23. Duke Ellington : A Nite at the Cotton Club

VA - Jazz Around The Krach 1929
(256 kbps, cover art included)

Samstag, 25. Juni 2016

Creation Rebel / New Age Steppers - Threat To Creation (Cherry Red, 1981)

One of the most startling albums in the early Adrian Sherwood catalog, "Threat to Creation" is nominally a compilation of recent dubs transformed into a pulsating ménage of rhythms and dubs, through which shoot some truly devastating effects - is there any greater demonstration of the On-U technique than "Chemical Specialist" (itself a mogadon retread of the title track rhythm)? Elsewhere on this remarkable disc, the New Age Steppers' own "My Whole World," "Got to Get Away," and "Guiding Star" all reappear in dub form, as "Painstaker," "Final Frontier," and the echoing, creaking "Eugenic Device," respectively. Other dubs here include Bim Sherman's "Devious Woman" ("Last Sane Dream") and "Satta Massagana" ("Ethos Design"), both chillingly reworked to strip away almost every last semblance of the original.  -

Despite its obscurity, Threat to Creation is an important record, and not just for the historical value of the post-punk supergroup that came together to make it, or the fact that the record carries roots in Sherwood’s future ventures in electronic music. It’s a sublime listening experience and a profound statement about the power of experimentation, and over twenty years after the fact it still sounds shockingly new. -

A1Chemical Specialist
Written-By – A. Phillips*

A2Threat To Creation
Written-By – J. Vincent*

A3Eugenic Device
Written-By – L. Sibbles*

A4Last Sane Dream
Written-By – A. Maxwell*

Written-By – J. Vincent*

B6Earthwire Line
Written-By – J. Byles*

B7Ethos Design
Written-By – Abyssinians*

B8Final Frontier

Creation Rebel / New Age Steppers - Threat To Creation (Cherry Red, 1981)
(256 kbps, cover art included)

VA - Need A Shot - The Essential Recordings Of Urban Blues

Featuring two-dozen tracks drawn from commercially released 78s of the 1920s, 1930s, and 1940s, "Need a Shot" is primarily a piano-based selection, although there is a fair amount of guitar and harmonica tossed in, and on occasion even drums, saxes, and clarinets.

Labeled urban blues, these sides are only a little removed from their country blues roots, and pieces like Peetie Wheatstraw's "Working Man (Doing the Best I Can)" (the melody line, a common one in the early blues, was used by Bob Dylan for his "Pledging My Time"), Roosevelt Sykes´ "Night Time Is the Right Time," and Washboard Sam's funky and ragged "Back Door" played just as well in the rural jukes of the Deep South as they did in the bars up north.

In spite of the subtitle, these 24 selections don't exactly add up to an essential survey of the early urban blues, but there's plenty of foot-stomping fun going on here and it's hard to have a serious problem with that.


01. Bumble Bee Slim - Sail On, Little Girl, Sail On
02. Kokomo Arnold - Policy Wheel Blues
03. Georgia White - Trouble In Mind [1936 05 12-Chicago]
04. Harlem Hamfats - Bad Luck Man [1936 10 22-Chicago]
05. Johnnie Temple - Louise Louise Blues [1936 11 12-Chicago]
06. Peetie Wheatstraw - Working Man (Doing The Best I Can)
07. Walter Davis - Think You Need A Shot [1936 04 03-Chicago]
08. Bill Gaither - New Little Pretty Mama
09. Roosevelt Sykes - Night Time Is The Right Time [1937 04 29-Chicago]
10. Curtis Jones - Lonesome Bedroom Blues [1937 09 28-Chicago]
11. Washboard Sam - Back Door [1938 12 16-Aurora IL]
12. Casey Bill Weldon - Way Down In Louisiana [1939 12 07-Chicago]
13. Merline Johnson - Want To Woogie Some More [1938 10 04-Chicago]
14. Big Bill Broonzy - What Is That She Got?
15. Memphis Minnie - Lonesome Shack Blues [1940 06 27-Chicago]
16. Tampa Red - Baby, Take A Chance With Me [1940 05 10-Chicago]
17. Bill "Jazz" Gillum - Key To The Highway
18. Memphis Slim - Beer Drinking Woman [1940 10 30-Chicago]
19. Big Maceo - County Jail Blues [1941 06 24-Chicago]
20. St. Louis Jimmy - Goin' Down Slow [1941 11 11-Chicago]
21. Lonnie Johnson - He's A Jelly-Roll Baker
22. Doctor Clayton - Ain't No Business We Can Do [1942 03 27-Chicago]
23. Champion Jack Dupree - Big Time Mama
24. Sonny Boy Williamson - New Early In The Morning

VA - Need A Shot - The Essential Recording Of Urban Blues
(256 kbps, cover art included)

Dinah Washington - Mad About The Boy

Ruth Lee Jones (born August 29, 1924 in Tuscaloosa, Alabama; died December 14, 1963 in Detroit, Michigan), better known by her stage name Dinah Washington and also as the Queen of the Blues, was an American Grammy award winning jazz singer best known for singing classic torch songs and her hit single What A Diff'rence A Day Makes. Her penetrating voice, excellent timing, and crystal-clear enunciation added her own distinctive style to every piece she undertook.     

Dinah Washington was at once one of the most beloved and controversial singers of the mid-20th century - beloved to her fans, devotees, and fellow singers; controversial to critics who still accuse her of selling out her art to commerce and bad taste. Her principal sin, apparently, was to cultivate a distinctive vocal style that was at home in all kinds of music, be it R&B, blues, jazz, middle of the road pop - and she probably would have made a fine gospel or country singer had she the time. Hers was a gritty, salty, high-pitched voice, marked by absolute clarity of diction and clipped, bluesy phrasing. Washington's personal life was turbulent, with seven marriages behind her, and her interpretations showed it, for she displayed a tough, totally unsentimental, yet still gripping hold on the universal subject of lost love.               

"Mad About the Boy", the title track of this compilation, is a popular song with words and music by actor and playwright Sir Noël Coward. It was introduced in the 1932 revue Words and Music by Joyce Barbour, Steffi Duna, Norah Howard and Doris Hare. The song deals with the theme of unrequited love for a film star. It was written to be sung by female characters, although Coward also wrote a version, which was never performed, that contained references to the then risqué topic of homosexual love.

Dinah Washington's 1952 recording of "Mad about the Boy" is possibly the most widely known version of the song. The 6/8-time arrangement for voice and jazz orchestra by Quincy Jones omits two verses and was recorded in the singer's native Chicago on the Mercury label.
Washington's version was popularised for a new generation when it was used as a backing track in a 1992 television advertisement for Levi's jeans. In the commercial, which is influenced by the 1968 Burt Lancaster film The Swimmer, a young man runs through an American suburban neighbourhood stripping down to only his jeans, invades private gardens and dives into a series of swimming pools to shrink his jeans.

Dinah Washington - Mad About The Boy
(256 kbps, front cover inlcuded)

Leftfield - Release The Pressure 12 Inch

Paul Daley (a former member of A Man Called Adam and the Brand New Heavies) and programmer Neil Barnes combined the classic soul of early Chicago and New York house with the growing Artificial Intelligence school of album-oriented techno to create classic, intelligent dance music.

When legal hassles over ownership of the Leftfield name prevented the pair from recording their own music after the release of their debut "Not Forgotten," they turned to remixing, establishing their early reputation for reworking tracks by artists ranging from Stereo MC's and David Bowie to Yothu Yindhi and Renegade Soundwave.

Finally, with their courtroom battles successfully behind them, they formed their own Hard Hands label in late 1992 and issued the single "Release the Pressure," featuring reggae vocalist Earl Sixteen.

01 Release the Pressure 3:57
02 Release One 7:23
03 Release Two 7:190
4 Release Three 6:02
05 Release Four 5:03

Leftfield - Release The Pressure, 12 "
(256 kbps, cover art included)

Pressure Drop - My Friend

The London-based disc jockeys Justin Langlands and Dave Henley first met in 1986, at the peak of the house scene.

Under the moniker Blood Brothers they became stalwarts of the genre. Pressure Drop was born with the singles "Feeling Good" (Big World, 1990), "Back To Back" (Big World, 1990) and "Trancefusion" (Big World, 1990).

Here´s the single "My Friend" (from the album "Elusive") with an expertly mix of dub, exotica, bebop and Ennio Morricone. Pure alienation!


1. My Friend (under the wrong sign)
2. Alienation
3. Uncut Anger
4. Dehumanization
5. Beyond Reason

Pressure Drop - My Friend
(256 kbps, cover art included)

Freitag, 24. Juni 2016

Nina Simone - Wild Is The Wind (1966)

This album was apparently a bit of a pastiche of leftovers from sessions for Nina Simone's four previous albums on Philips. But you'd never guess from listening; the material is certainly as strong and consistent as it is on her other mid-'60s LPs.

As is the case with most of her albums of the time, the selections are almost unnervingly diverse, ranging from jazz ballads to traditional folk tunes ("Black Is the Color of My True Love's Hair") to the near calypso of "Why Keep on Breaking My Heart" to the somber, almost chilling title track. Highlights are two outstanding pop-soul numbers written by the pre-disco Van McCoy ("Either Way I Lose," "Break Down and Let It All Out") and "Four Women," a string of searing vignettes about the hardships of four African-American women that ranks as one of Simone's finest compositions. 


I Love Your Lovin' Ways2:35
Four Women4:20
What More Can I Say2:45
Lilac Wine (From "Dance Me A Song")4:14
That's All I Ask2:28
Break Down And Let It All Out2:45
Why Keep Breakin My Heart2:30
Wild Is The Wind6:53
Black Is The Color Of My True Love's Hair3:25
If I Should Lose You3:55
Either Way I Lose2:44

Nina Simone - Wild Is The Wind (1966)
(320 kbps, cover art included)