Freitag, 30. Dezember 2016

Pablo Milanes - A Vivo No Brasil (1984)

The important Caribbean musical tradition has in Pablo Milanés one of its noted composers/performers. The natural bonds of musical identification and fraternity with Brazil are celebrated in this intense album recorded live in this country with the participation of Chico Buarque.

"Yo Pisare las Calles Nuevamente" (in a voice/violão rendition), the nostalgic "Años" (with his band), the energetic "Creeme" and "Yo No Te Pido," the lyrical "Para Vivir" (backed only by the piano of Jorge Aragón), and "Acto de Fé" opened the show, which in the second part began with Chico Buarque's dramatic "Pedaço de Mim" (together with Buarque). Buarque also joins Milanes in the lachrymose "Yolanda" and in "Homenaje." The highly emotional impact of meeting, enhanced by Buarque and Milanes's natural sound affinity, can be verified by the audience's response and in the thrilled address by Elba Ramalho and Caetano Veloso. The musical aspect is subordinated to the lyrical content, with no improvisation or other signals of instrumental independence.       

Tracklist:

01. Apresentação (0:50)
02. Yo pisaré las calles nuevamente (2:41)
03. Años (5:13)
04. Créeme (4:49)
05. Yo no te pido (5:25)
06. Para vivir (3:38)
07. Acto de fe (4:51)
08. Apresentação (0:44)
09. Pedaço de mim (2:34)
10. Yolanda (4:35)
11. Amo esta isla (6:57)
12. Canción por la unidad latinoamericana (7:05)
13. Homenaje (5:43)

Pablo Milanes - A Vivo No Brasil (1984)
(128 kbps, cover art included)

        

Patti Smith - Bicentenary Blues - Boarding House, San Francisco 1976

Today, December 30, marks Patti Smith’s 70th birthday. She is still going strong, remaining as relevant as ever. Happy birthday!

This bootleg captures Patti Smith performing at the Boarding House in San Francisco, on 15 February 1976. The Boarding House was a club in downtown San Francisco that held about 500 people.

The show was broadcasted on FM radio and illustrates perfectly the strange power of this pioneering band and its dynamic, talented and foresighted lead singer and main songwriter.

Tracklist:

01 We're Gonna Have A Real Good Time Together
02 Privilege
03 Ain't It Strange
04 Kimberly
05 Redondo Beach
06 Free Money
07 Pale Blue Eyes
08 Louie Louie
09 Pumpin
10 Time Is On My Side
11 Flying Saucers Rock And Roll reading
12 Gloria
13 My Generation


Patti Smith - Bicentenary Blues - Boarding House, San Francisco 1976
(256 kbps, cover art included)

Patti Smith - Divine Intervention (Roskilde 1996)

"Three chord rock merged with the power of the word."

So Patti Smith described her music on the 1975 release of "Horses", her celebrated debut album; and so she has continued to blend the spoken and sung arts in incantatory fashion with her latest work, "Twelve".

Impossible to categorize, moving easily between the literary and musical worlds, always unpredictable and impassioned, she is an idiosyncratically unique performer who has always remained true to her artistic vision.
Born in Chicago and raised in Woodbury, New Jersey, just across the state line from Philadelphia, Patti's mother, Beverly, was a jazz singer cum waitress. Her father, Grant,
worked at the Honeywell plant; she was the oldest of four siblings: her sisters Linda and Kimberly (the latter plays mandolin on Gone Again's "Ravens,"), and brother Todd. Unable to find her place in high school society, she took refuge in the images of Rimbaud, Bob Dylan, James Brown, and the Rolling Stones. Dropping out of Glassboro State Teacher's College, she headed for the bright lights - big city of New York.
.
"Divine Intervention" (1996, Rupert 9681) is a recording of her performance on June, 30, 1996 at the Roskile Festival in Denmark. The performance and the sound quality are good, so enjoy another Patti Smith bootleg...
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Patti Smith - Divine Intervention (Roskilde 1996)
(192 kbps, front cover included)

Mittwoch, 28. Dezember 2016

Soledad Bravo‎ - Canciones De La Nueva Trova Cubana Vol. 2

Soledad Bravo is born in Logroño, La Rioja, Spain. Her father was a Spanish republican, moving to Venezuela with his family when his daughter was still at an early age. At 24, Soledad began studying architecture and philosophy at the Universidad Central de Venezuela, where she also began performing.

One year later, in 1968, she released her debut titled Soledad Bravo Canta (Soledad Bravo Sings), which made her a star in Venezuela and other parts of South America. In the years that followed, she cooperated with Atahualpa Yupanqui, Gilberto Gil and others, having lived and performed in Europe and the Americas.

Her repertoire is a vivid mixture of fiery, vivid Caribbean and Latin rhythms, Sephardic elegies and heartwarming ballads.

Considered to be one of the best voices in Latin America, one of her most popular and best known songs is Hasta Siempre, a cover of a Cuban hymn by Carlos Puebla to Ernesto "Che" Guevara.


Tracklist:

La Vida No Vale Nada3:05
Ya Pisaré Las Calles Nuevamente3:43
A Salvador Allende En Su Combate Por La Vida4:02
Sueño Con Serpientes4:45
Campo De Amor3:04
El Tiempo El Implacable2:20
El Colibrí3:00
Esta Canción3:20
Mariposas4:35


Soledad Bravo - Canciones De La Nueva Trova Cubana Vol. 2     
(320 kbps, cover art included)                              

VA - COMPAÑERO PRESIDENTE (1975)



Posted in September 2013:

This year marks the 40th anniversary of the Chilean coup d’etat that ousted the constitutional president of Chile, Salvador Allende, from office and gave rise to the vicious dictatorship of General Augusto Pinochet 11th September 1973. We would like to share some more music from Chile and Latin America to commemorate the 40th anniversary of the Chilean human and social tragedy brought about by Pinochet’s dictatorship.

Thousands of people were tortured and killed, others ‘disappeared’ at the hands of the authorities, the secret police and more were illegally detained. Men, women and children were rounded up by the military and taken from their homes. Most were never seen alive by their families again. One million people were forced into exile.

The album "COMPAÑERO PRESIDENTE" was released in 1975 honouring Salvador Allende and the Unitad Popular and features songs by Inti-Illimani, Soledad Bravo, Andrés Jiménez, Daniel Viglietti, Ali Primera, César Isella, Quilapayún, Oscar Chávez, Angel Parra and Pablo Milanés.


Tracklist:
01 - Chile Herido [Inti-Illimani]
02 - A Salvador Allende En Su Combate Por La Vida [Soledad Bravo]
03 - Canción Al Presidente [Andrés Jiménez]
04 - Por Todo Chile [Daniel Viglietti]
05 - Canción Para Los Valientes [Alí Primera]
06 - Che Salvador [César Isella]
07 - Compañero Presidente [Quilapayún]
08 - A Salvador Allende [Óscar Chávez]
09 - Canción A Salvador Allende (Compañero Presidente) [Angel Parra]
10 - Yo Pisaré Las Calles Nuevamente [Pablo Milanés]

VA - Companero Presidente (1975)
(about 256 kbps, cover art included)

Soleda Bravo - Vol. 4 (1972)

Spain-born and Venezuela-raised Soledad Bravo has been one of the leaders of the nueve cancion ("new song") movement that swept through latin America in the '70s and '80s. Although equally proficient at singing traditional and popular songs, Bravo made her greatest impact as a protest singer.

According to Billboard, "her voice is an exceptional instrument." The Diario, a newspaper in Madrid, claims "her voice captivates you, the range is so wide and its strength is amazing."
Bravo, who inherited her political convictions from her father, emigrated to Venezuela with her parents at the age of seven. While attending the Liceo Rafael Urdaneta, she began singing with a group. She continued to sing while studying architecture, psychology and literature at the Central University of Venezuela. Shortly after her graduation in 1967, Bravo was hired to perform every morning on a television show Buenos Dias. She remained on the program for years. Her debut album, "Soledad Bravo Canta", released in 1968, included her interpretation of Carlos Puebla's tribute to Che Guevera, "Hasta Siempre."

Between 1969 and 1976, Bravo continued to focus on the songs of Latin America, releasing three commercially successful albums and touring throughout Peru, Argentina, Chile and Mexico. In 1972, Bravo recorded a double-album, "En Vivo", featuring songs of the Spanish Civil war. Four years later, she was invited to perform in Spain. An appearance on Spanish television, with accompaniment by flamenco guitarist Manolo Sanlucar, helped to make her a nationally known artist. During the four years that she remained in Spain, Bravo recorded several albums including one with Spanish poet Rafael Alberti in 1977, and a collection of songs of the Spanish Jews, "Cantos Sefardies", that received a Grand Prix Du Disque award in France. Switching her attention to the tropical repertoire, Bravo traveled to New York to record "Caribe", produced by salsa musician Willie Colon. Four years later, she recorded a self-titled album with accompaniment by Eddie Gomez, Airto Moreira, Paquito D'Rivera, Jorge Dalto, Ray Barreto, Yomo Toro and Spyro Gyra.

Tracklist:                           
A1Punto y Raya
A2Entra y Sale
A3Uno De Abajo
A4Qué Dirá El Santo Padre
A5 De Qué Se Ríe
A6Niño y Estrella
B1Canción De Toribio García
B2Canción De Pablo
B3Volver A Los Diecisiete
B4El Violín De Becho
B5Patria Amada Idolatrada, Salve, Salve

Soleda Bravo - Vol. 4 (1972)
(ca. 224 kbps, cover art included)

Dienstag, 27. Dezember 2016

Pannach & Kunert - Gib mir `ne Hand voll Glück - Live 1977 - 1993

Bild anzeigen
"Gib mir 'ne Hand voll Glück" is a collection of live recordings and rare songs by Gerulf Pannach and Christian Kunert, recorded between 1977 and 1993. This album was released in 2000 on the Buschfunk label.

Gerulf Panach was born in 1948 in Arnsdorf near Dresden and began by studying law. After discontinuing his studies, he took part in the songwriting movement and was in various music groups. As the keyboardist in the GDR’s extremely popular music group "Klaus Renft Combo," he wrote many lyrics that expressed criticism of the SED from the early 1970s. In 1975, the group was banned from performing, which was personally endorsed by the State and Party chief of East Germany, Erich Honecker.

Along with the “Renft” musicians Christian Kunert and Thomas Schoppe and writer Jürgen Fuchs, Pannach continued to write songs in secret. In an attempt to intimidate the protest movement against Wolf Biermann's expatriation, the Ministry for State Security (Stasi) arrested them in November 1976. After eight months of detention in the prison at Berlin-Hohenschönhausen, they were deported to West Germany.

There, Pannach and Kunert played as a duo and recorded five albums. After the fall of the Berlin Wall in November 1989, Pannach performed as the newly-formed Renft group. As a lyricist, he also collaborated with the Puhdys and Veronica Fischer. Pannach died of kidney cancer in Berlin in 1998. Due to his premature death, suspicions were raised that the Stasi had exposed prominent dissidents in the GDR, intentionally or unintentionally, to radioactive rays.

Tracklist:

1. Cool sein
2. Sonne wie ein Clown
3. Berlin, dein Winter ist kein Spaß
4. Bockwurst Broadway
5. Dann verfluch nicht den Wind
6. Rum mit Tee
7. Du Sabine
8. Easy Rider (Pretty Woman guck nich so)
9. Einmal
10. Ich bin der Wind
11. Lucie von der Waterkant
12. Berlin-Song
13. Komm
14. Wenn du (k)einen Freund hast
15. Fluche Seele Fluche
16. Dududub (Der Ost-Berliner)
17. Sturm- und Windwalzer
18. Sonntag um drei
19. Trommellied
20. Wir sind nicht mehr wir selber
21. Zwischen Liebe und Zorn
22. Dein Weg bleibt dein Weg
23. The day they took the wall away
24. Für uns, die wir noch hoffen
25. Bäng, Bäng

Pannach & Kunert - Gib mir `ne Hand voll Glück - Live 1977 - 1993
(256 kbps, cover art included)

Montag, 26. Dezember 2016

Sun Ra And His Astro Infinity Arkestra – Sound Sun Pleasure


The first half-dozen cuts on "Sound Sun Pleasure" (1970) are thought to have been documented between 1958 and 1960, during Sun Ra and his Astro Infinity Arkestra's residency in Chicago. Although Ra's arrangements are as intricate and involved as any from the era, the song list draws heavily upon standards. That said, it might be recommended as a starting point for parties not acclimated to the artist's later and exceedingly aggressive free and avant-garde leanings.

Hatty Randolph (vocals) joins the combo for a pair of refined vocals on the covers of "'Round Midnight" and "Back in Your Own Backyard." The Arkestra complement Randolph's full-bodied delivery with such finesse, it is a wonder there isn't evidence of more frequent collaborations like this. She adds a bluesy melancholia that nicely offsets the instrumentation. "You Never Told Me That You Care" - co-written by Ra and Hobart Dotson (trumpet) - stunningly demonstrates Ra's unmatched scoring and superlative sense of melody. The sweeping and languid tempo allows the tune to unravel organically. "Enlightenment" - another co-composition by the pair - is slightly more indicative of Ra's complex approach, as well as the style that would inform his later work, noted by the band's stridency around the comparatively progressive harmonics. When "Sound Sun Pleasure" was issued on compact disc in 1992, an additional seven selections were included. Chronologically, they are among the earliest known from Sun Ra, recorded at various times and locations between 1953 and 1956, yielding understandably sporadic sound quality. "Deep Purple" - from a session held in Ra's apartment -- features contributions by Stuff Smith, while Wilbur Ware (bass) duets on an emotive "Can This Be Love." Arthur Hoyle (trumpet) makes one of his first Arkestra appearances on the bouncy post-bop original "Dreams Come True" that also sports a rare Clyde Williams vocal.                

Tracklist:
1'Round Midnight3:55
2You Never Told Me That You Care5:37
3Hour Of Parting4:53
4Back In Your Own Backyard2:07
5Enlightenment5:09
6I Could Have Danced All Night3:11
7Deep Purple4:03
8Piano Interlude1:56
9Can This Be Love6:01
10Dreams Come True3:08
11Don't Blame Me2:53
12'S Wonderful2:18
13Lover Come Back To Me2:49

Sun Ra And His Astro Infinity Arkestra – Sound Sun Pleasure
(ca. 192 kpbs, cover art included)

Sonntag, 25. Dezember 2016

Alexandrow-Ensemble - Chor der Roten Armee

Today all 92 people on board the Russian military Tu-154 died after it came down shortly after take-off near the resort town of Sochi.
The plane was carrying 64 members of the renowned military choir and dance band, the Alexandrov Ensemble, including its conductor Valery Khalilov.

With the goal of developing amateur art within the ranks of the army and to encourage soldiers’ interest in good music, the ensemble grew to 300 performers by 1933, comprising three different forces of a male choir, an orchestra, and an ensemble of dancers. The Red Army Choir became known as a propagator of Soviet songs, performing original compositions by composers such as Vasily Solovyov-Sedoy, Anatoli Novikov, Matvey Blanter and Boris Mokrousov.
In 1935, the choir was bestowed the Order of the Red Banner and was renamed the Red Army Red-Bannered Song and Dance Ensemble of the USSR.
Having traveled widely throughout the Soviet Union, from the Arctic north to the sands of Tajikistan, the choir performed at the International Exposition dedicated to Art and Technology in Modern Life held in 1937 in Paris, France; it won the Grand Prix, the highest honor bestowed by the jury.

During World War II, the ensemble gave over 1500 performances at both Soviet fronts, entertaining troops about to go into battle, at gun emplacements, airfields, and in hospitals.
Following the death of Alexander Alexandrov, the Ensemble was taken over by his son, Boris Alexandrovich Alexandrov. Under his leadership, the Ensemble gained fame outside the Soviet Union, making extensive tours worldwide. Boris Alexandrov retired in 1987, and was succeeded by People’s Artist of Russia Igor Agafonnikov the same year, with Anatoly Maltsev as the ensemble chief. He retired as the principal conductor in 1994; he died that year and was buried in Moscow at the Novodevichy Cemetery. He was succeeded by Victor Fedorov, the chorus master since 1986.

Tracklist:
1Der Heilige Krieg3:20
2Hoch lebe unser Land3:59
3Tschapajew, Held des Ural1:17
4Auf dem Weg4:00
5Kalinka4:18
6Soldat für immer3:18
7Sie gehen aufs Neuland2:45
8Gehe auf du Rrte Sonne4:31
9Ey Uchnjem - Lied der Wolgatreidler4:17
10Erinnert Euch Genossen4:31
11Lieder der 27. Rotbanner-Division3:11
12Steppe, ja Steppe ringsum5:57
13Fahrtenlied2:15
14Aus dem Walde hervor2:51
15Donkosaken3:21
16Schneeflocken wirbeln durch die Straßen2:46
17Auf dem Felde eine Birke stand3:28
18Tag des Sieges3:19
19Unsterbliche Opfer3:44
20Im schönsten Wiesengrunde2:08


Alexandrow-Ensemble - Chor der Roten Armee
(256 kbps, front cover included)

Samstag, 24. Dezember 2016

Odetta - Christmas Spirituals (1960)

Wish you a peaceful Christmas!

This aren´t the Christmas songs you´ll hear in the malls or at the parades. No Santa Claus. No reindeer. No snow. But for me it would not be Christmas without this glorious album. (Although, to be honest, the music is so beautiful, I´ve put it on many times in mid-summer, and it doesn´t seem out of place.

Odetta's husky voice is often stunning, both in her a cappella performances and her songs with accompaniment. She says these songs are traditional spirituals, neither purely African nor American, but songs that emerged from the sufferings of slavery. Powerful stuff.                

Tracklist:

A1Rise Up Shepard And Follow
A2What Month Was Jesus Born In?
A3Mary Had A Baby
A4Somebody Talking 'Bout Jesus
A5Virgin Mary Had One Son
A6Go Tell It On The Mountain
A7Shout For Joy
B1Poor Little Jesus
B2O Jerusalem
B3Ain't That A-Rockin'
B4If Anybody Asks You
B5Beautiful Star
B6Children Go Where I Send Thee


Odetta - Christmas Spirituals (1960)
(320 kbps, cover art included)

Freitag, 23. Dezember 2016

The More Extended Versions & Cpt. Kirk & - Round About Wyatt

PhotobucketThe band "Extended Versions" was a duo of tall, scary, grimy Austrian leftists (Christof Kurzmann and Helmut Heiland) who made a raucous noise with scratchy guitar, fuzz bass, soprano sax, flute and an overtaxed drum machine. The were influenced by "Suicide" and "The Velvet Underground", and sounded like a less-patient "39 Clocks".

As "The More Extended Versions" they released a great cooperation CD with "Cpt. Kirk &.", a band from Hamburg. It was a Robert Wyatt tribute, but it also had Cypress Hill and Epic Soundtracks covers and other stuff which they associated with Wyatt. It was one of those both political and cultural informed projects back in the 90ies of the last century, when leftist activists and cultural protagonists tried to find a mutual way in opposition to the growing nationalism and racism in Germany. Loved this album in those days and listening to it now is still a pleasure. A worthy and intelligent supplement to the discography of Robert Wyatt.

The More Extended Versions & Cpt. Kirk &. - Round About Wyatt
(192 kbps, front cover included)

Donnerstag, 22. Dezember 2016

Gideon - Mamlok - Rochberg - Shapey - Waxman - Wyner - Zilberts - Psalms Of Joy And Sorrow

Unique among liturgies in their singular blend of majestic grandeur, lofty sentiments, and poignant simplicity, the Psalms embrace virtually every basic human emotion and mood, always in the context of faith.

This album reflects the varied responses of twelve 20th- and 21st-century composers to some of the most affecting and enduring of all biblical texts—the Psalms.

Common to the liturgies, histories, and spirit of both Judaism and Christianity, the biblical Book of Psalms is one of the most widely familiar and most frequently quoted books of the Hebrew Bible. The Psalms' sentiments and teachings, expressed in a singular blend of majestic grandeur and poignant simplicity, give them a uniquely universal resonance. Encompassing virtually every human emotion and mood from exaltation to alienation, hope to despair, these texts have inspired musical interpretation since Jewish antiquity, with notated musical settings dating back
more than ten centuries.

Composers of virtually every orientation have engaged the Psalms in compositions ranging from large-scale works for chorus, full orchestra, and soloists to intimate a cappella choral pieces. The original settings heard on this new CD, by both traditionally-minded and avant-garde composers, exemplify the variety of musical treatments and expressions the Psalms have inspired.

Participating artists heard on "Psalms of Joy and Sorrow" include actor Theodore Bikel, cantors Alberto Mizrahi, Charles Osborne and Meir Finkelstein; the BBC Singers, Laudibus Choir, Schola Hebraeica, Barcelona Symphony/National Orchestra of Catalonia and the Slovak Radio Symphony Orchestra; and conductors Samuel Adler, Michael Brewer, Ronald Corp, Patrick Gardner, Steven Gunzenhauser, Avner Itai, Elli Jaffe, Neil Levin and Karl Anton Rickenbacher.


"Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews first arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry.

While much of this music had become a vital force in American and world culture, even more music
of specifically Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve and transmit the collective memory contained within this music, I founded the Milken Archive of American Jewish Music in 1990.

The passionate collaboration of many distinguished artists, ensembles and recording producers over the past fourteen years has created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The Milken Archive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts of this richly varied musical repertoire." - Lowell Milken

“In the Torah and the [books of the] Prophets, God reaches out to man. The initiative is His. The message is His. He communicates, we receive.... In the Psalms, human beings reach out to God. The initiative is human. The language is human. We make an effort to communicate. He receives.... The human soul extends itself beyond its confining, sheltering, impermanent house of clay. It gropes for an experience of the divine Presence.” - Nahum Sarna

Gideon - Mamlok - Rochberg - Shapey - Waxman - Wyner - Zilberts - Psalms Of Joy And Sorrow
(256 kbps, cover art included)

Dienstag, 20. Dezember 2016

Berlin Cabaret - Bei uns um die Gedächtniskirche rum...- Friedrich Hollaender und das Kabarett der zwanziger Jahre

We are sad and shocked. Our thoughts are with the victims of the attack in Berlin and their relatives. Stay strong and open-minded, Berlin.


This is a set of historical recordings from the 1920s and 1930s on two CDs.

Friedrich Hollaender, who composed some of Marlene Dietrich's best-known songs, wrote 17 of the 44 selections in the set. Hollaender (later emigrated to Hollywood), also performs on piano. Other performances include some of the first names in German cabaret: Trude Hesterberg (founder of "Die Wilde Bühne"), Ernst Busch (Germany's greatest politically engaged singer), Blandine Ebinger (USA, 1937-1947)), Kate Kühl ("Lucy" in the premiere of "Die Dreigroschen-oper", 1928), Margo Lion (one of the best German chanson parodists), and many others.
Despite the word "cabaret" in the title, many of the numbers included come from so-called "Revues" (perhaps best translated as "follies"-as in Ziegfield Follies). If cabaret offered humor, irony, wit, and "Zeitkritik", the "Revues" offered both wit and humor, but were less politically oriented; additionally, they featured Girls . Yet the songs from these entertainments, because they are either personal statements or expressions of universal emotions, remain fresh.

The set includes "literary" texts by Joachim Ringelnatz, Theobald Tiger (i.e., Tucholsky), Walter Mehring, and Bertolt Brecht. Friedrich Hollaender wrote many of the lyrics as well, particularly those from early "talkies" such as "Ich bin von Kopf bis Fuss" from "Der blaue Engel".

The set justly showcases La Dietrich and her vocal talents. Her earlier, somewhat rougher versions of "Jonny" and "Wenn ich mir was wünschen dürfte" contrast interestingly with later, more polished-and more familiar-recordings of them. Several numbers feature her in duet or trio with other singers.
To your great delight you can discover several songs by the immortal Claire Waldoff which do not appear on her album "Wer schmeisst denn da mit Lehm... " (Odeon). Her rendition of "Raus mit den Männern aus dem Reichstag," with its strongly trilled R's, rings as true today as it did when first sung.

The singers typically speak-sing with conscious disregard for actual musical pitch in a way that seems to typify popular music from this period. Much of the music on this set sounds like Lotte Lenja's version of "Seeräuber Jenny" and indeed provides a context for the Brecht/Weill style of vocalizing.

The original recordings, which were provided by various archives in Berlin and Frankfurt, have been digitally reworked to improve the sound quality. The digital version renders the voices more clearly and significantly reduces the surface noise. The cost, however, must be measured in loss of musicality. In the digital version the instruments seem less present and somewhat artificial; the rich interplay between voice and instruments tends to disappear. By the 1930s, however, recording techniques had evidently improved. The sound quality of the later pieces is much better with very little hiss or noise on either vinyl and CD.

Much of the material on this set remains fresh and interesting. The parody of the Wandervogel movement is quite amusing, as is Ringelnatz's nonsense parody of "Wenn ich ein Vöglein wär" (sung by Die Drei Katakombe-Jungens). The last song on the set is Brecht's "Der Marsch ins Dritte Reich," sung by Ernst Busch to a version of "It's a Long Way to Tipperary," arranged by Hanns Eisler.

All of the artists and topics mentioned above can be researched in Klaus Budzinski and Reinhard Hippen's Metzler Kabarett Lexikon (Stuttgart: Metzler, 1996 ISBN 3-476-01448-7). This well-illustrated handbook (b-w only) covers the entire range of German-language cabaret, from the earliest times (the 1890s) to West German television broadcasts.

Berlin Cabaret - Bei uns um die Gedächtniskirche rum... pt. 1
Berlin Cabaret - Bei uns um die Gedächtniskirche rum... pt.2
(192 kbps, front cover included)

Samstag, 17. Dezember 2016

Ton Steine Scherben - Live in der Alabamahalle München (1982) (Bootleg)

The revolting youth of West Germany faced many questions in the 1970s. Just how far should their protests go? Could they turn a blind eye to illegal acts? Should they take up arms against the German state? What alternatives could they offer to a life of gloom in the GDR and to the bloody violence of the Red Army Factory? What plan of action should musicians adopt? The answers that the band Ton Steine Scherben provided to these questions would go on to shape the destiny of Kreuzberg, of Berlin and of the whole German alternative scene.

Their first 7" record, "Macht kaputt was euch kaputt macht" ("Destroy Taht which Destroys You") was one of the first German rock records to boast German lyrics that wasn´t a Schlager or prefabricated pop music. The first real example of German protest rock.

Here´s a recording of Ton Steine Scherben at the Alambama-Halle in Munic from 1982.

Tracks:
01. Radio Intro
02. Interview
03. Der Traum ist aus
04. Mein Name ist Mensch
05. Wir sind geboren, um frei zu sein
06. Wir sind geboren, um frei zu sein, pt. 2
07. Rauch-Haus-Song
08. Der Turm stürzt ein

Ton Steine Scherben - Live in der Alabamahalle München (1982) (Bootleg)
(192 kbps, cover art included)

Ton Steine Scherben - Warum geht es mir so dreckig? (1971)



Ton Steine Scherben (TSS) are regarded as one of the first genuine German-language rock groups. The band´s frontman Rio Reiser is credited with cementing the positive connection between rock music and German lyrics.

The group´s name translates as "Clay Stones Shard", thus both indicating the city´s architecture and suggesting the post-punk "return to concrete". TSS took a strong anti-capitalist stance and became the musical spokespeople of West Berlin´s left wing. They produced and distributed their work on their own "David (re. Goliath) Volskmund (people´s voice)" label, had links with the squatter scene, the Rote Armee Fraktion in its early days and the Green Pary.

Their single "Macht kaputt, was euch kaputt macht" became a youth portest motto in the early 1970s and the song "Keine Macht für niemand" ("No power for no-one") was a familiar graffiti slogan. Rio Reiser preferred to identify with worker´s interests than with those of the intellectual left wing and the band were frequently invited to play for political rallies and demonstrations.

TSS´s lyrics demonstrated a commitment to a utopian anarchy of "Solidarity" ("Mein Name ist Mensch", "Der Traum ist aus"), a lifestyle which the group attempted to live out with friends and supporters, first in a Berlin commune then in a group-repaired farmhouse in Nordfriesland. What is prominet is the urgently declaimed idealist lyrics delivered by Reiser´s emotional but arresting voice and the band´s obvious sincerity.

Tracklist

A1Ich will nicht werden, was mein Alter ist
A2Warum geht es mir so dreckig
A3Der Kampf geht weiter
A4Macht kaputt, was euch kaputt macht
B1Mein Name ist Mensch
B2Sklavenhändler
B3Alles verändert sich


Ton Steine Scherben - Warum geht es mir so dreckig? (1971)
(320 kbps, cover art included)

Freitag, 16. Dezember 2016

Loudon Wainwright III‎– Loudon Wainwright III (1970)

This LP introduces the singer who carries one of the most misspelled names in the songwriting business. Either addressed as Louden Wainwright or Loudon Wainright on concert tickets and file cards in record stores, it would eventually inspire him to come up with a very funny song on the subject: "T.S.M.N.W.A.," on 1993's "Career Moves". After getting to know him better through listening to this superb live album, a logical next step would be to turn to his first two albums.

At the time he released the first one under his seemingly awkward name, critics were standing in line to hail him as the new Bob Dylan. In 1970, "Loudon Wainwright III" (or "Album 1", as it is also referred to) was a promising debut of a newly arrived songwriter, they all agreed. This kind of accolade earned him a spot at many a folk festival, but at the same time he would be criticized for not writing politically enough. Even to the amiable Wainwright, this must have seemed paradoxical for, like most beginning artists, he never asked to be called the new anything in the first place. Trying to make a comparison between him and any of his songwriting peers is pointless. His quality lies in the unique way he comments on ordinary events happening in -- and outside of -- his personal life. Depending on the mood of the song, he delivers them in a melancholic, at times even regretful, voice -- but he's also capable of being outright sarcastic.

On his first album, the content is still largely poetic. From the beautifully depressing "Hospital Lady" and "Central Square Song" to the uplifting protest song "Uptown," this is a songwriter at an early stage in his career and determined to make a difference. With album-opener "School Days," he succeeds in a most charming way: It's an account of the promise of youth in which an adolescent Wainwright boasts of all the important things he accomplished during high school. Considering a line like "In the spring I had great hunger/I was Keats, I was Blake/My purple pencil pains I would bring/To frogs who sat entranced," who could possibly blame him? However, Wainwright's at his best when he's sardonically spitting (rather than singing) from the top of his toes, addressing people who think they know the answer or the way. Try "Four Is a Magic Number" or, even better, the exceptional "Glad to See You've Got Religion." Thankfully, this trademark delivery would accompany him on many more albums to come.

Tracklist:

School Days3:04
Hospital Lady4:03
Ode To A Pittsburgh3:13
Glad To See You've Got Religion3:53
Uptown2:42
Black Uncle Remus2:37
Four Is A Magic Number3:26
I Don't Care4:07
Central Square Song5:26
Movies Are A Mother To Me2:36
Bruno's Place3:31

Loudon Wainwright III‎– Loudon Wainwright III  (1970)      
(320 kbps, cover art included)                           

Dienstag, 13. Dezember 2016

VA - Place Of Hope - Celebrating The New South Africa (1996)

"Place Of Hope" is an album with songs performed by musicians from the USA and South Africa. It was dedicated to the students of Funda Community College of South Africa. Founded in 1984, Funda is one of the oldest independent training institutions in the visual arts in South Africa, established in response to the inaccessibility of specialised training in the visual arts for black South Africans under apartheid. Built on land donated by the Urban Foundation and IBM, Funda continues to serve as a critical point of access to the visual arts sector for young black South Africans.

Tracklist:

1. Place Of Hope
2. One Love/People Get Ready
3. That's The Way Of The World
4. Place Of Hope
5. Now Or Never
6. Broken Wings
7. Thula Sizwe/I Shall Be Released
8. We Shall Overcome
9. Heal Our Land
10. Zulu Chant
11. Fragile
12. Now It's Your Turn
13. New South Africa
14. Shed A Little Light
15. Place Of Hope
16. Amazing Grace
VA - Place Of Hope - Celebrating The New South Africa (1996)
(256 kbps, cover art included)

Montag, 12. Dezember 2016

Franz Josef Degenhardt - Durch die Jahre (Ausgewählte Lieder 1965 - 1980)

Originally posted in November 2011:
The great and wonderful Franz Josef Degenhardt is dead. He died yesterday, aged 79.

Learned and versatile, German poet, novelist, and - first and foremost - a  folksinger/songwriter (Liedermacher) with decidedly left-wing politics, Franz Josef Degenhardt was born December 3, 1931. He began releasing records in the early '60s and hasn't let up until the last years, with some 50 album titles in his personal discography, the most recent appearing in 2006.
Degenhardt was also an accomplished novelist, with a half dozen largely autobiographical novels to his name.

He was invited to the Burg Waldeck revival concert a few years ago and refused the invitation with this sharp-eyed critical argumentation:
"Seit längerem schon - ich lese ja die Waldeck-Zeitung Köpfchen, höre dies und das von alten Freunden und Genossen - wird eine Wende, besser eine Rolle Rückwärts vorgeführt da oben im Hunsrück. [...] Zuletzt bin ich in dieser meiner Einschätzung bestärkt worden während einer von ,Arte' ausgestrahlten Sendung mit dem Titel ,Get up. Stand Up.Die Geschichte von Pop und Politik', die überwiegend recht gut und informierend war, bis auf den Abschnitt, der sich auf die Waldeck-Festivals in den Sechzigern bezog. Es wurde überhaupt nicht eingegangen auf das wirklich Neue damals, das die Liedermacherei, Song-Interpretation, Rezeption in der Folge formal und inhaltlich gründlich mitbestimmt hat. Dies durch: die Konkretisierung, Hereinnahme des aktuell Gesellschaftlichen, den gerichteten militanten Antifaschismus, die Kritik am idyllisch gemachten und dargebotenen Liedgut, am Romantizismus, der Skepsis gegenüber den traditionellen Liedformen überhaupt.
Nicht dieses sollte und soll nach der vom neu-alten Waldeck-Geist monopolisierten Interpretation im Gedächtnis bleiben. Vielmehr sollen die Festivals nun gewertet werden vor allem als Anstoß zur Bewahrung der ,guten, alten Lieder', die nach Vorstellung eines dieser uns bekannten Waldecker ,nicht verstören sondern gefallen' sollen.
Diese uns nur zu bekannte Mischung aus provinziellem Mief und deutsch-nationaler Gefühligkeit ist natürlich das Spiegelbild einer gesamtgesellschaftlichen Haltung und Vorstellung heute hierzulande, und nicht nur hierzulande. Und insofern sind die Waldeck-Knaben wieder mal ,dabei und vorneweg' - ihr ewiger Wunsch. Diese Anschlussfähigkeit à tout prix ist besonders widerwärtig."

Franz Josef Degenhardt - Durch die Jahre
(256 kbps, front cover included)

Samstag, 10. Dezember 2016

Sun Ra & His Arkestra - Some Blues But Not The Kind That's Blue

Fantastic. Another rare Saturn release makes its way into the digital realm. This time, it's "Some Blues But Not the Kind That's Blue", a nice 1977 date that's heavy on standards.

Aside from the two Sun Ra tunes (one of which had been unreleased prior to this), this is a pretty inside date with some major statements from Ra on piano and John Gilmore on tenor. Everyone gets a bit of solo room, and the flutes and bass clarinet add some really nice colors, especially on "My Favorite Things," a song so closely identified with the John Coltrane Quartet that this version is almost startling in its contrast to Coltrane's myriad versions.

Aside from the title track and the two earlier bonus takes of "I'll Get By," there is no bass player present, the low end falling mostly to Ra's piano. Luqman Ali's drumming, as always, is remarkable in its tasty understatement. The bonus tracks are a wonderful addition. "Untitled" was recorded at the same 1977 sessions but didn't make the album cut. The other tracks are rehearsals, presumably from the Ra house on Morton St. in Philadelphia. They're two takes on "I'll Get By" with Ra on organ and the great Ronnie Boykins on a particularly well-recorded bass with Akh Tal Ebah on trumpet on one take and John Gilmore on tenor on the other. It's interesting to hear these rehearsals in relation to the same song's arrangement from a few years later. Although recorded about a decade apart, "Some Blues But Not the Kind That's Blue" is of a piece with "Blue Delight": mostly standards albums that really put the spotlight on Sun Ra's piano playing and the tenor artistry of John Gilmore. Although the Arkestra is notorious for its outside playing and cacophonous tendencies, this album shows they could play it straight as well as anyone in the game. Wonderful stuff. - allmusic.com     

Tracklist:

Side A:
Some Blues but not the Kind That's Blue (Ra)
I'll Get By (Turk-Ahlert)
My Favorite Things (Rodgers-Hammerstein)

Side B:
Nature Boy (Ahbez)
Tenderly (Morrison-Lawrence-Gross)
Black Magic (Mercer-Arlen)

Bonus tracks on cd:
I'll Get By 1
I´ll Get By 2  


Sun Ra & His Arkestra - Some Blues But Not The Kind That's Blue
(320 kbps, cover art included)

Freitag, 9. Dezember 2016

Hein & Oss - Singen Volkslieder (1976)

Hein & Oss were born identical twins on September 17th 1927 in Pirmasens, Germany. Through the influence of their mother and their grandfather they found a very early interest in singing and in music.

They belong to the small band of German folksingers who are internationally famous through their various concerts, broadcasting and television appearances.

Through their extensive travels they got to know the world and its music; their repertoire is extremely varied and interesting and is drawn from nearly every part of the folk word. Shanties or chansons, soldier´s songs, protest songs or spirituals - the congenial twins from Pirmasens enthrall their audience in Berlin and Calcutta, Paris and Rome, Athens, Teheran, Munich, Bagdad,Hamburg and London.

Hein & Oss belongend to the founders of the "Chanson Folklore International", whose annual festival was held at Castle Waldeck, Germany and was considered as a meeting point of well known folksingers from various countries.

This double album was recored in Munich, August 1976.

Hein & Oss - Singen Volkslieder - Auf den Plätzen, auf, in den Straßen (1976)
(192 kbps, front cover included)

Goissahannes - Lieder aus einer anderen Welt


In the 1970s and 1980s there was a West German "singer-songwriter samizdat" scene: Being part of the left-wing alternative culture, releasing self-produced albums on its own or on small collectively organized labels, never ending gigs at youth centers and small festivals and always no money in the pocket... One of these artists was Johannes Christ, but everyone called him Goissahannes. He´s a lovable anarchist from thel Schwäbische Alb (Swabian Alps in English), a low mountain range in Baden-Württemberg, Germany,
 
In 1981 he released the album "Liadrige Liadr" with the wonderful track "Mooschdd aus´m Kruag" in Swabian dialect, which will be posted here in the next days. Some years later he published the album "Lieder aus einer anderen Welt", a collection of antifascist songs from the NS-concentration camps. On the album are included widely unknown songs like "Lied der Heuberger" besides more knows antifascist songs like "Partisanen von Amur" and the "Buchenwald-Lied".
 
Today, Goissahannes is still active as a musician. Together with his wife Silvia he makes emanzipatoric music for children. Maybe you want to check out www.goissahannes.de.
 
(320 kbps, cover art included)
 

Peter La Farge‎– "Ira Hayes" And Other Ballads (1962)

To the uninitiated, he seems like little more than a footnote in the biography of Bob Dylan and the recordings of Johnny Cash, but during the early and mid-'60s, Peter La Farge occupied a special niche in contemporary folk music as the first politically aware Native American to attract serious attention.

He was dead before the age of 34, but La Farge managed to make a vital and unique contribution to the early-'60s folk revival. 

"`Ira Hayes´ And Other Ballads" is a perfect companion to all of the early 60s Greenwich Village folk you’re hearing these days, thanks to the film “Inside Llewyn Davis.”

Peter La Farge was an unusual character even by the standards of that scene, and this, his only Columbia album, features numerous folk classics as well as the first recording of his monumental composition “Ira Hayes,” later brilliantly covered by Johnny Cash.

Tracklist:
Ira Hayes3:42
Rodeo Hand2:19
Easy Rider4:12
Sod Shanty2:14
John Henry4:52
Head Hammer Man3:08
I Gave My Love A Cherry3:38
John Brown's Body4:18
True Love Is A Blessing1:27
Alabama Bound3:22
St. James Infirmary4:50

Peter La Farge‎– "Ira Hayes" And Other Ballads (1962)
(320 kbps, cover art included)

Mittwoch, 7. Dezember 2016

Witthüser & Westrupp -Trips & Träume (1971)

Apparently, Witthüser & Westrupp came into being at the Essen "Podium" folk club where Walter Westrupp worked as a DJ. Bernd Witthüser was already known as a protest singer, Westrupp was playing in a skiffle band, and when the two met they realised there was a magical chemistry between them. They busked and played in local clubs creating their own unique repertoire. Although working as a duo since 1969, their debut was released under Bernd Witthüser's name, as it contained music composed by him, with lyrics taken from the writings of politically minded poets and novelists, like Novalis, Heine and Brösel.

As a proper duo the Witthüser & Westrupp sound came on in leaps and bounds, their music was pure innovation, drawing on Westrupp's classical background, and enthusiasm from Rolf-Ulrich Kaiser, Witthüser & Westrupp became the cosmic buskers! With some of the finest session musicians in Germany, they went on to record three of the most original progressive folk-rock albums of the early-70's.

"TRIPS & TRÄUME" is, excepting a couple of shorter catchy folk songs, a very cosmic affair, with long spacious tracks oozing out atmosphere, like ancient folk diversions from Ash Ra Tempel. Up first is "Lasst uns auf die Reise gehn" which is such a moving tune for me, i´m so touched by this song. "Nimm doch einen Joint, mein Freund" is a (sort of) cover of THE FRATERNITY OF MAN"S "Don't Bogart Me" made popular by it's inclusion in the film "Easy Rider". This version is such a blast as we get English vocals for the first time as they sing about sharing weed and singing about hash and lsd. Humerous stuff.

The next two albums on the Pilz label developed the sound on an even richer more complex level with massed keyboards, a little more rock, more guitars and even choirs, many of the guests being from Wallenstein. After disbanding, both musicians went onto other folk and political bands: Baier Westrupp, Die Walter H.C. Meier Pumpe, etc. A double live album of Witthüser & Westrupp was also issued.

Tracklist:
A1Laßt uns auf die Reise gehn4:00
A2Trippo Nova8:55
A3Orienta7:35
B1Illusion I4:35
B2Karlchen9:05
B3Englischer Walzer1:38
B4Nimm doch einen Joint, mein Freund3:30

Witthüser & Westruppe - Trips & Träume (1971)
(192 kbps, cover art included)

Oscar Chávez – Nicaragua vencerá (1979)


Oscar Chávez was born in Mexico in 1935. He spent his early years studying theater at the Escuela de Arte Teatral del Instituto Nacional de Bellas Artes, the Academia de Teatro del Maestro Seki Sano, and the Teatro de la Universidad. Chávez appeared in a number of films, including Los Caimanes, La Diosa de Plata, and El Heraldo. His film work led to opportunities in the emerging world of the telenovela. As an actor, vocalist, and director, Chávez participated in more than 200 radio plays for Radio Universidad.

Though a busy actor and director, his musical pursuits have earned him international fame, with more than 20 records to his credit. In his repertoire choices and compositions, Chávez has distinguished himself not only as an arranger and performer, but as champion of Mexican folklore. This preoccupation with preservation of tradition manifested itself throughout his work via the inclusion of not only traditional stories, but also protest songs. Viewing folklore as inherently political, Chávez would come to be known as the people's folk historian. Later in his career, Chávez added light political satire to his repertoire, including material that made light of current political situations and characters. Chávez continues to be an important player in the preservation of traditional Mexican music and culture.   

Here´s Oscar Chavez hommage to the Sandinista revolution against the Somoza dictatorship in Nicaragua.           

Tracklist:
01. Ya cayó Somoza
02. Con Sandino en Nicaragua
03. La Mama Ramona
04. Somos los libertadores
05. Dos palomitas blancas
06. Contra Moncada
07. Gratitud a Masaya
08. Caballo criollo
09. Corrido de Nicaragua
10. Hora cero-La Adelita

Oscar Chávez – Nicaragua vencerá (1979)
(160 kbps, front cover included)

Dienstag, 6. Dezember 2016

Gisela May & Thanassis Moraitis - Mikis Theodorakis - Lieder

This album is a historical musical document that has been recorded in Berlin in 1988, just a year before the fall of the Berliner Wall. The “great lady” of the Berliner Ensemble and excellent interpreter of Brecht’s songs, Gisela May, meets the Greek singer Thanassis Moraitis.
Together, they sing an anthology consisting of important compositions signed by Mikis Theodorakis, one of the most significant Greek composers such as “Asma Asmaton”, “Antonis”, “To gelasto pedi” and others.

Tracklist:
A1Lied der Lieder (Part 1)3:56
A2Andonis2:58
A3Der Flüchtling3:02
A4Wenn der Krieg vorbei ist3:03
A5Lied der Lieder (Part 2)0:53
A6Am 18. November2:00
A7Der Junge mit dem Lächeln2:34
A8Weil er sich nicht Gesetzen beugte2:52
A9Anatolien2:45
B1O Dromos Tou Phegariou2:44
B2Santiago5:27
B3Patrida Mou2:40
B4Chameni Apostoli3:02
B5Arkouda3:24
B6Tripolis4:00
B7To Taxidi2:51


Gisela May & Thanassis Moraitis - Mikis Theodorakis - Lieder
(320 kbps, cover art included)